Podcast appearances and mentions of lewis carrol

Send us a textTara and EmKay fall down the rabbit hole to Wonderland! Rabbit holes include the creation of rabbit holes, Lewis Carroll's complex history, Bond and Grace's beautiful new "Alice in Wonderland" art novel, and so much more!Stay tuned for Part 2 dropping this Wednesday.Note: This episode contains discussion of pedophilia in relation to Lewis Carrol's history.Show notes:Bond and GraceThe Impact of the Controversial Elements of Children's Authors' Mythobiographies on the Reception and Transformation of Their WorksThe Real Wizard of Oz: The Life and Times of L. Frank Baum by Rebecca LoncraineBBC The Secret World of Lewis CarrollInstagram: @downtheyellowbrickpod#DownTheYBPTara: @taratagticklesEmKay: www.emilykayshrader.netPatreon: https://www.patreon.com/downtheyellowbrickpodEtsy: https://www.etsy.com/market/down_the_yellow_brick_podMusic by: Shane ChapmanEdited by: Emily Kay Shrader Down the Yellow Brick Pod: A Wizard of Oz Podcast preserving the history and legacy of Oz

Jaume Segalés y su equipo hablan de turismo rural en Madrid y de Los mundos de Alicia. Hoy en Km0, tras repasar la actualidad informativa y deportiva, profundizamos en los siguientes asuntos: "Los mundos de Alicia. Soñar el país de las maravillas" Gran exposición dedicada a este célebre y querido personaje de fantasía y al profundo impacto cultural que ha tenido desde su creación hasta nuestros días. Nos brinda un viaje onírico que recorre los orígenes, adaptaciones y reinvenciones artísticas que "Alicia en el país de las maravillas" ha tenido en diversas disciplinas creativas, desde su creación en 1865 a manos de su autor Lewis Carrol, hasta la actualidad. Se trata de la muestra más grande realizada sobre este fenómeno cultural victoriano y sobre su influencia en el imaginario colectivo en ámbitos como el cine, las artes plásticas, la psicodelia, la moda y la ciencia. Una propuesta teatral e inmersiva que ha sido creada por el Victoria and Albert Museum de Londres (que, por cierto, fue fundado en la misma época que las novelas) y producida por la Fundación "la Caixa". Ya la podemos ver en CaixaForum Madrid (Paseo del Prado, 36) hasta el 3 de agosto. De lunes a domingo, y festivos, de 10:00 a 20:00. Entrevistamos a la directora de CaixaForum Madrid, Isabel Fuentes. Turismo rural en Madrid Los empresarios de la Sierra Norte nos cuentan cuáles son las previsiones para esta Semana Santa después de un mes, el de marzo, con peores datos de ocupación debido a las intensas lluvias. Nos ofrece los datos Gustavo Nash, presidente de la Asociación de empresarios de la Sierra Norte de Madrid.

Support Our Cause at https://libri-vox.org/donate Alice's adventures in Wonderland is probably one of the most well known and popular children's novels in the English language. Written in 1865 by Charles Lutwidge Dodgeson, better known by his pen name ‘Lewis Carrol'. Lewis, a mathematician, poet, photographer and inventor, tells a surreal fantasy tale, of Alice, who visits a world of unnatural logic after following a very smart White Rabbit, down a rabbit hole. The world she discovers is inhabited by the strangest and most endearing characters; The ‘Mad Hatter', the sleepy ‘Dormouse', the ‘Queen of Hearts' and many more.Every child should insist that this story is read to them! And they will remember it for ever, just like Alice. This book was originally illustrated by Sir John Tenniel. His images are iconic and help to seed the imagination of any little person, no matter how big they are! Support Our Cause at https://libri-vox.org/donate

Casi 160 años después de que el diácono anglicano, lógico matemático, escritor y fotógrafo británico Lewis Carrol escribiera Alicia en el País de las Maravillas (1865), se presenta una exposición en el CaixaForum de Barcelona sobre el impacto del personaje en el imaginario colectivo de múltiples generaciones. La muestra, que viene del museo Victoria & Albert de Londres, llegará a Madrid el año que viene. En ella se documenta la invención de este personaje victoriano, conocido ya en 170 lenguas, su reflejo en la pantalla y la escena, la puerta que significa a otros mundos y el deseo de convertirse en Alicia. En este programa, "Al Trasluz", oímos fragmentos de la versión doblada de la película de Disney en 1951 y el libro original leído por Eva M. Fernández. Las canciones inspiradas en la historia de Alicia son: una versión del tema de Sammy Fain para Disney por el trio del pianista de jazz, Dave Brubeck con la voz de Roberta Gambarini (Alice In Wonderland 2010); la banda psicodélica de San Francisco, Jefferson Airplane (White Rabbit 1967) en la voz de Grace Slick; y el argentino Charly García con su grupo Serú Girán (Canción de Alicia en el País 1982). Los comentarios de José de Segovia llevan de fondo musical instrumental: la banda sonora original de Danny Elfman para la película de Tim Burton en 2010; la composición de Sammy Fein para Disney por el trio del ya fallecido músico de jazz, Chick Corea en 2013; así como la del tristemente también fallecido trompetista Chet Baker con Philip Catherine en París en 1988. Las mezclas y el diseño sonoro son de Daniel Panduro.

Bugün 11 eylül 2024 #doğatakvimi WWF'in aramak için kampanya başlattığı morsların, Arktik halkların kültüründe önemli bir yeri var. Morsların Lewis Carrol'ın 1871 tarihli “Mors ve marangoz” adlı şiirine ilham kaynağı olduğunu, bu şiirden John Lennon'ın bestesiyle, Beatles'ın “I am the wallrus” (Ben bir morsum) şarkısının doğduğunu biliyor musunuz?

On this edition of The Arts Section, host Gary Zidek has the latest on the public art project known as the Wasbash Lights that's set to make its debut after10 years of planning. The Dueling Critics, Kelly Kleiman and Jonathan Abarbanel, join Gary to review a musical adaptation of Lewis Carrol's classic Alice in Wonderland. Later in the show, Gary takes you to the Newberry Library to check out a new exhibit on influential Chicago columnist Mike Royko. And I'll talk to a local filmmaker about his latest documentary that follows a candidate's Congressional campaigns.

The musical "Alice by Heart" will be performed July 3rd - 25th at Jerusalem's Beit Maziya Theater produced by Starcatcher and the Incubator Theater.The show is in English with Hebrew subtitles and a live band.  The performance centers on a young girl trying to cope through a war by escaping into the world of Lewis Carrol's "Alice's Adventures in Wonderland.” Nuria Levy, one of the directors of the play, spoke with reporter Arieh O'Sullivan. (photo: courtesy) See omnystudio.com/listener for privacy information.

The world of nonsense in Alice In Wonderland was a lesson to us from Lewis Carrol. When the world is based on nonsense, everything is possible because nothing is impossible. But then again, everything is impossible because you don't really know what is possible. We will look at the insanity of our nation and these times of utter dysfunction. We must remember that God is not a God of chaos but of order. What does God's Word say? 1 Corinthians 14:33 For God is not a God of disorder but of peace, as in all the meetings of God's holy people. 33 When we worship the right way, God doesn't stir us up into confusion; he brings us into harmony. This goes for all the churches - no exceptions.Episode 1,633 Links:I thought there'd never be a libertarian convention moment funnier than the license to drive bit but this is truly the perfect moment of comedy every moment is meme art especially the heckles omgThis is beautiful: a DEI supporter becomes so frustrated with the reality of DEI that he blurts out the truth, then immediately apologizes and blames the Right. This is the archetype of the "white male ally"—a figure of supreme cowardice and self-deceptionRuPaul's d*ag race featured a d*ag queen acting out undergoing a double mastectomy surgery. This is what RuPaul and d*ag promotes. Absolutely disgusting.Since when are people held hostage at the Cannes Film Festival?Actress Massiel Taveras had a portrait of Jesus Christ on her dress at the red carpet. The security guards immediately rushed her outAlan's Soaps https://alanssoaps.com/TODD Use coupon code ‘TODD' to save an additional 10% off the bundle price.  Bioptimizers https://bioptimizers.com/todd Use promo code TODD for 10% off your order. Sharpen your edge and reach your potential with Mushroom Breakthrough by Bioptimizers.     Bonefrog   https://bonefrogcoffee.com/todd Use code TODD at checkout to receive 10% off your first purchase and 15% on subscriptions.  Bulwark Capital  Bulwark Capital Management (bulwarkcapitalmgmt.com) Call 866-779-RISK or visit online to get their FREE Common Cents Investing Guide.   EdenPURE https://edenpuredeals.com This week only!  Get Buy One Get One free pricing on the Thunderstorm Air Purifier with code TODDBOGO. GreenHaven Interactive Digital Marketing https://greenhaveninteractive.com Your Worldclass Website Will Get Found on Google!  Liver Health https://getliverhelp.com/todd Order today and get your FREE bottle of Blood Sugar Formula and free bonus gift. Renue Healthcare https://renuewellcation.com Register today for your Wellcation with Todd Herman June 7-11, 2024.  See site for details

This evening we will cover the sequel to Lewis Carrol's famous Alice in Wonderland, Through the Looking Glass. This deep dive will look at the esoteric and occult elements, the historical and geopolitical elements, and the psychological and metaphysical elements. This is the first half of a full lecture/analysis.Send Superchats at any time here: https://streamlabs.com/jaydyer/tip The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Use JAY50 promo code here https://choq.com for huge discounts - 50% off! Set up recurring Choq subscription with the discount code JAY53LIFE for 53% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyerBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

Jay Sweet is my guest on this episode of That's How I Remember It. Jay has done a lot of things but is best known as the force behind the Newport Folk Festival. I have been at Newport for the past two years and have been blown away by the music and the community. Jay and his staff are in the business of making memories at Newport. We talked about that special vibe as well as Lewis Carrol, his first Grateful Dead show, REM at Radio City Music Hall as a youth, Lana Del Rey, and THS at Newport 23. Great talk. Listen and subscribe! 

While they are intended to be the method of administering healing medication, if a society is addicted to Government aid, aren't elections just the needle used to get a 'fix'?See omnystudio.com/listener for privacy information.

In our final recording of 2023, Mike and Rich take a look at five recent releases...   The anticipation for John Woo's much delayed SILENT NIGHT (Sky Cinema) has been pretty high, is the film able to live up to its hype? John Cena and Alison Brie join forces in the action comedy, FREELANCE (Amazon Prime)... ALICE IN TERRORLAND (High Fliers) is a modern take on the classic Lewis Carrol story... BLACKOUT (R4 Films LLC) is a 42min film about a Government Agent struggling to complete a mission he knows little about...this is available on Youtube - click the link to see the whole film! BENEATH US ALL (Deskpop Entertainment) sees a young woman enticed by a demon she unearths in the forest near her foster-home... Our Short Shot is an excellent Star Wars fan film called THE LOST RELIC - click the link to watch the whole short film! And our DTV Throwback is MADE MEN, in which Jim Belushi is a mob witness whose location has been leaked to his former boss. Look out for a scene-stealing turn from a certain Timothy Dalton! Follow the Short Shots TWITTER page, where you will find hundreds of links to awesome short films! Don't forget to also check out our main show, the DTV DIGEST on TWITTER and FACEBOOK!        

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th

Outside Lockhart's Texas Hatters is a sign that says “There ain't no place like this place, anywhere near this place so this must be the place”. And that certainly is true. To quote Lewis Carrol, Lockhart grows “Curioser and More Curiouser” with each year. What once was a slow sleepy town known for slowly smoked meats is now starting to hum with activity, music and events. But it's not like this phenomenon is completely new, I've been here long enough to tell you that the potential was always there. The square has always had festivals going on and I've woken up many times to the sounds of music and commotion going on on including formula one style go-carts racing that flew past the intersection near my house. There was already a willingness to be a bit unconventional, a spirit to put on festivals, a sense of awareness adventure. So it makes sense that artists would come to Lockhart. Because… This must be the place.In this episode we interview and hear performances by HeartByrne, Bear Ryan, Jeff Hammett, The Go Go Rillas and we learn about the work of artist Christy Stallop. Plus all that is happen' in Lockhart through September 1st. Join us!Support this podcast at — https://redcircle.com/78644/exclusive-content

Curiouser and Curiouser! Caroline from the Poor Unfortunate Podcast joins Courtney and Emily's unbirthday  party in this next installment of the Book of the Mouse Club's British Invasion Summer Series. Follow your hosts down the rabbit hole to compare Disney's 1951 film Alice in Wonderland to Lewis Carrol's original work. And if you lose your head over our hot takes about Alice, it's okay - we are all a little mad here.  Review Book of the Mouse Club on iTunes and Google Play and send any questions, comments, or suggestions to the hosts at bookofthemouseclub@gmail.com Follow Our Reading Journey On Social Media! Official Twitter and Instagram: @BookoftheMouse Courtney: Instagram @greatguthsby, Twitter @Courtney_Guth, and Goodreads Emily: Instagram and Twitter @emily_mickde, and Goodreads Caroline: Instagram/Threads @carolaim, and CarolineAimetti.com  Poor Unfortunate Podcast: Podcast available on Apple Podcasts and Spotify Instagram @poorunfortunatepodcast / Twitter @unfortunatepod / Threads @unfortunatepod Facebook Page Poor Unfortunate Podcast  and Facebook Group Poor Unfortunate Fam

A Little Girl's Dream:  Terry Gilliam's Tideland Troubled throughout his career for circumstances - oftentimes - beyond his control (inadequate budgets - Munchausen, studio interference - Brazil and The Brothers Grimm, flash floods - Quixote, and death - Parnassus), Terry Gilliam has somehow been able to create some of the most incredible images ever committed to the big screen. From the great adventures of Baron Munchausen through an abandoned Philadelphia future overrun by wild animals, into an acid trip vision of 1970s Las Vegas, Gilliam is responsible for creating magic on screen that can only be described by his own adjective - Gilliamesque. With his 2005 look into the life of a nine-year old girl, Jelizah-Rose (Jodelle Ferland), orphaned and left to survive in an abandoned home on the Texas plains, Gilliam began a strange and interesting late career struggle for understanding. The films definitely changed. Pulling strongly from Lewis Carrol's Alice's Adventures in Wonderland, at 64 Gilliam created one of the most difficult and polarizing films of his career. (According to Gilliam, fellow Python, Michael Palin, called the film - either the greatest thing he has ever done, or the worst.) The fact is that polarizing and difficult films are the films that need to be looked at, examined, and talked about. That's all we're really trying to do with this (and every one of our) episode(s). Take a listen and let us know what you think. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com Special Note: We're trying something new in this episode. If you've listened to us over the years, or if you're new to the podcast, and you'd like to support us you can click on the link below and donate to this long-running labor of love. Simply click on the link below and go to the Buy Me a Coffee website. Anything and Everything is Appreciated.  https://bmc.link/watchrickramos      

This week, we follow one curious and imaginative young girl down a rabbit hole and into a strange and surreal world called Wonderland. In Wonderland, she encounters a cast of eccentric characters, including the Cheshire Cat, the Mad Hatter, and the Queen of Hearts, and experiences a series of absurd and nonsensical events. Throughout her ordeal, the girl must learn important lessons about growing up, identity, and the power of imagination.   The girl: Alice The book: Alice's Adventures in Wonderland by Lewis Carrol. And you're listening to lit society.   LET'S GET LIT!   - View the video podcast here: https://www.youtube.com/@litsocietypod Find Alexis and Kari online:  Instagram — www.instagram.com/litsocietypod Twitter — www.twitter.com/litsocietypod Facebook — www.facebook.com/LitSocietyPod Our website — www.LitSocietyPod.com.    Subscribe to emails and get free stuff: http://eepurl.com/gDtWCr   

*Buy tickets to Barry's upcoming play Breeding here: https://kingsheadtheatre.com/whats-on/breeding* There's only three certainties in life: death, taxes and the irresistible trundle of the neverending stream of podcasts. We bring you two of the dreaded horsemen this week, as nominated by our Patreon donor Peter Schaub and there was only ever one expert we could ask for this topic: the finest tax lawyer in the West, Ben's actual wife, Silvana. She makes a compelling case for the intricacies of VAT being a Lewis Carrol-esque world of nonsense, while Ben and Barry bring their A-game chatting about all the daft things that have been taxed in history from beards to balloons through to playing cards, cowardice and homemade liquid gold... Follow us on Twitter: @worstfoot @bazmcstay @benvandervelde  Follow us on Instagram: @worstfoot  Join us on our Discord server! https://discord.gg/9buWKthgfx Visit www.worstfootforwardpodcast.com for all previous episodes and you can donate to us on Patreon if you'd like to support the show during this whole pandemic thing, and especially as we work on our first book and plan some live shows! https://www.patreon.com/WorstFootForward Worst Foot Forward is part of Podnose: www.podnose.com

Alice's adventures in Wonderland is probably one of the most well known and popular children's novels in the English language. Written in 1865 by Charles Lutwidge Dodgeson, better known by his pen name ‘Lewis Carrol'. Lewis, a mathematician, poet, photographer and inventor, tells a surreal fantasy tale, of Alice, who visits a world of unnatural logic after following a very smart White Rabbit, down a rabbit hole. The world she discovers is inhabited by the strangest and most endearing characters; The ‘Mad Hatter', the sleepy ‘Dormouse', the ‘Queen of Hearts' and many more.Every child should insist that this story is read to them! And they will remember it for ever, just like Alice.This book was originally illustrated by Sir John Tenniel. His images are iconic and help to seed the imagination of any little person, no matter how big they are!Download them here: http://www.alice-in-wonderland.net/resources/pictures/alices-adventures-in-wonderland/Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Alice's adventures in Wonderland is probably one of the most well known and popular children's novels in the English language. Written in 1865 by Charles Lutwidge Dodgeson, better known by his pen name ‘Lewis Carrol'. Lewis, a mathematician, poet, photographer and inventor, tells a surreal fantasy tale, of Alice, who visits a world of unnatural logic after following a very smart White Rabbit, down a rabbit hole. The world she discovers is inhabited by the strangest and most endearing characters; The ‘Mad Hatter', the sleepy ‘Dormouse', the ‘Queen of Hearts' and many more.Every child should insist that this story is read to them! And they will remember it for ever, just like Alice.This book was originally illustrated by Sir John Tenniel. His images are iconic and help to seed the imagination of any little person, no matter how big they are!Download them here: http://www.alice-in-wonderland.net/resources/pictures/alices-adventures-in-wonderland/Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Alice's adventures in Wonderland is probably one of the most well known and popular children's novels in the English language. Written in 1865 by Charles Lutwidge Dodgeson, better known by his pen name ‘Lewis Carrol'. Lewis, a mathematician, poet, photographer and inventor, tells a surreal fantasy tale, of Alice, who visits a world of unnatural logic after following a very smart White Rabbit, down a rabbit hole. The world she discovers is inhabited by the strangest and most endearing characters; The ‘Mad Hatter', the sleepy ‘Dormouse', the ‘Queen of Hearts' and many more.Every child should insist that this story is read to them! And they will remember it for ever, just like Alice.This book was originally illustrated by Sir John Tenniel. His images are iconic and help to seed the imagination of any little person, no matter how big they are!Download them here: http://www.alice-in-wonderland.net/resources/pictures/alices-adventures-in-wonderland/Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Alice's adventures in Wonderland is probably one of the most well known and popular children's novels in the English language. Written in 1865 by Charles Lutwidge Dodgeson, better known by his pen name ‘Lewis Carrol'. Lewis, a mathematician, poet, photographer and inventor, tells a surreal fantasy tale, of Alice, who visits a world of unnatural logic after following a very smart White Rabbit, down a rabbit hole. The world she discovers is inhabited by the strangest and most endearing characters; The ‘Mad Hatter', the sleepy ‘Dormouse', the ‘Queen of Hearts' and many more.Every child should insist that this story is read to them! And they will remember it for ever, just like Alice.This book was originally illustrated by Sir John Tenniel. His images are iconic and help to seed the imagination of any little person, no matter how big they are!Download them here: http://www.alice-in-wonderland.net/resources/pictures/alices-adventures-in-wonderland/Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

ALICE-IN-WONDERLAND-BY-LEWIS-CARROL--CHAPTER-1-DOWN-THE-RABBIT--HOLE.mp4

Based on Walt Disney's animated classic, this vintage Little Golden Book from 1951 retells the story of Alice's wild adventures in Wonderland. --- Send in a voice message: https://podcasters.spotify.com/pod/show/avant-garde-books/message Support this podcast: https://podcasters.spotify.com/pod/show/avant-garde-books/support

“You have been my friend. That in itself is a tremendous thing.” ~ E.B. White, Charlotte's Web ♥️ Last summer @drewrothhaar and I recorded an episode for our patreons. • I wanted to share it with the world, to hear his voice again, to remember a man who was kind beyond measure, with a heart as big as the galaxy. • I miss Drew every day and I'm sure all of you miss him as well and want to hear his voice again. I'm very lucky to have known him, to call him my friend, to enjoy the light he spread everywhere he went. • “In the garden of memory, in the palace of dreams… that is where you and I shall meet.” ~ Lewis Carrol

Puntata a cura di Untimoteo. Nell'autunno 2021 il mondo si stupì del successo di Squid Game (di cui abbiamo scritto e parlato nel podcast). Un nutrito gruppo di spettatori appassionati della serialità orientale insorse: il gioco del calamaro coreano, dicevano, altro non era che un plagio della serie Netflix giapponese Alice in Borderland. Opera che per ora consta di due stagioni, per un totale di 16 puntate. E che parte molto bene, giocando sul doppio filo di spietate prove di sopravvivenza e del mistero di un mondo parallelo da cui cercare di far ritorno.Pur avendo momenti suggestivi e alcuni personaggi memorabili, però, la serie cede in più parti della struttura narrativa. E gli episodi finali non soddisfano. Anche se rimane aperta la possibilità di una terza stagione. Alice in Borderland vorrebbe indurre più di una riflessione nello spettatore - ma non sempre trova i tempi giusti. Riducendo gli attesi riferimenti ad Alice in Wonderland di Lewis Carrol a pochi aspetti formali."5 minuti 1 serie" è il format del podcast di Mondoserie che racconta appunto una serie in poco più di cinque minuti (o meno di dieci!). Senza fronzoli, dritti al punto.Parte del progetto: https://www.mondoserie.it/Iscriviti al podcast sulla tua piattaforma preferita: https://www.spreaker.com/show/mondoserie-podcast Collegati a MONDOSERIE sui social: https://www.facebook.com/mondoseriehttps://www.instagram.com/mondoserie.it/ https://twitter.com/mondoserie_it https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ https://www.linkedin.com/in/mondoserie/

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Welcome to October 6, 2022 on the National Day Calendar. Today we celebrate going batty and reaching great heights.  In the middle of Alice's trip through Wonderland, she stopped for a tea party that was hosted by the Hatter. Yes, that's right, the character's name isn't the Mad Hatter, though that's how we all know him. The phrase “mad as a hatter” was popular at the time that Lewis Carrol wrote his book, and since the character was a bit crazy, the name stuck. As for the phrase itself, hat makers in the 1800s used mercury to manufacture felt hats. Prolonged exposure to this chemical led to mercury poisoning, which caused irritability, memory loss and slurred speech. Sounds like the fictional host of the tea party in Wonderland! On National Mad Hatter Day, celebrate with a spot of tea and your silliest hat.  No matter how amazing their inherent skills, every athlete needs someone to help them achieve greater success. This is where a great coach can make all the difference. Michael Jordan was already one of the NBA's most dynamic players before Phil Jackson became coach of the Chicago Bulls. Jordan was not initially a fan of his new coach, who wanted the team to spread the ball around—rather than make Jordan the focus of the game plan. But Jordan played along. And Jackson's leadership took the team to six championships over the span of eight seasons, including 2 three-peats. On National Coaches Day, celebrate the people who help us elevate our game to a whole new level. I'm Anna Devere and I'm Marlo Anderson. Thanks for joining us as we Celebrate Every Day. Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Roquet is an MIT associate professor in media studies and Japan studies; his earlier work includes Ambient Media. It was his recent mind-bending The Immersive Enclosure that prompted John and Elizabeth to invite him to discuss the history of "head-mounted media" and the perceptual implications of virtual reality. Paul Elizabeth and John discuss the appeal of leaving actuality aside and how the desire to shut off immediate surroundings shapes VR's rollout in Japan. The discussion covers perceptual scale-change as part of VR's appeal--is that true of earlier artwork as well? They explore moral panic in Japan and America, recap the history of early VR headset adapters on trains and compare various Japanese words for "virtual" and their antonyms. Paul wonders if the ephemerality of the views glimpsed in a rock garden served as guiding paradigm for how VR is experienced. Mentioned in the episode Yoshikazu Nango, "A new form of 'solitary space'...." (2021) Haruki Murakami's detailed fictional worlds of the 1980's onwards: real-feeling yet not actual history. Walter Scott's Waverley novels: can we also understand the novel as an immersive machine that leaves readers half in their actual world? Lewis Carrol's Alice's Adventures in Wonderland (1865), with its interplay between enclosure and expansion, and its shrinking/expanding motif) Ian Bogost on e-readers C S Lewis's wardrobe as portal in The Lion the Witch and the Wardrobe (1950) Lukacs focuses on the dizzying and transformative scale in Naturalism in "Narrate or Describe?" (1936) Wearable heart monitors as feedback machines for watching scary movies. The pre-history of Pokemon Go is various games played by early users of VR headsets on trains. Sword Art Online is a breakout popular example of Japanese stories of players trapped inside a game-world Thomas Boellstroff, Coming of Age in Second Life We Met in Virtual Reality Neil Stephenson's Snow Crash (1992) coined the concept of the metaverse. Recallable Books Madeline L'Engle The Wind in the Door (1973). Cervantes, Don Quixote (1606/1615) Futari Okajima Klein Bottle (1989) Collections such as Immersed in Technology, Future Visions, Virtual Realities and their Discontents; also, other early VR criticism of the 1990s including early feminist critique, scattered across journals in the early to mid 1990s . Paul feels someone should put together those germane articles into a new collection. Read the transcript here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Paul Roquet is an MIT associate professor in media studies and Japan studies; his earlier work includes Ambient Media. It was his recent mind-bending The Immersive Enclosure that prompted John and Elizabeth to invite him to discuss the history of "head-mounted media" and the perceptual implications of virtual reality. Paul Elizabeth and John discuss the appeal of leaving actuality aside and how the desire to shut off immediate surroundings shapes VR's rollout in Japan. The discussion covers perceptual scale-change as part of VR's appeal--is that true of earlier artwork as well? They explore moral panic in Japan and America, recap the history of early VR headset adapters on trains and compare various Japanese words for "virtual" and their antonyms. Paul wonders if the ephemerality of the views glimpsed in a rock garden served as guiding paradigm for how VR is experienced. Mentioned in the episode Yoshikazu Nango, "A new form of 'solitary space'...." (2021) Haruki Murakami's detailed fictional worlds of the 1980's onwards: real-feeling yet not actual history. Walter Scott's Waverley novels: can we also understand the novel as an immersive machine that leaves readers half in their actual world? Lewis Carrol's Alice's Adventures in Wonderland (1865), with its interplay between enclosure and expansion, and its shrinking/expanding motif) Ian Bogost on e-readers C S Lewis's wardrobe as portal in The Lion the Witch and the Wardrobe (1950) Lukacs focuses on the dizzying and transformative scale in Naturalism in "Narrate or Describe?" (1936) Wearable heart monitors as feedback machines for watching scary movies. The pre-history of Pokemon Go is various games played by early users of VR headsets on trains. Sword Art Online is a breakout popular example of Japanese stories of players trapped inside a game-world Thomas Boellstroff, Coming of Age in Second Life We Met in Virtual Reality Neil Stephenson's Snow Crash (1992) coined the concept of the metaverse. Recallable Books Madeline L'Engle The Wind in the Door (1973). Cervantes, Don Quixote (1606/1615) Futari Okajima Klein Bottle (1989) Collections such as Immersed in Technology, Future Visions, Virtual Realities and their Discontents; also, other early VR criticism of the 1990s including early feminist critique, scattered across journals in the early to mid 1990s . Paul feels someone should put together those germane articles into a new collection. Read the transcript here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Paul Roquet is an MIT associate professor in media studies and Japan studies; his earlier work includes Ambient Media. It was his recent mind-bending The Immersive Enclosure that prompted John and Elizabeth to invite him to discuss the history of "head-mounted media" and the perceptual implications of virtual reality. Paul Elizabeth and John discuss the appeal of leaving actuality aside and how the desire to shut off immediate surroundings shapes VR's rollout in Japan. The discussion covers perceptual scale-change as part of VR's appeal--is that true of earlier artwork as well? They explore moral panic in Japan and America, recap the history of early VR headset adapters on trains and compare various Japanese words for "virtual" and their antonyms. Paul wonders if the ephemerality of the views glimpsed in a rock garden served as guiding paradigm for how VR is experienced. Mentioned in the episode Yoshikazu Nango, "A new form of 'solitary space'...." (2021) Haruki Murakami's detailed fictional worlds of the 1980's onwards: real-feeling yet not actual history. Walter Scott's Waverley novels: can we also understand the novel as an immersive machine that leaves readers half in their actual world? Lewis Carrol's Alice's Adventures in Wonderland (1865), with its interplay between enclosure and expansion, and its shrinking/expanding motif) Ian Bogost on e-readers C S Lewis's wardrobe as portal in The Lion the Witch and the Wardrobe (1950) Lukacs focuses on the dizzying and transformative scale in Naturalism in "Narrate or Describe?" (1936) Wearable heart monitors as feedback machines for watching scary movies. The pre-history of Pokemon Go is various games played by early users of VR headsets on trains. Sword Art Online is a breakout popular example of Japanese stories of players trapped inside a game-world Thomas Boellstroff, Coming of Age in Second Life We Met in Virtual Reality Neil Stephenson's Snow Crash (1992) coined the concept of the metaverse. Recallable Books Madeline L'Engle The Wind in the Door (1973). Cervantes, Don Quixote (1606/1615) Futari Okajima Klein Bottle (1989) Collections such as Immersed in Technology, Future Visions, Virtual Realities and their Discontents; also, other early VR criticism of the 1990s including early feminist critique, scattered across journals in the early to mid 1990s . Paul feels someone should put together those germane articles into a new collection. Read the transcript here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction

Paul Roquet is an MIT associate professor in media studies and Japan studies; his earlier work includes Ambient Media. It was his recent mind-bending The Immersive Enclosure that prompted John and Elizabeth to invite him to discuss the history of "head-mounted media" and the perceptual implications of virtual reality. Paul Elizabeth and John discuss the appeal of leaving actuality aside and how the desire to shut off immediate surroundings shapes VR's rollout in Japan. The discussion covers perceptual scale-change as part of VR's appeal--is that true of earlier artwork as well? They explore moral panic in Japan and America, recap the history of early VR headset adapters on trains and compare various Japanese words for "virtual" and their antonyms. Paul wonders if the ephemerality of the views glimpsed in a rock garden served as guiding paradigm for how VR is experienced. Mentioned in the episode Yoshikazu Nango, "A new form of 'solitary space'...." (2021) Haruki Murakami's detailed fictional worlds of the 1980's onwards: real-feeling yet not actual history. Walter Scott's Waverley novels: can we also understand the novel as an immersive machine that leaves readers half in their actual world? Lewis Carrol's Alice's Adventures in Wonderland (1865), with its interplay between enclosure and expansion, and its shrinking/expanding motif) Ian Bogost on e-readers C S Lewis's wardrobe as portal in The Lion the Witch and the Wardrobe (1950) Lukacs focuses on the dizzying and transformative scale in Naturalism in "Narrate or Describe?" (1936) Wearable heart monitors as feedback machines for watching scary movies. The pre-history of Pokemon Go is various games played by early users of VR headsets on trains. Sword Art Online is a breakout popular example of Japanese stories of players trapped inside a game-world Thomas Boellstroff, Coming of Age in Second Life We Met in Virtual Reality Neil Stephenson's Snow Crash (1992) coined the concept of the metaverse. Recallable Books Madeline L'Engle The Wind in the Door (1973). Cervantes, Don Quixote (1606/1615) Futari Okajima Klein Bottle (1989) Collections such as Immersed in Technology, Future Visions, Virtual Realities and their Discontents; also, other early VR criticism of the 1990s including early feminist critique, scattered across journals in the early to mid 1990s . Paul feels someone should put together those germane articles into a new collection. Read the transcript here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Roquet is an MIT associate professor in media studies and Japan studies; his earlier work includes Ambient Media. It was his recent mind-bending The Immersive Enclosure that prompted John and Elizabeth to invite him to discuss the history of "head-mounted media" and the perceptual implications of virtual reality. Paul Elizabeth and John discuss the appeal of leaving actuality aside and how the desire to shut off immediate surroundings shapes VR's rollout in Japan. The discussion covers perceptual scale-change as part of VR's appeal--is that true of earlier artwork as well? They explore moral panic in Japan and America, recap the history of early VR headset adapters on trains and compare various Japanese words for "virtual" and their antonyms. Paul wonders if the ephemerality of the views glimpsed in a rock garden served as guiding paradigm for how VR is experienced. Mentioned in the episode Yoshikazu Nango, "A new form of 'solitary space'...." (2021) Haruki Murakami's detailed fictional worlds of the 1980's onwards: real-feeling yet not actual history. Walter Scott's Waverley novels: can we also understand the novel as an immersive machine that leaves readers half in their actual world? Lewis Carrol's Alice's Adventures in Wonderland (1865), with its interplay between enclosure and expansion, and its shrinking/expanding motif) Ian Bogost on e-readers C S Lewis's wardrobe as portal in The Lion the Witch and the Wardrobe (1950) Lukacs focuses on the dizzying and transformative scale in Naturalism in "Narrate or Describe?" (1936) Wearable heart monitors as feedback machines for watching scary movies. The pre-history of Pokemon Go is various games played by early users of VR headsets on trains. Sword Art Online is a breakout popular example of Japanese stories of players trapped inside a game-world Thomas Boellstroff, Coming of Age in Second Life We Met in Virtual Reality Neil Stephenson's Snow Crash (1992) coined the concept of the metaverse. Recallable Books Madeline L'Engle The Wind in the Door (1973). Cervantes, Don Quixote (1606/1615) Futari Okajima Klein Bottle (1989) Collections such as Immersed in Technology, Future Visions, Virtual Realities and their Discontents; also, other early VR criticism of the 1990s including early feminist critique, scattered across journals in the early to mid 1990s . Paul feels someone should put together those germane articles into a new collection. Read the transcript here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Paul Roquet is an MIT associate professor in media studies and Japan studies; his earlier work includes Ambient Media. It was his recent mind-bending The Immersive Enclosure that prompted John and Elizabeth to invite him to discuss the history of "head-mounted media" and the perceptual implications of virtual reality. Paul Elizabeth and John discuss the appeal of leaving actuality aside and how the desire to shut off immediate surroundings shapes VR's rollout in Japan. The discussion covers perceptual scale-change as part of VR's appeal--is that true of earlier artwork as well? They explore moral panic in Japan and America, recap the history of early VR headset adapters on trains and compare various Japanese words for "virtual" and their antonyms. Paul wonders if the ephemerality of the views glimpsed in a rock garden served as guiding paradigm for how VR is experienced. Mentioned in the episode Yoshikazu Nango, "A new form of 'solitary space'...." (2021) Haruki Murakami's detailed fictional worlds of the 1980's onwards: real-feeling yet not actual history. Walter Scott's Waverley novels: can we also understand the novel as an immersive machine that leaves readers half in their actual world? Lewis Carrol's Alice's Adventures in Wonderland (1865), with its interplay between enclosure and expansion, and its shrinking/expanding motif) Ian Bogost on e-readers C S Lewis's wardrobe as portal in The Lion the Witch and the Wardrobe (1950) Lukacs focuses on the dizzying and transformative scale in Naturalism in "Narrate or Describe?" (1936) Wearable heart monitors as feedback machines for watching scary movies. The pre-history of Pokemon Go is various games played by early users of VR headsets on trains. Sword Art Online is a breakout popular example of Japanese stories of players trapped inside a game-world Thomas Boellstroff, Coming of Age in Second Life We Met in Virtual Reality Neil Stephenson's Snow Crash (1992) coined the concept of the metaverse. Recallable Books Madeline L'Engle The Wind in the Door (1973). Cervantes, Don Quixote (1606/1615) Futari Okajima Klein Bottle (1989) Collections such as Immersed in Technology, Future Visions, Virtual Realities and their Discontents; also, other early VR criticism of the 1990s including early feminist critique, scattered across journals in the early to mid 1990s . Paul feels someone should put together those germane articles into a new collection. Read the transcript here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Paul Roquet is an MIT associate professor in media studies and Japan studies; his earlier work includes Ambient Media. It was his recent mind-bending The Immersive Enclosure that prompted John and Elizabeth to invite him to discuss the history of "head-mounted media" and the perceptual implications of virtual reality. Paul Elizabeth and John discuss the appeal of leaving actuality aside and how the desire to shut off immediate surroundings shapes VR's rollout in Japan. The discussion covers perceptual scale-change as part of VR's appeal--is that true of earlier artwork as well? They explore moral panic in Japan and America, recap the history of early VR headset adapters on trains and compare various Japanese words for "virtual" and their antonyms. Paul wonders if the ephemerality of the views glimpsed in a rock garden served as guiding paradigm for how VR is experienced. Mentioned in the episode Yoshikazu Nango, "A new form of 'solitary space'...." (2021) Haruki Murakami's detailed fictional worlds of the 1980's onwards: real-feeling yet not actual history. Walter Scott's Waverley novels: can we also understand the novel as an immersive machine that leaves readers half in their actual world? Lewis Carrol's Alice's Adventures in Wonderland (1865), with its interplay between enclosure and expansion, and its shrinking/expanding motif) Ian Bogost on e-readers C S Lewis's wardrobe as portal in The Lion the Witch and the Wardrobe (1950) Lukacs focuses on the dizzying and transformative scale in Naturalism in "Narrate or Describe?" (1936) Wearable heart monitors as feedback machines for watching scary movies. The pre-history of Pokemon Go is various games played by early users of VR headsets on trains. Sword Art Online is a breakout popular example of Japanese stories of players trapped inside a game-world Thomas Boellstroff, Coming of Age in Second Life We Met in Virtual Reality Neil Stephenson's Snow Crash (1992) coined the concept of the metaverse. Recallable Books Madeline L'Engle The Wind in the Door (1973). Cervantes, Don Quixote (1606/1615) Futari Okajima Klein Bottle (1989) Collections such as Immersed in Technology, Future Visions, Virtual Realities and their Discontents; also, other early VR criticism of the 1990s including early feminist critique, scattered across journals in the early to mid 1990s . Paul feels someone should put together those germane articles into a new collection. Read the transcript here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Paul Roquet is an MIT associate professor in media studies and Japan studies; his earlier work includes Ambient Media. It was his recent mind-bending The Immersive Enclosure that prompted John and Elizabeth to invite him to discuss the history of "head-mounted media" and the perceptual implications of virtual reality. Paul Elizabeth and John discuss the appeal of leaving actuality aside and how the desire to shut off immediate surroundings shapes VR's rollout in Japan. The discussion covers perceptual scale-change as part of VR's appeal--is that true of earlier artwork as well? They explore moral panic in Japan and America, recap the history of early VR headset adapters on trains and compare various Japanese words for "virtual" and their antonyms. Paul wonders if the ephemerality of the views glimpsed in a rock garden served as guiding paradigm for how VR is experienced. Mentioned in the episode Yoshikazu Nango, "A new form of 'solitary space'...." (2021) Haruki Murakami's detailed fictional worlds of the 1980's onwards: real-feeling yet not actual history. Walter Scott's Waverley novels: can we also understand the novel as an immersive machine that leaves readers half in their actual world? Lewis Carrol's Alice's Adventures in Wonderland (1865), with its interplay between enclosure and expansion, and its shrinking/expanding motif) Ian Bogost on e-readers C S Lewis's wardrobe as portal in The Lion the Witch and the Wardrobe (1950) Lukacs focuses on the dizzying and transformative scale in Naturalism in "Narrate or Describe?" (1936) Wearable heart monitors as feedback machines for watching scary movies. The pre-history of Pokemon Go is various games played by early users of VR headsets on trains. Sword Art Online is a breakout popular example of Japanese stories of players trapped inside a game-world Thomas Boellstroff, Coming of Age in Second Life We Met in Virtual Reality Neil Stephenson's Snow Crash (1992) coined the concept of the metaverse. Recallable Books Madeline L'Engle The Wind in the Door (1973). Cervantes, Don Quixote (1606/1615) Futari Okajima Klein Bottle (1989) Collections such as Immersed in Technology, Future Visions, Virtual Realities and their Discontents; also, other early VR criticism of the 1990s including early feminist critique, scattered across journals in the early to mid 1990s . Paul feels someone should put together those germane articles into a new collection. Read the transcript here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Paul Roquet is an MIT associate professor in media studies and Japan studies; his earlier work includes Ambient Media. It was his recent mind-bending The Immersive Enclosure that prompted John and Elizabeth to invite him to discuss the history of "head-mounted media" and the perceptual implications of virtual reality. Paul Elizabeth and John discuss the appeal of leaving actuality aside and how the desire to shut off immediate surroundings shapes VR's rollout in Japan. The discussion covers perceptual scale-change as part of VR's appeal--is that true of earlier artwork as well? They explore moral panic in Japan and America, recap the history of early VR headset adapters on trains and compare various Japanese words for "virtual" and their antonyms. Paul wonders if the ephemerality of the views glimpsed in a rock garden served as guiding paradigm for how VR is experienced. Mentioned in the episode Yoshikazu Nango, "A new form of 'solitary space'...." (2021) Haruki Murakami's detailed fictional worlds of the 1980's onwards: real-feeling yet not actual history. Walter Scott's Waverley novels: can we also understand the novel as an immersive machine that leaves readers half in their actual world? Lewis Carrol's Alice's Adventures in Wonderland (1865), with its interplay between enclosure and expansion, and its shrinking/expanding motif) Ian Bogost on e-readers C S Lewis's wardrobe as portal in The Lion the Witch and the Wardrobe (1950) Lukacs focuses on the dizzying and transformative scale in Naturalism in "Narrate or Describe?" (1936) Wearable heart monitors as feedback machines for watching scary movies. The pre-history of Pokemon Go is various games played by early users of VR headsets on trains. Sword Art Online is a breakout popular example of Japanese stories of players trapped inside a game-world Thomas Boellstroff, Coming of Age in Second Life We Met in Virtual Reality Neil Stephenson's Snow Crash (1992) coined the concept of the metaverse. Recallable Books Madeline L'Engle The Wind in the Door (1973). Cervantes, Don Quixote (1606/1615) Futari Okajima Klein Bottle (1989) Collections such as Immersed in Technology, Future Visions, Virtual Realities and their Discontents; also, other early VR criticism of the 1990s including early feminist critique, scattered across journals in the early to mid 1990s . Paul feels someone should put together those germane articles into a new collection. Read the transcript here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Paul Roquet is an MIT associate professor in media studies and Japan studies; his earlier work includes Ambient Media. It was his recent mind-bending The Immersive Enclosure that prompted John and Elizabeth to invite him to discuss the history of "head-mounted media" and the perceptual implications of virtual reality. Paul Elizabeth and John discuss the appeal of leaving actuality aside and how the desire to shut off immediate surroundings shapes VR's rollout in Japan. The discussion covers perceptual scale-change as part of VR's appeal--is that true of earlier artwork as well? They explore moral panic in Japan and America, recap the history of early VR headset adapters on trains and compare various Japanese words for "virtual" and their antonyms. Paul wonders if the ephemerality of the views glimpsed in a rock garden served as guiding paradigm for how VR is experienced. Mentioned in the episode Yoshikazu Nango, "A new form of 'solitary space'...." (2021) Haruki Murakami's detailed fictional worlds of the 1980's onwards: real-feeling yet not actual history. Walter Scott's Waverley novels: can we also understand the novel as an immersive machine that leaves readers half in their actual world? Lewis Carrol's Alice's Adventures in Wonderland (1865), with its interplay between enclosure and expansion, and its shrinking/expanding motif) Ian Bogost on e-readers C S Lewis's wardrobe as portal in The Lion the Witch and the Wardrobe (1950) Lukacs focuses on the dizzying and transformative scale in Naturalism in "Narrate or Describe?" (1936) Wearable heart monitors as feedback machines for watching scary movies. The pre-history of Pokemon Go is various games played by early users of VR headsets on trains. Sword Art Online is a breakout popular example of Japanese stories of players trapped inside a game-world Thomas Boellstroff, Coming of Age in Second Life We Met in Virtual Reality Neil Stephenson's Snow Crash (1992) coined the concept of the metaverse. Recallable Books Madeline L'Engle The Wind in the Door (1973). Cervantes, Don Quixote (1606/1615) Futari Okajima Klein Bottle (1989) Collections such as Immersed in Technology, Future Visions, Virtual Realities and their Discontents; also, other early VR criticism of the 1990s including early feminist critique, scattered across journals in the early to mid 1990s . Paul feels someone should put together those germane articles into a new collection. Read the transcript here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

The "Wokests" swarm the next Jefferson-Madison Regional Library and now beging a all=to=familiar tactic of 'running out the clock' (just like they did to the Western Bypass) as the committee now says they need 'expert consult' on the issue of removing the names of Thomas Jefferson & James Madison. If we lose those two watch out for political ideology written by Charles Dodgson, who also wrote a little under the pen name 'Lewis Carroll' (hint, the Queen of Hearts runs a better society that 'Liquid Democracy') Joe and the listeners chew on it all.See omnystudio.com/listener for privacy information.

Una charla con Juan Gedovius sobre el lanzamiento de su más reciente aventura náutica: "La caza del Snark", de Lewis Carrol. Entrevistas y documentos auditivos recientes y del pasado se juntan en un mismo formato, mezclando la modernidad con las imperfecciones del pasado y haciendo que algo nuevo suene con ruido, con ruido de cassette, de un cassette grabado.

View our full collection of podcasts at our website: https://www.solgood.org/ or YouTube channel: www.solgood.org/subscribe

Welcome to another episode of TMM…where you can also find us at “The Old Man-dot-show”... try it!  Also,  happy post 4th of July.  I have WAY too many tabs open in my browser most of the time.  It's as cluttered and messy as the rest of my house.  I leave these tabs open because I think they contain something I want ot share with you, which is another way of saying something I want to complain, rant or brag about.   I have a few items I'd like to complain about before hopefully getting to something hopeful. Item #1: Forth of July Message from California's Governor Gavin Newsome 4th of July message: In it he starts off by saying let's talk… translation: let me talk… about what's going on in America… translation: let me bag on Florida Governor Ron…ald McDonald Desantis.  Governor Newsome, don't start off saying you want to talk about America and then attack another Governor, the images contained Desantis and the graphics were about Desantis.  It's this kind of rhetoric that actually contributes to the divisiveness in our country and it is not taking the high road.  Mean what you say and say what you mean.  In other words, if you tell your citizens to wear masks, YOU wear a mask.  Even in Napa Valley. Don't get me wrong,  I am not defending Wrong Desantis.  I am NOT a fan of that egomaniac.  However… of the numerous laws Desantis has signed, the “Parental Rights in Education law, which prohibits discussion of sexual orientation or gender identity in kindergarten through third grade classrooms.”  This is going to sound like I'm a crazy conservative, but is that all that bad?  Kindergarten through 3rd grade.  Four and five year olds to what… eight years old?  There shouldn't be ANY sexual education talk of ANY kind in those grades, should there?  What a great bargaining chip to use to look for compromise.  And if there's a kid having sexual identity issues in those grades, can't we deal with it on a case by case basis with some compassion?  Do we need a law for that.  My recollection of grade school was a one night presentation with fathers and sons in attendance in the auditorium.  That was it.  My biggest takeaway from that was on the ride home I was able to get away with saying the F-word in front of my dad.  And I said it with a little pause before adding the “i-n-g” so it seemed like I didn't even now how to pronounce it.  And my dad said, “yes, yes.  This is fucking.”  Man, I felt so victorious that night.  I'd pulled a major coupe.   Back to Gavin Gruesome… at the end of his message talking about America… if America was Flrorida, he invites Floridians to join us here in California.  Hey Gavin, we've got 39 million people in this state plus a housing crisis.  And you want more people to come to California?  Seriously?  We're driving wealthy residents out of the state and you want to bring disenfranchised poor Floridians to California?  You think the rich ones that can afford housing on the beach in Miami are going to come?  No.  We'll have even more homeless….oops, unhoused people than we already have.  Why?  So you can win your reelection campaign?  That's who paid for the message by the way. Silicon valley isn't the only place where businesses are leaving California.  I'll get a Netflix, Stranger Things plug in here and I'm sure that if you've been watching Stranger Things you don't watch the credits.  You think that show was shot in Hollywood?  Even the scenes that were supposed to take place in Los Angeles were filmed in and around Albuquerque New Mexico where a LOT of productions take place as well as Wilmington, North Carolina and Vancouver, British Columbia for that matter.  And it's rarely for the landscapes.  I'm sure you know that Southern California can provide damn near any landscape you want, except maybe a rainforest. Heck that's what a soundstage is for.  So, there's a whole other industry besides high tech that has left California.   Okay, see how my rants just swirl around and don't' really go anywhere? (toilet)  I guess if I had a point, it's that California's Governor shouldn't be inviting a population to come to California when we can't house the ones we have already.  And if it was a political stunt for his reelection campaign and he's calling out Florida's Goofy Governor “Wrong” DeSantis, then I'd have to go with “Shame on You Gavin Gruesome”.  Chucking barbs at your opponent or the other party is just perpetuating the horrible divisiveness we're already bogged down in.  Find another way to craft your message. What was I talking about? See?  Okay, horrible politicians on the left and right. All that for only item #1! Item #2: C.S. Lewis and Lewis Carroll are not the same person. I obviously have way too much computer time.  I try to keep my daughter from it but at the same time I can spend hours sitting in front of my computer… accomplishing, what?  Am I fooling myself into thinking I'm educating myself? To what end?  So I can take some information that's little more than trivia, and regurgitate it in a conversation (or a podcast) to make people think I'm educated and worldly?  Please.  So here's how I went from C.S. Lewis to Lewis Carrol to the Beatles to The Animals to… what?  It really led to nothing. I was initially trying to find the origin of the saying, “Don't judge a person before walking a mile in their shoes.”  I still don't think I have it but it led me to some very random places.  The oldest origin I found was from a Native American prayer that goes: “Great Spirit — Grant that I may not criticize my neighbor until I have walked a mile in his moccasins.” While that rabbit hole didn't lead me to a satisfying end it somehow got me on to C.S. Lewis and the Christian metaphors he used in his books, specifically “The Lion, The Witch and The Wardrobe”.  But instead of C.S. Lewis, I thought it was Lewis Carrol who wrote Alice in Wonderland, no… Through the Looking Glass.  And in that book, Tweedledee and Tweedledum, who would be perfect guests for this show, recite the poem, “The Walrus and The Carpenter” to Alice… The poem tells of the Walrus and the Carpenter luring young oysters out of their beds and on to the shore where they are all eaten by the Walrus and the Carpenter, even when one of the older oysters warns them.  In the Disney movie the Walrus eats all of the oysters and the Carpenter doesn't get any.  In the book it appears both eat some of the oysters but it appears the Walrus gets most of them.  Their untimely end comes when the Walrus says:  "The time has come," the Walrus said,  "To talk of many things: Of shoes—and ships—and sealing-wax— Of cabbages—and kings— And why the sea is boiling hot—    And whether pigs have wings." "But wait a bit," the Oysters cried,  "Before we have our chat; For some of us are out of breath,  And all of us are fat!" "No hurry!" said the Carpenter.  They thanked him much for that. Even there at the end of that stanza the Carpenter cuts them some slack.  Many have analyzed Carrol's work to look for hidden meaning an metaphor including the Walrus and the Carpenter represents Communism vs. Capitalism or that one represents Christianity and Western religion while the other represents Buddhism and Eastern Religion OR… that Lewis Carrol did drugs when he wrote Alice in Wonderland.  The general consensus on that is NO, he was simply writing for children to entertain them and their imaginations. If fact, one of the illustrators for a later edition of the book said that the original illustrator had the choice of a butterfly, a carpenter or a baronet (the holder of a rank of honor below a baron and above a knight, oh my god the rabbit holes people, I'm gonna break an ankle).  Because,  you see, butterfly, carpenter and baronet all have the same number of syllables and would keep the cadence of the poem. But what I did find interesting is that The Walrus from the poem is what John Lennon refers to in the Beatles, “I am The Walrus” from their Magical Mystery Tour Album, and if I play one second of that song this whole episode will get deleted from most platforms it's published.    Oops! Her is an excerpt from the 1980 Playboy magazine interview with John Lennon:  LENNON: "The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend…  PLAYBOY: "What about the walrus itself?" LENNON: "It's from 'The Walrus and the Carpenter.' 'Alice in Wonderland.' To me, it was a beautiful poem. It never dawned on me that Lewis Carroll was commenting on the capitalist and social system. I never went into that bit about what he really meant, like people are doing with the Beatles' work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, shit, I picked the wrong guy. I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? (singing) 'I am the carpenter....'" So this got me to thinking if John was the Walrus from a Lewis Carroll peom, then who is the eggman?  It turns out the Eggman is Eric Burdon.  Please don't say who is Eric Burdon.  Did you just say who is Eric Burdon?  Shame on you.  How about Eric Burdon and The Animals, does that sound more familiar?  How about the band WAR?  That Eric Burdon, who Rolling Stone named #57 on their list of top 100 Greatest Singers of All Time.   Why is Eric Burdon the eggman?  Apparently, Mr. Burdon had this sexual fetish that involved cracking a raw egg and I won't get into anymore details on that.  However, Eric relayed the story to John Lennon and Lennon nicknamed Eric “Eggman” as in, “go get it Eggman.” How's that for a rabbit hole? The rabbit hole continued by the way as I found an interview of John Lennon speaking of the Beatles songs he liked personally… It also led me to this bit from Lennon not long before his assassination on being 40, on not being the person his fans wanted him to be, on what it's like being in your 20's and having people hang on your every word Basically the message is that we all need the time to grow out of our misconceptions about life.  Many teens and twenty-somethings are full of energy and piss and vinegar and it lacks focus and direction because they haven't figured it out yet.  It comes with a lot of frustration and even anger.  And the last thing this age group needs, particularly males… particularly white males… are guns… particularly assault rifles.  I had to do it, didn't I?  I had to ruin a nice nostalgic romp by bringing in politics.   Here it is: you shouldn't be allowed to purchase a gun, particularly an assault style weapon until you are 25 and here's why: leave it to experts in assessing risk and see what they do.  The insurance industry.  They don't let anyone rent a car until they're 25 years old.  Why?  Because when it comes to a vehicle that travels at high speeds and can kill someone, they are relatively irresponsible, they make bad decisions and they are a bad risk when it comes to renting a car.  Bad risk, bad business decision, so they don't do it.  No one complains about that.  It's a fact of life and it's common sense.  So do the same with guns. And you might say: “Oh but I can get drafted and then they GIVE me a gun!  Very, very different situation. 1) they train you very specifically and thoroughly on the use of said weapon, 2)  You are not allowed to carry it around wherever you go unless, #3) You are going into combat where there will be many others with the same weapons.  It's called our military or militia which we did not have… at all, when the 2nd amendment was written, including all that stuff I said in another episode about how many shots could be fired per minute when the 2nd amendment was written.  It's 3 shots per minute by the way, maybe 4 if you're an expert at reloading a musket.  Not 40 or 60 or 100 or whatever number you come up with.  Okay, I apologize for ruining a nice story about a poem with politics.  Actually, the first story was about politics too only I was mainly bagging on the other party.  I try to be an equal opportunity offender. Well, I might as well make it three for three…  ITEM #3: the Saturday Night Massacre - What the heck was that?  I'm sure you guys know because you're not morons but I had never heard of it and it was brought up as a parallel to the January 6th shenanigans of our former idiot in chief Donald Dump.  On October 20th 1973 Nixon ORDERED his Attorney General AND his Deputy AG to fire the guy investigating the Watergate break-in.  Not only did they not fire him, they both resigned in protest which left the role of attorney general to the Solicitor General.  This poor bastard went along with Nixon's  request and fired the special prosecutor Cox. Less than a half hour later, the White House sent FBI agents to shut down the offices of the Special Prosecutor, AND the Attorney General AND Deputy Attorney General.  Can you believe that shit? Well, the 1970's version of the internet blew up, that being Western Union telegraph.  Have any of you ever sent a telegram?  Me neither.  Over 50,000 telegrams came in to Washington DC from citizens.  I wonder what the equivalent number of tweets would be?  Members of Congress, presumably democrats, called for Nixon's impeachment.  So… Nixon had to appoint another prosecutor for the Watergate scandal named Leon Jaworski, remember that name?  No, not the Eagles quarterback, that's Ron Jaworski.  Well, Jaworski pressed for the release of those tricky Dick tape recordings… the one's that mysteriously had like 17 minutes missing?  And he got them released and the following August tricky Dick took a final trip… home… Touching.  Well, it appears our favorite reality show president, how's that for irony,  literally held an episode of the apprentice in the oval office and considered pulling the same stunt.  He had his AG and his Deputy AG along with the nutty  environmental attorney Jeffrey Clark.  Clark is the one that was told to go back to his office and they would call him when there's an oil spill.  Trump was told he would face massive resignations and he knew this Clark guy would not make it happen for Donny boy.  But it's an interesting parallel between the teflon Don and tricky Dick. ITEM #4: NPR wants you to make them your only news source.  I heard this just a few minutes ago.  No Emmie Martinez No, Ari Shapiro.  And even a no to, “Oh goodness gracious It's Scott Simon”.  The days of trusting one news source is gone and if you are using only one news source, then shame on you.  Go and read some news from a site that's a little bit to the right or left of where you normally sit in your comfort zone.  But no single news sources anymore unfortunately. Wow, I got through that last one pretty efficiently. CLOSE - In closing, I think one thing is very obvious…  I need to find guests for this show.  Otherwise It's too much.  Too much of me, too much opinion, and way too much work.  At least twice as much work, probably more and it's not as enjoyable for either of us.   Also… an addendum to try and correct my moronoscity, did a quick search and it seems you can rent a car if you are under 25 these days, but you will pay a premium to do so.  Drivers under the age of 25 can expect to pay an “underage fee” and depending on the location that is around $25 to $30 a day which adds up.  But the rationale is the same: younger drivers are less experienced at driving (or life) and and are more likely to take risks and this holds especially for males as they are generally more likely to take risks in terms of health and the enjoyment expected from risky activities.  See the University of Pennsylvania research paper at the end of the credits… sorry to blather on so long, see you next time!   John Lennon Interview: Playboy 1980 (Page 3) - Beatlesinterviews.org  What Was the Saturday Night Massacre? -  History.com How Old Do You Have To Be To Rent A Car? -  jdpower.com Gender Differences in Risk Assessment: Why do Women Take Fewer Risks than Men? - University of Pennsylvania  Music by Coma-Media from Pixabay

Session 1: An Origin Poem and Foreshadowing. In a lilting and bouncy Introductory Poem, Lewis Carrol gives an origin story for the first book. Is it iambic heptameter or double quatrains of ballad stanza with which Carroll turns a pastoral poem into a demand by the Fates 3? He doesn't miss a trick, a twist, or a comical turn of poetic imagery, and in the end, he leaves an offering that should be taken seriously. And we meet the Alice who loves to show off her learning. Her maths and her wonders and her manners meet with a degree of difficulty insurmountable, and she makes a mistake. It will not be the last. Indeed, the first two chapters deal with Alice's relative size and desire to get through a small passage to the garden. But the whole thing starts with Alice easily popping down a rabbit hole foreshadowing many future improbably juxtaposed scenes. Another foreshadowing has Alice thinking about just her head and not her body getting through. We know where that will end up, don't we? But Carroll is not, here, imitating Cautionary Tales. Alice already knows them very well, such causes and effects won't stop her from considered action, especially where cordial and cake are concerned. And the effect? Surprise! For more information about the Mythgard Academy series on Alice's Adventures, visit https://mythgard.org/academy/alice-in...

Episódio (redux) com Babu Carreira, Daniel Sartório e Rafael Studart - Machado de Assis, Lewis Carrol e volumes de risos com Pedro Cohen jogando "free-style" para se aproveitar da ausência de Nigel Goodman.

This week on Standby we revisit a classic with Alice Gerstenberg's adaptation of Lewis Carrol's story about a girl that travels through a looking glass and what she finds on the other side.Directed and sound designed by Jackie Vetter with sound editing by Graydon Gund. Featuring Karlee Jane as Alice, Taylor James Hopkins as Lewis Caroll and the White Rabbit, Gabi van Horn as Cheshire Cat and Humpty Dumpty, Megan Murphy as March Hare, Gryphon, and Two of Spades, William Burns as Mad Hatter, Mock Turtle and Five of Spades, Margie Zarcone as Door Mouse, Seven of Spades, and Duchess, Isma'il Q. Bronson, as Caterpiller and King of Hearts, Dana Watkins as Tweedle Dee and Red Queen, Devon Yates as Tweedle Dum and White Queen, Alexandra Kopko as Queen of Hearts, and David Coleman II as Knave of Hearts and Frog Footman.

1875 – Una de las primeras ninfas de Carrol de las que hay registro fue Gertrude Chataway a quién había conocido en Oxford durante el verano, ella tenía 9, él más de cuarenta, le regaló dibujos y mantuvieron el contacto con cartas tan extravagantes que rayan en la manía. En la voz, Bárbara Espejo.

ArTEEtude Shop https://www.arteetude.com/shop/Apple Podcast https://podcasts.apple.com/us/podcast/arteetude-west-cork-s-first-art-fashion-design-podcast/id1527081647Spotify Podcast https://open.spotify.com/show/3eBv4E5qgW8Vot0oojAr1tIn this ArTEEtude podcast episode, I Love West Cork Artists, member, artist and musician Debbie Schow and Detlef Schlich talk about growing up in California in the '70s as a photographer. Active in the early Los Angeles punk scene. Making music in Dublin in the '80s and '90s and finally about her experiences in her current life in the Mojave Desert where she now calls her home next to Joshua Tree National Park. At the end of the first episode, we hear Desert. A song performed by her former band The Screech Owls."I am a magpie of sorts as all the best people are." she likes to paraphrase Lewis Carrol.Show is a graduate of The Art Institute of Seattle and London City and Guilds Art College and a guitarist and singer from The Screech Owls. The band began as a duo of Debbie Schow (AKA Skow, an American based in Dublin) Richard Evans (AKA Dik of the Virgin Prunes) originally known as the Kid Sisters. The "Desert" Single was self-released in the 90s and distributed by Rough Trade.ArTEEtude is West Cork´s first art, fashion and design podcast created and produced by Detlef Schlich. Schlich operates with his podcast cross-sectorally. For him, a visual artist has to think transversely instead of just enjoying the luxury of being the antagonist. To drive the narrative and to be a protagonist, he will dive and discover with us into the unknown and exciting deep ocean of the creative mind. Detlef Schlich is Podcaster, Visual Artist, Film Maker, Ritual Designer and Media Archaeologist, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture and the video installation Transodin´s Tragedy. He is mainly working in the field of performance, photography, painting, sound, installations, and film. To research our human condition and create artwork from this reflection he is using often the methodology of the digital shaman as alter ego. His media archaeology is a conceptual and practical exercise in carving out the aesthetic, cultural, and political singularities of media in culture.WEBSITE LINKSInstagram Debbie Schowhttps://www.instagram.com/debbieschow/Facebookhttps://www.facebook.com/DebbieSkhowScreechOwls/?ref=page_internalETSYhttps://www.etsy.com/people/goodnesssakesDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Download here for free Detlef Schlich´s Essay about the Cause and Effect of Shamanism, Art and Digital Culturehttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectSupport this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations

Season 1, Episode 1 includes: Alice in Wonderland by Lewis Carroll; Twinkle Twinkle Little Star, lyrics by Jane Taylor and Lewis Carrol, melody by Mozart; A Was an Ant by Edward Lear.   Raggedy Auntie Reads Theme and Closing Song written and recorded by Jessie McKeon.

Luke returns for a second conversation. This time Sam and Luke discuss Philippians 2, The Christ Hymn. Sam presents a Biblical Unitarian interpretation of the passage and Luke gives his feedback from an Eastern Orthodox Monarchical Trinitarian perspective. This video in both in response to the debate between Dale Tuggy and Christ Date and in anticipation of an upcoming debate/discussion between Sam and Chris Date. Because this is Sam and Luke they don't always stay on topic and mention Dr. Preston Sprinkle, Paul Vanderklay, Owen Barfield, Julian the Apostate, Lewis Carrol, Guy Sengstock, Jordan Peterson, Arius of Alexandria, David Bentley Hart, and Larry Hurtado. My previous conversation with Dr. Beau Branson was mentioned multiple times: https://www.youtube.com/watch?v=R_tuLfkp4_Y&t=2235s Dale Tuggy and Chris Date Debate: https://www.youtube.com/watch?v=c35_uFjEbx8

This episode Keepers Dave and Murph talk with author, sensitivity reader, & member of Rusty Quill, Helen Gould! Campus Crier The Campus Crier is where we keep all the mythos related news and info for the podcast, this episode was recorded on October 24th, 2020.  Chaosium has released the PDF version of their newest CoC campaign by Lynne Hardy, Children of Fear. You get it for $26.99 at their website. Mork Borg Cult Feretory has been released for general purchase at their website! So If you missed the KickStarter for whatever reason, you can pick it up now from their website! Friend of the show and fellow podcaster Mike Diamond has started a Patreon for his actual play podcast, The Old Ways Podcast. Show them some love by going and backing this amazing actual play podcast! The Discord We have our MUP Discord and we are all there! We invite all of our listeners to come and enjoy the community of Call of Cthulhu and horror gaming fans.  MU Discord server invite link: https://discord.gg/vNjEv9D  And thank you beaucoup to Sean for editing this episode.  Sponsor We need some new copy for this... We want to thank Noble Knight Games for returning to sponsor our show. Has the COVID got you hunkering down at home? Are you looking for an online store with a huge selection of new and out-of-print games and game books? Then look no further than Noble Knight Games, at NobleKnight.com.  And just for listeners of our show, Noble Knight has a discount code you can use at checkout. Use MADNESS for 10% off any order of $10 or more. This insane discount is valid from now until December 22, 2020!  {lawyer voiceover: “Not valid with other site-wide discounts”} Patreon Plug We have a Patreon! To back us you can click the button on the sidebar of our website, mu-podcast.com or head over to Patreon directly at www.patreon.com/mup! Thank you backers!! Recent Gaming Have you been able to play anything recently? What have you been doing in gaming?  Rusty Quill Podcast Corporation Game Murph - I played in the finale of Destroyer of Worlds for Alien RPG run by our friend Chris aka iPwned on the Discord. It was great! I was able to determine that Roll20 only allows you to roll 18 dice at a time, so my attempted 90d6 roll had to be done in chunks. Then I also ran a game of Troika! for some of my Wednesday Group. And it was soo much fun! Troika! is an rpg that was apparently created by putting a magic-mushroom eating Lewis Carrol and William Burroughs on junk in the middle of the Surrealist Exhibition in Birmingham and asking them to create an RPG setting. It's fantastic. Dave - I am waist deep in play-testing my super secret Cthulhu game, and that's going great. I am also prepping to run Alien Chariot of the Gods for my Sunday group, and will start that tomorrow. I've been watching the Alien movies in preparation, director's cut and all. Covenant… sigh. Main Topic If you would like to listen to Helen in action then check out The Rusty Quill/ Stellar Firma Halloween special where Helen is the GM running Grant Howlitt's Beautiful Space Pirates or on her Patreon & blog. An excellent speech Helen gave about the subtle forms of racism in SFF is here as well. https://www.twitter.com/alecto101