Podcasts about liverpool institute

Beyond The Outer Realm welcomes the return of dear Friend Mark Olly Host: Michelle Desrochers Date: June 10th, 2025 Episode: 573 Discussion: UK Archeologist, Ufologist and Author Mark Olly will be chiming in on Forbidden Knowledge, Hidden Archeology, Antarctica, The Grand Canyon and Tartaria Contact for the show - theouterrealmcontact@gmail.com Rumble: TheOuterRealm X - MicheleDerocher Website: www.theouterrealmradio.com Please support us by Liking, Subscribing, Sharing and Commenting. Thank you all!! About Our Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio and Beyond The Outer Realm are not necessarily those of the TOR, BTOR Hosts, Sponsors, or the United Public Radio Network and its producers. Although the content may be interesting, it is deemed "For Entertainment Purposes" . We are always be respectful and courteous to all involved. Thank you, we appreciate you all!

Rick Jupp is a founding member of the band Elbow. His parts and sonic experimentation helped contribute to some incredible songs with wide and beautiful pallets. He now teaches at the Liverpool Institute of the Performing Arts.

Beyond The Outer Realm UNCENSORED welcomes the return of dear friend and special guest Mark Olly Host: Michelle Desrochers Date: April 15th, 2025 Episode: 549 Discussion : Mark and I will be discussing Conspiracies, Past, Present! What was actually a conspiracy and lingers on and what came to pass? Contact for the show - theouterrealmcontact@gmail.com Rumble: TheOuterRealm X - MicheleDerocher Website: www.theouterrealmradio.com Please support us by Liking, Subscribing, Sharing and Commenting. Thank you all !!! About Our Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio and Beyond The Outer Realm are not necessarily those of the TOR, BTOR Hosts, Sponsors, or the United Public Radio Network and its producers. Although the content may be interesting, it is deemed "For Entertainment Purposes" . We are always be respectful and courteous to all involved. Thank you, we appreciate you all!

Beyond The Outer Realm - welcomes the return of UK Archeologist Mark Olly Host: Michelle Desrochers Date: March 4th, 2025 Episode: 531 Discussion: Spiritual Archeology - Delving into Mark's Paranormal experiences, locations and more! Contact for the show - theouterrealmcontact@gmail.com Rumble: TheOuterRealm X - MicheleDerocher Website: www.theouterrealmradio.com Please support us by Liking, Subscribing, Sharing and Commenting. Thank you all !!! About Our Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio and Beyond The Outer Realm are not necessarily those of the TOR, BTOR Hosts, Sponsors, or the United Public Radio Network and its producers. Although the content may be interesting, it is deemed "For Entertainment Purposes" . We are always be respectful and courteous to all involved. Thank you, we appreciate you all!

What does the past tell us about the future? How does Archaeology impact the world we live in? In 2024, the Liverpool Institute of Archaeology celebrated its 120th birthday, and it has developed an international reputation for its quality of teaching and research. Gavin Freeborn is joined by University of Liverpool researchers Professor Larry Barham, Dr Ceren Kabukcu and Rachel Stokes to discuss their work - looking at how they were drawn to Archaeology, and the multi-disciplinary nature of the work, including the UK's Arts & Humanities Research Council funded Deep Roots of Humanity Project in south-central Africa (Zambia). They aimed to take a slice of time (roughly 500,000 to 300,000 years ago) before the evolution of Homo sapiens, because we know very little about this period as there are few well-dated sites. This led to the Old Wood discovery making worldwide headlines.For info: NERC facility refers to the Natural Environment Research Council. Learn more: liverpool.ac.uk/research/original-ideas/

Robin Schmidt played the drums from the age of 9, the guitar from the age of 12 and was recording 8-track demos at the age of 14. During his youth, he played in a big band, a jazz quartet, pop, rock, ska and even death metal bands while recording anyone and anything, from Britpop to Ukranian Fusion Jazz, from Armenian Folk Music to German Krautrock.He left school to take up the job of resident engineer at Studio-22 in Germany, before studying at The Liverpool Institute for Performing Arts. Here his passion for mastering developed. He began mastering recordings for fellow students, but soon progressed to working with national and international clients.Fast forward to 2003, when Robin Schmidt set up 24-96 Mastering. Since then he has put the finishing touches on thousands of recordings across every genre, for major and indie labels all over the world.Robin has been nominated for a Grammy, has mastered gold and platinum selling records, Albums of the Year as credited by IFPI and the UK Music Producers Guild, as well as Number 1 hits in several countries. More importantly, Robin is deeply passionate about sound and takes pride in investing every possible effort to serve the music, and the client, with a perfect master.IN THIS EPISODE YOU'LL LEARN:How to communicate with musiciansThe pros and cons of working on improving someone else's “sound”Robin's mastering signal chainWhat to pay attention to so that your mixes have more impactAutomating EQs and limiters throughout a projectMastering records for The 1975Ensuring consistency throughout a recordThe challenges of mastering singles before the rest of the albumMix decisions that make for better masteringwhy mastering engineers shouldn't ask for a non-limited version of mixesBalancing client expectations vs what is better technicallyTo learn more about Robin Schmidt, visit: https://www.24-96.com/Looking for 1-on-1 feedback and training to help you create pro-quality mixes?Check out my coaching program Amplitude and apply to join:https://masteryourmix.com/amplitude/ Want additional help with your music productions?For tips on how to improve your mixes, visit: https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of my Amazon #1 bestselling books:The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.com The Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Check out our Sponsors:Want more Mixing or Mastering clients? Communicate your true value with MixFlip: https://mixflip.io/?affiliate=mym Download Waves Plugins here: https://waves.alzt.net/EK3G2K Subscribe to the show:Apple Podcasts: https://podcasts.apple.com/us/podcast/master-your-mix-podcast/id1240842781...

The Outer Realm Monthly welcomes back dear friend and special guest Mark Olly Hosts: Michelle Desrochers Date: December 19th, 2024 Episode: 503 Topic: Mark returns for another amazing segment. This evening Mark talks about his UK TV series called Lost Treasures. He will delve deeper into some of these incredible episodes. In this segment we also touched on The Stone OF Scone ( Stone of Destiny), Victorian Treasure Hunting, Lost treasures in general, Mark's experiences at different archeological sites throughout his career, Mysterious UK Caves and much more. Contact for the show - theouterrealmcontact@gmail.com Rumble: TheOuterRealm X - MicheleDerocher Website: www.theouterrealmradio.com Please support us by Liking, Subscribing, Sharing and Commenting. Thank you all About Our Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo.

Har du någonsin funderat på varför du samlar på skivor? Veronica Skrimsjö på The Liverpool Institute for Performing Arts har forskat på ämnet och kommit fram till en hel del intressanta slutsatser. Magnus och Veronica pratar om drivkrafter, vilka som samlar, om skivindustrin, format, könstillhörighet, förändrade köpbeteenden, det digitala och mycket mer.   

Recorded earlier today! The Outer Realm welcomes the return of Dear Friend, Author and UK Archeologist, Mark Olly Host: Michelle Desrochers Date: October 3rd, 2024 Episode: 481 Discussion: Mark is an incredible researcher and has written several books, some which were researched over decades. He is ordained, and has studied The Bible at an academic level with certification, and his research on this has spanned 50 years - Mark returns to "WOW" us more of his incredible wisdom. This time he will be discussing The Mysteries of Ancient Egypt, The Mystery Schools, and historical events, some with a twist! He touched on various Stories, Atlantis-Egypt Connection, Templar-Egypt Connections, Jesus' time in Egypt, Ancient Technologies and Beliefs that are found around the world, Giants, Emerald Tablet and much more! Contact for the show - theouterrealmcontact@gmail.com Website: www.theouterrealmradio.com Please Support Us : Like, Subscribe, Share and Comment! Thank YOU!!!! About Our Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. - He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Media: Please find Mark's Books on Amazon Mark can be found on Facebook If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

John Leonard produced his first sound design in September 1972 for a production of A Streetcar Named Desire at the Bristol Old Vic Theatre Company's Little Theatre. Since then, he has: produced countless soundtracks for theatres around the world; spent eleven years with the Royal Shakespeare Company; worked regularly as a freelancer for the Almeida Theatre, Hampstead Theatre and Donmar Warehouse; written articles and a book about theatre sound and developed a sideline in recording sound effects. He is a Fellow at the Guildhall School of Music and Drama, an Honorary Fellow of the Hong Kong Academy of Performing Arts and a Companion of the Liverpool Institute of Performing Arts.

Pre record: The Outer Realm Radio welcomes return special guest, Author, Researcher and Archeologist Mark Olly, all the way from the UK Host: Michelle Desrochers, Amelia Pisano Date: August 22nd, 2024 Episode: 469 Discussion: Mysteries of The Bible, Genesis -Mark is an incredible researcher and has written several books, some which were researched over decades. He is ordained, and has studied The Bible at an academic level with certification, and his research on this has spanned 50 years. -What was discussed: He delved into The Mysteries of the Bible, Genesis, Connections to Moses and his thoughts the real Pharoah of the exodus , Bible Codes, Connecting the Celts to Egypt, Noah's Ark, Elongated Skulls, Super Races, Egyptian Princess Tomb in Ireland, GIANTs, Babel and so much more! Please Support Us: Like, Subscribe, Share and Comment! Thank YOU!!! Contact for the show - theouterrealmcontact@gmail.com Website: www.theouterrealmradio.com Please Support Us; Like, Subscribe, Share and Comment! About Our Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclaimer: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

Pre-Recorded Earlier ( Live for The Outer Realm YouTube  Channel Subscribers)  The Outer Realm welcomes the return of Special Guest and dear Friend, Mark Olly Hosts: Michelle Desrochers Date: June 20th, 2024 Episode: 451 Discussion: Mark joins us from the UK with a vast knowledge and amazing sense of humour. This Episode's discussion is centred around a controversial (for some) and highly curious subject ( for others)....The REAL Da Vinci Code ...... - Mark is a Biblical Academic ( please see his Bio below).  .......He touches on the Jesus and Mary Magdelaine bloodline, The Grail, Rosslyn Chapel, Rennes Le Chateau, The Knights Templar, The Ark of the Covenant, The Temple of Solomon and much more!   Please Support Us: Like, Subscribe, Share and Comment!  Thank YOU!!!   Contact for the show -  theouterrealmcontact@gmail.com Website: www.theouterrealmradio.com About Our Guest:  Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter.  This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo.  Media:  Please find Mark's Books on Amazon Mark can be found on Facebook   If you enjoy the content on the channel, please support us by “Liking, Subscribing, Sharing and Commenting: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

Pre-Recorded Earlier ( Live for The Outer Realm YouTube Channel Subscribers) The Outer Realm welcomes the return of Special Guest and dear Friend, Mark Olly Hosts: Michelle Desrochers Date: June 20th, 2024 Episode: 451 Discussion: Mark joins us from the UK with a vast knowledge and amazing sense of humour. This Episode's discussion is centred around a controversial (for some) and highly curious subject ( for others)....The REAL Da Vinci Code ...... - Mark is a Biblical Academic ( please see his Bio below). .......He touches on the Jesus and Mary Magdelaine bloodline, The Grail, Rosslyn Chapel, Rennes Le Chateau, The Knights Templar, The Ark of the Covenant, The Temple of Solomon and much more! Please Support Us: Like, Subscribe, Share and Comment! Thank YOU!!! Contact for the show - theouterrealmcontact@gmail.com Website: www.theouterrealmradio.com About Our Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Media: Please find Mark's Books on Amazon Mark can be found on Facebook If you enjoy the content on the channel, please support us by “Liking, Subscribing, Sharing and Commenting: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

Send us a Text Message.Discover the extraordinary talent of Natalie Dean, a Liverpool Institute of Performing Arts (LIPA) graduate making waves in the music scene. With a captivating blend of indie, pop, and contemporary R&B, her music is sure to leave you wanting more. Join her on this incredible journey as she takes the music world by storm. Experience the enchanting fusion of indie, pop, and contemporary R&B in Natalie's music, where her poignant lyrics take center stage. With hits like "Somebody Like Me," "Broken Love of Ours," "Damaged Parts," and "More Than This," Natalie is on the brink of a musical revolution. Join her on this exhilarating journey as she reshapes the music landscape, proving that songwriters are the modern-day visionaries. "Ever since I was a little girl I have had a recurring dream of myself on stage singing to an arena of thousands of people singing along. If I had to pinpoint one moment that I'm living for and drives me, it would be that one". Learn more about Natalie in this episode of The Trout Show.https://www.nataliedeanmusic.com/Support the Show.Thanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/

PRE-RECORD - The Outer Realm Radio welcomes back Mark Olly Host for this segment: Michelle Desrochers Date: March 21st, 2024 Episode: 425 Discussion: Did We Land On The Moon? We Explore the conspiracies concerning the moon landing and more. -If you have any questions for our guest, please leave them here in the comments as per his request. Please Support Us: Like, Subscribe, Share and Comment. Thank YOU!!! About Our Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Media: Please find Mark's Books on Amazon Mark can be found on Facebook Contact: All questions and comments can be directed here to The outer Realm as per his request at: theouterrealmcontact@gmail.com We will forward directly to him.

PRE-RECORD - The Outer Realm Radio welcomes back Mark Olly Host for this segment: Michelle Desrochers Date: March 21st, 2024 Episode: 425 Discussion: Did We Land On The Moon? We Explore the conspiracies concerning the moon landing and more. -If you have any questions for our guest, please leave them here in the comments as per his request. Please Support Us: Like, Subscribe, Share and Comment. Thank YOU!!! About Our Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Media: Please find Mark's Books on Amazon Mark can be found on Facebook Contact: All questions and comments can be directed here to The outer Realm as per his request at: theouterrealmcontact@gmail.com We will forward directly to him.

The Outer Realm welcomes back special guest Mark Olly.  Date: January 25th, 2024 Episode: 409 Discussion: The Knights Templar  Please Support Us: Like, Subscribe, Share and Comment!  Thank YOU!    About The Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter.  This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo.  Media:  Please find Mark's Books on Amazon Mark can be found on Facebook All questions and comments can be directed here to The outer Realm as per his request at: theouterrealmcontact@gmail.com We will forward directly to him.   If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

The Outer Realm welcomes back special guest Mark Olly. Date: January 25th, 2024 Episode: 409 Discussion: The Knights Templar Please Support Us: Like, Subscribe, Share and Comment! Thank YOU! About The Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Media: Please find Mark's Books on Amazon Mark can be found on Facebook All questions and comments can be directed here to The outer Realm as per his request at: theouterrealmcontact@gmail.com We will forward directly to him. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

Wednesday night live The Outer Realm welcomes special guest, author Mark Olly. Episode 388 November 15th, 2023 Topic of discussion: Mark's book "The Life & Times of the Real Robyn Hoode" This segment was recorded earlier in the day, with no chat room! About the Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Media: Please find Mark's Books on Amazon Mark can be found on Facebook CONTACT:

Wednesday night live The Outer Realm welcomes special guest, author Mark Olly. Episode 388 November 15th, 2023 Topic of discussion: Mark's book "The Life & Times of the Real Robyn Hoode" This segment was recorded earlier in the day, with no chat room! About the Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Media: Please find Mark's Books on Amazon Mark can be found on Facebook CONTACT:

EPISODE 1824: In this KEEN ON show, Andrew talks to Nora Krug, author of DIARIES OF WAR, about the contrasting realities of a Ukrainian journalist and a Russian artist in the first year of the Russian invasionNora Krug is a German-American author and illustrator whose drawings and visual narratives have appeared in newspapers, magazines and anthologies internationally. Her illustrations have been recognized with gold and silver medals by the Society of Illustrators and the NY Art Directors Club. Krug is a recipient of fellowships from Fulbright, the John Simon Guggenheim Memorial Foundation, the Pollock-Krasner Foundation, the Maurice Sendak Foundation, and others. Her books are included in the Library of Congress and the Rare Book and Manuscript Library at Columbia University. Krug was named Moira Gemmill Illustrator of the Year and 2019 Book Illustration Prize Winner by the Victoria and Albert Museum. Her visual memoir Belonging: A German Reckons with History and Home (Scribner, 2018, foreign edition title Heimat), about WWII and her own German family history, was chosen as a best book of the year by the New York Times, The Guardian, NPR, Kirkus Review, the San Francisco Chronicle, and the Boston Globe. It was the winner of the 2018 National Book Critics Circle Award, the Lynd Ward Graphic Novel Prize, the Art Directors Club gold cube and discipline winner cube, the Society of Illustrators silver medal, and the British Book Design and Production Award, among others. Her collaboration with historian Timothy Snyder, a graphic edition of On Tyranny: Twenty Lessons from the Twentieth Century (Ten Speed Press, 2021), was named a Best Graphic Novel of 2021 by the New York Times, a New York Times Editor's Choice, one of Germany's Most Beautiful Books of 2022 and won a gold medal from the Society of Illustrators. Diaries of War, her Pulitzer Prize-nominated book of graphic journalism that chronicles the contrasting experiences of a Ukrainian journalist and a Russian artist, both grappling with the realities of Russia's renewed invasion of Ukraine in 2022, won the Oversea's Press Club's Best Cartoon Award runner-up citation. Her visual biography, Kamikaze, about a surviving Japanese WWII pilot, was included in Houghton Mifflin's Best American Comics and Best Non-Required Reading, and her animations were shown at the Sundance Film Festival. Krug is Associate Professor of Illustration at the Parsons School of Design in New York City. Prior to her professorship at Parsons, Krug served as a Professor of Illustration at Muthesius University of Fine Arts and Design in Kiel, Germany. She holds a B.A. Honours degree in Performance Design from the Liverpool Institute for Performing Arts, a Diplom in Visual Communications from the University of Arts Berlin, and an M.F.A. in Illustration as a Visual Essay from the School of Visual Arts in New York.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.

Dalia is a rising pop artist, drawing inspiration from Gracie Abrams & Phoebe Bridgers. Her captivating melodies & introspective lyrics are showcased in her upcoming debut EP, “every beginning ends.” London-based but born in rural Spain, Dalia pursued her passion for music & honed her skills at The Liverpool Institute for Performing Arts. With a distinctive sound that blends pop, alternative & indie influences, her songwriting skills blend raw emotion with clever wordplay and catchy hooks. Conveying a range of emotions with a mix of delicate falsetto & soulful belts through her unique style and impressive debut, “Nothing But Pain,” Dalia is sure to be a name to watch in the coming years. #Music #Interviews #Podcast

This week my guest is award-winning, freelance foley editor and mixer Sophia Hardman.  Sophia studied Sound Technology at The Liverpool Institute for Performing Arts and started out her career at Twickenham Studios as an intern 9 years ago.  Since then Sophia has worked on a wide range of projects, from high-end TV dramas to Oscar-nominated feature films. Her credits include THE OUTFIT, HOUSE OF GUCCI, THE LAST DUEL, BELFAST, NO TIME TO DIE, ENOLA HOMES, THE TOURIST, STATE OF THE UNION and THE MAN WHO FELL TO EARTH.  We talk about the strange and unique language of foley, the differences between a foley artist and a foley editor, what it means to create impactful, unexpected sound effects, why she made the move to freelancing after working in-house at post house, how she chooses projects to work on and how she stays across technical / technological trends.    SHOW NOTES Find out where you can watch THE OUTFIT Find out where you can watch THE MAN WHO FELL TO EARTH Find out where you can watch NO TIME TO DIE Watch ENOLA HOLMES on Netflix Watch the trailer for THE INVENTOR Find BECTU's rate cards here.  Check out Midge Costin's documentary MAKING WAVES: THE ART OF CINEMATIC SOUND Watch the trailer for Sophia's film recommendation EARTH MAMA directed by Savannah Leaf.  For more conversations with women who worked in sound, listen to episodes of Best Girl Grip with Lucy Bright, Ines Adriana and Anna Bertmark. 

On this episode, Lauren is joined by the wonderful English singer, songwriter Tom Speight.Since graduating from the Liverpool Institute for Performing Arts, where he won the prize for best songwriter of the year and even performed in front of Sir Paul McCartney himself, Tom has supported the likes of James Bay, Stereophonics and Maisie Peters.In 2019, he released his debut album ‘Collide', followed two years later by his 2nd album ‘Everything's Waiting for You', achieving well deserved recognition and even topping the charts in Brazil.In August this year, Tom released his amazing 3rd studio album ‘Love & Light'. The album has already gathered lots of attention, featuring on many TV shows and being the BBC Radio 2 Album of the week.Tom chats through the recording process behind the record as well as the many personal and cultural influences behind each song. ...-Find Tom Speight on the Web | Instagram-Follow LP: Uncovered on Instagram

Tonight, The Outer Realm welcomes back special guest, Mark Olly.  Discussion will include Mark eyewitness accounts/Experiences with UFOs and Extraterrestrials, a new book 'Europe's Roswell - 40 Years Since Impact" and more!!!  About The Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter.  This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo.

Tonight, The Outer Realm welcomes back special guest, Mark Olly. Discussion will include Mark eyewitness accounts/Experiences with UFOs and Extraterrestrials, a new book 'Europe's Roswell - 40 Years Since Impact" and more!!! About The Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo.

Can you train your singing voice so you can be a compelling public speaker?Meet John Henny!John is a leading vocal coach in the music industry, with over 30 years of experience. His techniques help you maintain vocal health, improve overall sound quality, eliminate voice cracks, and extend your range so you express yourself without limitation.John's students consistently achieve their goals, with some currently performing in touring productions of Jersey Boys, Les Miserables, Movin' Out, and others landing starring roles in hit movies and TV shows like Desperate Housewives, Hannah Montana, Camp Rock, and Glee. John Henny is also a respected lecturer who has spoken at renowned colleges and institutes like USC, Paul McCartney's Liverpool Institute of the Arts, and The Academy of Contemporary Music in England. As a seasoned online course creator, he offers an extensive library of training courses catering to singers, speakers, and voice teachers.John had to overcome his own public speaking fears and physical limitations (recently dealing with a vocal tremor). He personally understands the effects having an insecure voice can have on a someone on a professional and social level.Listen as John explains how you can use singing to become a compelling public speaker.Key Points and Time Stamps:[00:02:10] - When you discover the music in your voice[00:03:29] - How does autotune affect music tempo?[00:05:37] - Why do we not like the sound of our own voices?[00:07:01] - Does your voice affect your message when public speaking?[00:08:07] - Which is your natural, organic voice?[00:09:38] - The relationship between confidence and your voice[00:10:55] - Warming up your voice just before speaking in public[00:13:26] - Our impression of a deep voice vs a high-pitch voice[00:15:49] - Breathing techniques for singing vs for public speaking[00:18:11] - Can you hear the smile in someone's voice? Does the voice carry emotion?[00:21:04] - Why pace is so important in public speaking[0023:30] - Letting your body move naturally when public speaking[00:26:45] - How to train your voice for virtual meetings[00:29:04] - How your voice connects you with audiences when public speakingConnect with John:Website: https://johnhenny.com/Website For Speakers: https://www.compellingspeaker.comYouTube: https://www.youtube.com/channel/UCBolFwy8OpeiJf23eOQMGbwAdditional Resources:FREE E-book "Beginning Singing" by John HenryFREE Compelling Speaker Formula by John HenryFREE Vocal Warmups Course by John HenryLeave a rating and a review:Apple: https://podcasts.apple.com/us/podcast/how-singing-lessons-can-improve-your-public-speaking/id1614151066?i=1000621377886Spotify: https://open.spotify.com/episode/7difPf4O7jEYX53UqUW8dRYouTube: https://youtu.be/9SgR3i4-s6E

Returning Wednesday night to The Outer Realm, special guest Mark Olly. Discussion: New Book-The Polychronicon of Merlin, Joseph and Arthur -The Result of 50 years of research Now on The Roku Channel About Our Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclaimer: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

Hablamos con Miren Iza, vocalista, guitarrista y teclados de Tulsa, que actuará el próximo jueves, 8 de junio en la sala Las Armas. El concierto está englobado en un Ciclo, fruto del acuerdo de colaboración entre AIE y LIPA, precedido por ensayos en UK y el estreno del show en Liverpool, Miren Iza estará acompañada en el escenario por una banda cuidadosamente seleccionada entre miembros de LIPA, la Liverpool Institute of Performing Arts, la escuela universitaria fundada por Paul McCartney; Además el pasado 1 de junio publicaron el primer single , "No quiero hacer historia", de su nuevo disco que llevará el título de Amadora y que saldrá en otoño de este año.

Anne is joined by special guest, Ian Russell, a multi-award-winning voice actor. They discuss his career in the voice over industry, including his journey to success. They talk about the importance of social media and authenticity in character creation. He advises aspiring voiceover actors to be careful not to violate non-disclosure agreements and to use social media to support their profiles. Anne and Ian also discuss the importance of respecting specified ethnicities and the limitations of casting notices. They highlight that authenticity and believability are essential in video game casting, and that having an acting background is a serious advantage. Tune in to hear the full conversation.    Transcript   It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza.   Anne: All right. Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and today I am so excited to bring very special guest Ian Russell to the podcast. Hey Ian. Yay.   Ian: Hey, Anne.   Anne: welcome. For those of you BOSSes out there, we'll tell you a little bit about Ian, and then he's gonna continue on telling us about his journey, he is a, a multi-award winning, seasoned voice actor working in commercial, corporate, video games, audiobooks. His voice can be heard for companies including Coca-Cola, MasterCard, Nestle, Heineken, Club Med, Phillips, and a bunch more. He was the recipient of the One Voice Male Voice of the Year 2020 award. And also in that year, he was also best character performance. Is that correct?   Ian: Animation, yeah.   Anne: And then continuing in 2021, he won Gaming Best Performance for One Voice Awards. And in 2022, the SOVAS Outstanding International Audio Description, Museums and Cultural Sites. Wow. That is fantastic. Ian, so honored to have you here on the show to talk about your journey and your wisdom. So , let's start.   Ian: Well, good luck with that.   Anne: Well, let's start telling people about your journey. How did you get into voiceover, a little bit about yourself and how you got into voiceover.   Ian: It's a long and winding road, which is a Beatles reference, but the first ever voiceover I ever, ever did was for a radio station in Liverpool. And it was a friend of mine worked at the radio station, and they had a pre-recorded interview for Paul McCartney when he bought and set up the Liverpool Institute for Performing Arts in Liverpool. It was his old school. And rather than having a boring interview where it was just Paul McCartney and some radio guy , he asked me. I was, we were in a local acting thing together, and he asked me to be the voice of Paul McCartney's teacher.   Anne: Wow.   Ian: When Paul McCartney was a kid. So we linked the questions, you know, and it  was like, oh yes, that McCartney he was always playing around with a guitar. He'll never amount anything. So it was that kind of -- we made it funny. I didn't even know what voiceover was, but I did it anyway. And it was fun. I didn't get paid or anything. I was doing it for a mate, but I still have the magnetic cassette tape, shows how long ago it was.   Anne: Yep. There you go. .   Ian: And then 30 years go by, and I get married, and my wife's stumbling around for what she can buy me. And we, because you know --   Anne: What happened 30 years though? That was a long time.   Ian: Oh, sorry. I, I went off and got a real job. I was, I was working in sales and sales management in the northwest of England and in Belgium and Holland and in and around Oxford.   Anne: So International for sure. Yeah.   Ian: Yeah. That's a whole other story, which we could get into another time. But that would use up our 30 minutes, would be nothing left . So anyway, so my wife's like, oh, well what do I buy him for Christmas this year? And I had done a bit of sort of community theater stuff as a young man, just explained with the Paul McCartney thing. And so she found a one day introduction to voiceover.   Anne: Uh-huh.   Ian: In London. It's a place called the Show Reel. And she bought me that for Christmas 2012. It's 10 years almost to the day.   Anne: Wow. Yeah.   Ian: And then two years later, we've had the credit crunch and the bank -- I was working for a bank at the time and they were trying to offload people, and I had to reapply for my own job multiple times. And in the end I'm like, I volunteer as tribute . Let me go, you know, I'm done here. I'm older than all these young guys. I don't want to be rushing around half of the UK seeing multimillionaires coming home at night, barely seeing my kids, writing reports 'til midnight, and then doing the same rinse and repeat tomorrow. I'll have a heart attack and die. Let me go. And two years later, they eventually let me go. And so my wife's American and we said, well, what are we gonna do now? ? Well, let's sell everything and move to America. Be near my dad, says my wife. So that's what we did.   Anne: I love that. Let's do it.   Ian: And I said, well, what am I, what am I gonna do?   Anne: Let's sell everything and move.   Ian: I'll give that voiceover thing a go. And I went to the guy in London and I said, does anybody get hired for this? And he went, yeah. And I said, would anybody hire me? And he went, I don't see why not. And that was the ringing endorsement that I had to come off and start. So 2014 I started properly, I would say.   Anne: Wow. Wow. And so when you started, what was it that -- I assume you, you got coaching, you got a demo, and then you started working, and so you started working and were successful in which genres?   Ian: I think I'm a product of the internet age. You know, I live in the metaphorical middle of nowhere. And everything I do is via the internet, pretty much. So I started probably the way a lot of people start. I didn't know anybody and I didn't know anything. I had some experience, life experience that helps for sure, the sales and having done a bit of community theater and all that. But I knew no one and I knew nothing. So I started searching on the internet, and I paid money down to online casting and, and started throwing mud at the wall. And I think in that market you do a lot of explainers. You do a lot of corporate. You do a lot of e-learning, e-sort of things that, that sort of thing.   Anne: And of course in the States now, you know, that accent of yours doesn't hurt you. I had a very good friend when I started and she was hired all the time for e-learning. Because I think for us listening, and you gotta have some sort of interesting -- like an American accent is, we hear it all the time. But a British accent might be something that, oh, that makes it more interesting. And so she was high in demand for e-learning and, and those explainers and corporate things. And she was always so wonderfully like natural and conversational about it. And it was just a pleasure to listen to her all the time. And I remember thinking, gosh, I wanna aspire to be that relaxed and that friendly in my voiceovers. And so I can totally see where that just, it lends it. It's also a very large market. And so everybody kind of gets there, and it's a good, good place to start off. And I know a lot of students that I work with, they start off in corporate or e-learning.   Ian: Yeah. There's masses of it. And it's relatively easy to find.   Anne: Exactly.   Ian: You might not get the best rate, but it's relatively easy to find.   Anne: Now, you won these awards, but these awards were not for corporate or e-learning. It was for gaming and character performance. And so let's talk about, 'cause I know when people start out, they're very concerned about you know, what's my niche? Like, where do I start and how do I know what I'm good at? You evolved into becoming an award-winning voice talent in gaming and characters.   Ian: Yeah, I know.   Anne: So let's talk about that.   Ian: How does that happen?   Anne: Yeah. How does that happen?   Ian: I'm gonna say I got lucky, but we all know that that's hard work meets preparation and all of that. But in 2015, so a year after I'd started, I booked a role in a significant video game called Payday 2. And the role is utterly -- it's this South African mercenary. He speaks like that, he's Locke, his name is Locke. And I have been performing Locke for Starbury Studios for seven years now.   Anne: Oh wow.   Ian: And it was the performance of Locke that won me the video game award last year. And we're still making content. And at the end of this year, we have Payday 3 coming up.   Anne: Ooh. Get ready, BOSSes.   Ian: And so there's a lot of chatter around who's gonna be in Payday 3. You know what it's like with a lot of --   Anne: NDAs.   Ian: -- casting for voiceover. It's --   Anne: You can't tell --   Ian: -- NDAs -- Well, well, if I knew something, I'd be able to tell you, but voice over casting often happens right at the end. So nothing, I can't say anything. I don't know anything. So.   Anne: So seven years.   Ian: I'm like a mushroom.   Anne: Wow.   Ian: Yeah. So, so that was my first video game thing. And I think a lot of younger folk, they're growing up now with video games and animation and it's a very aspirational genre for people to get into. And I think I got one, and I'll keep the story very short, but Locke, the character, has his own Twitter account, which now has almost 12,000 followers.   Anne: Do you have input into that account?   Ian: It's mine.   Anne: Okay. Okay.   Ian: It's all mine.   Anne: Now, was that something that maybe was requested of you through an agent or the company or --   Ian: No.   Anne: -- you just created it? That's a very interesting marketing um   Ian: Well, it was suggested to me because I went on a charity stream as Locke for Payday, and the guys that were running it said, you might want to set up a separate account because you don't want your personal account flooded with teenage boys --   Anne: Yeah, that makes sense.   Ian: -- swearing at you. Frankly.   Anne: Yeah, yeah.   Ian: Asking you about Locke, you know, what's your favorite color, that kind of thing. So I set up a separate Twitter account for him then; that was 2017-ish. And that, that's kind of just grown from there. And I don't just use it for Locke. I use it for Locke. But I, all my video game stuff I promote on there because they're all video game players. So they're interested.   Anne: I love that I'm talking to you about this right now because I wanna know, is the content monitored at all by the game company or the people that hire you at all? Or if you were to say something that maybe wouldn't be appropriate for your character, I would imagine that that's kind of a line that you walk.   Ian: For sure, it is. I'm pretty sure there have been several occasions where I've written something, and I've had the wherewithal to go, no, don't do that. Don't say that. That would be silly . The only thing that Starbury said is, because they own the character, they own the IP of the character, that I can't monetize it for myself. I have run charity fundraisers and things like that, but if I'm gonna do anything out of the ordinary, I go through them and say, hey, I'm thinking about about this; what do you think? I don't think they've ever said, no.   Anne: That's something that's so interesting for those BOSSes out there that are thinking about getting into video games or character animation. I mean, there really becomes -- it can have a celebrity attached to it, and that becomes more than just voicing. Right? That is voicing. And then also it becomes a marketing effort. It becomes something that is outside of your voiceover persona that is of concern, I would think, for you to make sure that you're not gonna say the wrong thing or make sure you're not gonna do something that spoils any new things coming out or disturbs any NDAs.   Ian: Yeah. I just basically assume that everything I've ever done is under NDA until it's public.   Anne: That's very wise, very wise.   Ian: I really don't, you know. It's just, it's easier to do that than to go, oh, I've been cast, I can't...   Anne: I think no matter what we do, we should consider that, even doing a lot of corporate work and e-learning, it really all should be considered.   Ian: It is one of the challenges with video games, because whilst we get cast often towards the end of the process, it can be months before the game is actually shipped. And I have got the list, but I've got games coming out this year with my voice in them, and I am burning, burning up with desire to tell people because I am so excited about it. And I just can't. And it's just really, really one of the hard things, you know, that you have to bury that.   Anne: Yeah. Yeah. So you got hired for this one game, it became something --   Ian: Yes. So the thing about the Twitter was, so a little while after that I had auditioned for a role in a Warhammer game called Inquisitor Martyr for one of the -- there were only gonna be three player characters. It was one of the player characters. And I got shortlisted, and they asked me for a second audition and I did that. And then they came back and they said, okay, it's down to two people, so can you do a third audition? I'm like, I almost didn't want to know. You know, me or the other guy. And if I don't get it, I know the other guy got it. And I'm like, I was so close. But , what I did say was, look, you must make the right casting choice for your game. But please know that I have a Twitter account with 10,000 followers who are all game players. And I promote any game I'm in on that Twitter account. So I just want you to know that.   Anne: I like that.   Ian: Don't let that influence your casting decision in any way at all, but know that I've got it.   Anne: Hey, that 27 years in sales, I think it served you well. I think it served you well. That's fantastic. I love that.   Ian: So I booked that. I don't know that, that's why I would like to think it was just because of my awesome acting talent. But it taught me a lesson that you can use these things to help support your profile, particularly in a high profile thing like animation or like games. You see like the anime guys that are doing that; they're always at cons promoting themselves. And you know that the anime companies are loving that. Because that sells more anime. And the video games is the same. So.   Anne: Now would you say that your award also was something you were able to use as a marketing for more characters and more work?   Ian: I'm gonna put it the other way around. I can't draw a direct line to -- I won this award in August last year in video games, and then suddenly I get cast in a lot of games. What I think happens, this is what I think happens, a lot of casters in video games are younger people. I mean, there are older ones as well, but they're very tech savvy. And I think that you --they get their auditions in, and if you get shortlisted, and you may not know you've been shortlisted, but they're gonna create a shortlist, and I think they pop over onto Instagram or onto Twitter --   Anne: Oh yeah, absolutely.   Ian: Right?   Anne: And look at your profiles and --   Ian: They wanna, who's, who is this guy? Is he an umpti or whatever. And they see the awards and they see the interaction with a game community from my case. And they go, oh, he knows what he's doing. He's obviously done it before. You know, and you can say that til you're blue in the face in a pitch proposal, but nobody reads them, I don't think. But when they see it on Instagram or they see it on Twitter, it makes a difference.   Anne: Yeah. It's validation for them.   Ian: Yeah. It's that whole trust.   Anne: Right? That maybe they're picking somebody that has that little bit of trust. Yep. That you've got these experience.   Ian: Well, and you think how many -- as, as the game studios get bigger, how many multimillions of pounds they've got invested in a game. And it has to ship successfully, otherwise the company goes pop.   Anne: Absolutely.   Ian: That narrative story to a two or three talent generally telling the story is a big decision for them. So I do think they check. I have no evidence directly for it, but I absolutely think they check.   Anne: Especially I think as a lead character. Right? I mean, there's more responsibility than just the voicing of it, because like I said, there's a persona attached to it, that can be attached to it, and the potential for that character to be able to sell more game, new releases of games.   Ian: I kind of figure if I can help sell 10 or 20 or 30 copies of the game, I'm getting out someway towards paying my own fee.   Anne: Now -- right? Now, lemme ask you though, in terms of, let's say compensation for games, right? What are your thoughts about that? I mean, do voices for big games get paid better? There's really no royalties, residuals, like that kinda sucks.   Ian: No. It does. Yeah. If I was being paid union royalties for Payday 2, I'd be a wealthier man.   Anne: Yeah.   Ian: It's just the, that's the way it is, Anne. I don't have any control over it. So all I can do is negotiate the best fee I think I can for each individual one. But that's the other thing you've got, if you like AAA games at the top of the feeding frenzy, and they can afford to pay a great deal more. And at the bottom, you've got one guy with a 40-watt light bulb who's making a game, and he wants to get a voice in it, and he just doesn't have the budget. So you have to ask yourself then, is this a game that will further my profile? Do I want my -- you almost, you talk about the celebrity element of it. Do I want my name attached to this game?   Anne: Absolutely. Yeah.   Ian: And there are games I want attached. There are a lot of games out there that the content is marginal, should we say? Not safe for work is the phrase. . And there is no value to me as a talent in attaching my name to a game like that, because it would impact -- if I wanna be in a big AAA adventure game, I think it taints a little bit, my profile. So I, there are games that I will avoid and I will ask. There's one game I'm in and they have a safe for work version and they have a non-safe work version. And I said, uh, nothing to -- if you want this character in both versions, count me out. But they said, no, we can just write you into this one. So, they did that.   Anne: That's great. Look at that. That, you know, and that's interesting that you bring up these things that I never would've thought of, because obviously I'm not doing video games, but I love that you brought that up.   Ian: But you could, Anne.   Anne: Well, I could if I wanted to. I mean, you did it. So what made you, I'm gonna say, what made you audition for that first game? Did somebody suggest it to you? Did they say, oh, we're looking --   Ian: The Payday one? No, it was an open audition. It said South African mercenary.   Anne: And you said, oh, I can do that. Right?   Ian: Yeah, absolutely. I was so naive that I thought I could do everything.   Anne: So you said, I could do that.   Ian: Yeah, I can do that.   Anne: Okay. So I have to tell you my little story.   Ian: They cast me so great.   Anne: That's fantastic. I have to tell you my story. My story was a long time ago, like when I first started, I was on one of the pay-to-plays and they had a audition out, and they said it was for a phone system and it was for a British accent. And I thought, well, I can do that. I was naive , and I got it. And literally I worked for that company for 10 years. And it wasn't until like I actually spoke to somebody on the phone, because we had communicated, got jobs from them all the time onto this. And then it became not a cool thing to do because what accent am I doing? And it started to become that sort of a thing. Well, you're not a native. They didn't know. They said, oh my God, we thought you were native --   Ian: Oh, really?   Anne: -- British. And, and it was because I just, I didn't know any better, and I made the mistake. I didn't read that where it said they wanted native. And I said, oh, I can do that. I'll give it a shot. I'll throw my audition in. And I got it. And they employed me for a good 10 years before it was like, oh, now Anne, we just need your English. You know? Not, not your British. So, but it's so interesting that you kind of on a whim just did it. And I think that really speaks to having the confidence to kind of just put yourself out there, and even for things that you don't think you're good at, because they think when people get into this industry in the beginning, they're so concerned about, oh my God, I think I should do this, and I'm no good at character, or I'm no good at -- and I think that really, you don't really know until you try.   Ian: Well, let me share another quick story for you.   Anne: Sure.   Ian: So I auditioned for another game called Road Redemption, which is a motorcycle game. And you drive along the road and you have an iron stick and you're trying to hit other people off their motorbikes. And I auditioned with a sort of a Ray Wins, yeah. Come over, we all gonna hit you with a steel bat, you know, that sort of thing. And I thought, yeah, that'll work. And they decided that they liked my take on the character. So we got together on Skype . Who remembers Skype? And we are chatting, there's three of them, and there's me here. And they're like, what's your Australian accent like? Alright, where's that, right out of left field.   Anne: Where'd that come from?   Ian: Where'd that come from? And he said, because it's this sort of Mad Max kind of feel to the game. And they said, you know, what's your, and I said, very bad. I said, any Australian will immediately notice. You know, I can put another prawn on a barbie kind of thing. But everybody will, they will know, he's not from Australia anyway. So then we're on Skype and you hear tap, tap, tap, tap, tap, tap, tap. And they've sent me a line on the, in the chat. Read that in your Australian accent, whatever it was. Hey, I'm gonna hit you in me iron bar, mate, you know, tap, tap, tap, tap, tap. Read that one in your Australian -- yeah, this shrimp's gonna really get you, you know, anyway. And at the end of it, they said, yeah, okay, we're gonna use you for the game. And I said, okay, do you want the Ray Winston thing or do you want this? Oh, we want the Australian thing. Okay. Well, I, like I said, they went, yeah, but Australia's such a small market for us. We're not worried about that.   Anne: We're not worried that people in Australia are gonna complain . Well, it's true.   Ian: Right. And Locke's the same thing with his South African. And where it led me to in my head was video games, even if they're sort of set in an earth-like environment, are fiction. And I think a lot of game makers now particularly, but certainly back then as well, the acting performance of the character outweighs --   Anne: Is more important.   Ian: -- the absolute accuracy of a given accent.   Anne: Very interesting. Especially now because now it's a casting thing. Are they casting a native UK or a native Australian? And I think that we are all in a spot, like are we going to audition for that? Ian: Well, with that rider of there are accent issues and there are ethnicity issues.   Anne: Yes. Absolutely.   Ian: You know, I absolutely would not put myself forward for a British SWANA or MENA or -- I can't say African American because that's American.   Anne: Yeah, no, I get, I get that.   Ian: British Black, I think.   Anne: I think if they're, if they're specifying -- yes. If they're specifying ethnicity, then I think, yeah, absolutely. It's something that we respect.   Ian: PGM, person of global majority.   Anne: Yep. Absolutely.   Ian: That's, that, that works well for me. So there are things that I just will walk past now that maybe 10 years ago would've been acceptable.   Anne: Sure. Yeah. Things have definitely changed over the past just a few years.   Ian: This could be quite controversial, but I've seen casters ask for a minority ethnicity, and then in the sides it makes reference to, I don't know, America or Great Britain or whatever. And you're like, the ethnicity of of this character does not match the character in the script that you are portraying. And I fear a little bit, what's been the motivation for that?   Anne: You know what, interestingly enough, I know that you say that that's a very inter -- I had that with an e-learning, believe it or not, they had the characters, it was a character based e-learning, and they were all different ethnicities. And mine was a mixed ethnicity, but then they said, don't perform it in any kind of accent. And so I thought, well what is that there for then? You know what I mean? And that was a few years back now. I would kind of hope that if they're specifying ethnicity, that they try really hard to get that so that there can be authentic and genuine. Yeah.   Ian: Yeah. And at the top end, some casting directors at the top of the market will challenge that sort of thing. They'll go back to the studio, they're in a strong enough position to go back to the studio and go, really? Does that work? Are you sure? And they will challenge that if you like the mass market, often the person hiring the voice and directing the voice is a part of the studio itself. So. Johnny at the back, go and get a voice actor, will you, for this character. I think a lot of that is kind of left to the voice actor to work out for themselves. If you have an any kind of an acting background, and you are auditioning for particularly indie video games, you are already streets ahead because the guys in the studios have never hired anyone before. They don't know who to hire really. It's kind of like, we'll know it when we hear it kind of thing. So if you can make a performance, if you can create a character that's believable within the universe of the game, you are already streets ahead.   Anne: It's very interesting that you bring up the casting directors for video games. And you know, it's not necessarily, I think, the talent agents of today that you think of for commercial and broadcast. For video games, you do have to make it authentic and believable. And these people may only be casting for their game, and maybe they've never cast for another game, or they don't have a lot of experience . But that's a great point. And so I think that even more so now, the marketing that you employed, having followers on Twitter, maybe putting your awards on your website so that it's out there and it's known, that definitely has an impact. Because your casting directors may or may not be as experienced as somebody who's casting like 10 commercials a day. Right? That's all they do. That they listen for voices and they cast, whereas games, they're so into their game that they know their characters, and they're listening for just that character to come alive, what they believe the character is like.   Ian: Yeah, absolutely, absolutely, absolutely. I had a beautiful testimonial from an indie guy, he put on Twitter, it was on Twitter, his casting notice. And he said, the character is 60 and British from the southwest of England, and he's got early signs of dementia. And he said, but there aren't many older British actors. You know, I've always found it a struggle to cast older actors. So when I wrote to him, I said, , I am 60.   Anne: I'm old. .   Ian: So anyway, so I got cast of that surprising, surprise me though. He actually cast me as a second character that he was struggling. I said to him, you said you were struggling to cast this. Have you've got anything else that you're struggling to cast? So he sent me, said, yes, I'm struggling to cast this. And he sent it to me, and I thought, I can have a go at that. So I sent it back and I said, do you mean something like this? So I didn't put it as though I was auditioning. I just said, do you mean something like this? And he went, oh great. Was that you? And I went, yes. He went, okay, yeah, you are hired.   Anne: I love it. I love it.   Ian: I booked two characters. But he said, you might just, it's a real kind of bigging myself up, but you might be, he said, the best actor I've ever auditioned.   Anne: Awesome.   Ian: And I'm like, aww.   Anne: What a wonderful, what a wonderful compliment.   Ian: Oh. That is on my Instagram. If you check -- care to go.   Anne: Yeah. There you go. . So I love that.   Ian: Oh, and I know, what did I wanted to say about, you talked about casting directors. So Bianca Shuttling, who's one of the big casting directors in LA, she goes looking on Instagram. She's very open about that. If she's not got someone in her little pool of people where she goes, she gets -- she doesn't go to agents, she goes to Instagram.   Anne: Wow, there you go.   Ian: That's where she goes.   Anne: There you go. I love that.   Ian: There, you learnt it -- you heard it third or fourth here. .   Anne: So let me say, because I really think that there's that business savvy that you have, which, BOSSes out there, do not discount the value of being business savvy and marketing savvy. Because I think that that's gonna get you opportunities that otherwise you would not already have. But I do wanna address the acting part of it because you don't just get these roles over and over again if you're not a great actor. So what do you attribute your acting prowess? Have you, just because you've been doing it for years, have you been working with coaches or what do you attribute it to?   Ian: I owe it all to my mum.   Anne: Ah, okay. Well, there you go. , I'd like to thank my mom and my .   Ian: Well, yeah. But in this case, my mom was a very prolific community actress herself.   Anne: Got it.   Ian: So my first living memory is a smell, and it's not the smell of the grease pain. It's that kind of musty damp wood smell that you get backstage in an old theater. And I have the image that follows it, but -- and I must have been maybe around two or three years old. There's no words involved in this memory. So I basically grew up --   Anne: In the theater.   Ian: -- in the backstage. Yeah. One of those things. So it was happening all around me all the time. And I did try and become a proper professional actor as a young man, but I couldn't figure out how to earn money doing it . So.   Anne: Same thing when you start off doing voice acting, right? It's kind of hard sometimes. How do I even get money? How do I even get started? Yeah.   Ian: Yeah, yeah. It took me another 27 years of sales and management --   Anne: Well, there's your overnight success. Right? And I love telling that to people. They're like, you're so successful. Like, how did you do it? And people think it's overnight, but I think obviously you've evolved so nicely into your success, and it well, well deserved.   Ian: And now it pays two -- pays me and I hired -- my wife works for me now.   Anne: There you go.   Ian: So that Christmas present 10 years ago has employed both of us now.   Anne: Yeah. So that 10 year overnight success in voiceover, I mean actually, actually it was a little less than that.   Ian: Yeah, that's interesting. Because I got my first nomination, and I was --   Anne: In 2020, right?   Ian: -- 2019, I got nominated. I didn't win anything that year, but I thought I was ahead of the curve at that point. You know, and then it all went a bit quieter after that. But the last two years, so years nine and ten, or if you count it from 2014, years seven and eight, really have my career, iIt just looks entirely different now. And it is for the people out there, the BOSSes out there, you know, if you are three, four, and five years in and you're making your way, keep going. Because it is my view that in another two or three years, if you are booking regularly, suddenly something will click, something will change, and bam, away you go.   Anne: I was just gonna ask you what's your best advice? But I'll tell you what, that was a golden nugget of wisdom right there . I think so many people, they give up so quickly, and they get their demos, and they're like, well, why am I not working? And they get so frustrated and down and yeah.   Ian: Took me three months to get my first booking. I worked for three months for nothing.   Anne: Yeah, absolutely. Absolutely. Well, Ian, it has been such a wonderful pleasure having you in here.   Ian: Are we done?   Anne: Yeah.   Ian: Already?   Anne: Well, I, I can probably talk to you for another three hours, for sure. But I appreciate you coming and sharing your journey. I think ,BOSSes out there, you can learn a lot from this wonderful gentleman. And thank you so much for being here with us today.   Ian: You're very welcome, Anne. Anytime.   Anne: I'm gonna give a great big shout out to my sponsor, ipDTL. You too can connect and work like a BOSS. Find out more at ipdtl.com. And then also I'd like to talk to you about 100 Voices Who Care. It's your chance to make a difference in the world and give back to the communities that give to you. Find out more at 100voiceswhocare.org to commit. All right, you guys, have an amazing week. Ian, thanks again, and we'll see you next week. Bye-bye.   Ian: Bye-Bye.   Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

Tonight, The Outer Realm welcomes back special guest Author, researcher and archeologist, Mark Olly. As Always Mark and Michelle get into an array of conversations that begin with The Green Man Origins, Druids and Celts. Mark gives us all a lot of insight into his books : " Revealing The Green Man” AND ““The Polychronicon of Merlin, Joseph and Arthur” The pair delved further into topics such as out of place artifacts, DNA Memory, The King Arthur and Robyn Hood Legends, Knights Templar connections, and more!!!!!! About The Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Mark can be found on Facebook! NOW ON Roku. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclaimer: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

Tonight, The Outer Realm welcomes back special guest Author, researcher and archeologist, Mark Olly. As Always Mark and Michelle get into an array of conversations that begin with The Green Man Origins, Druids and Celts. Mark gives us all a lot of insight into his books : " Revealing The Green Man” AND ““The Polychronicon of Merlin, Joseph and Arthur” The pair delved further into topics such as out of place artifacts, DNA Memory, The King Arthur and Robyn Hood Legends, Knights Templar connections, and more!!!!!! About The Guest: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Mark can be found on Facebook! NOW ON Roku. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclaimer: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

We had a delightful chat with Lynsey and Jonny of UK Alt-Pop Trio EXPLORING BIRDSONG. Having met in Uni at The Liverpool Institute for Performing Arts, they have some major take-aways from that experience, and the once-in-a-lifetime opportunity to have a songwriting session with the legendary Sir Paul McCartney. Hear their story of taking the initiative that's needed for success. Watch "Ever The Optimist" https://youtu.be/JIpQtTQXpc4 Pre-Order their EP (Out March 24) https://exploringbirdsong.lnk.to/dancinginthefaceofdanger Need PR? Contact us at ⁠⁠⁠https://csquared.info/?page_id=391⁠⁠⁠

We're starting 2023 with another fantastic guest joining the podcast, discussing ways to stand out online and in your industry, how to better achieve your goals and the beginnings of vertical video on Facebook. This week we talk to the brilliant Vanessa Bakewell about their career, starting in performing arts at the Liverpool Institute for Performing Arts (LIPA), and moving on to make waves across industries, from Google to YouTube and then finally settling at Facebook (now Meta) in 2011 before it's listing on the Stock Exchange. Vanessa led Retail Sector partnerships and, in 2012, set up the Entertainment Vertical team, where she continues to drive fundamental evolution and change as a Global Client Partner in how film and music industries globally market their releases and events across Facebook, Instagram and Quest via the explosion of video consumption on mobile. To find out more about Vanessa, their other amazing achievements and what they're working on now, make sure to follow them on LinkedIn: https://www.linkedin.com/in/vanessa-bakewell-5476543/ Make sure to follow our socials, so you don't miss out on any of our upcoming episodes (pssst... we've got some great ones in the pipeline): Follow us on Instagram: https://www.instagram.com/libertymusicpr/ Follow us on Facebook: https://www.facebook.com/libertymusicpr/ Follow us on LinkedIn: https://www.linkedin.com/company/liberty-music-pr/ Follow us on Twitter: https://twitter.com/LibertyMusicPR Check out our blog: https://www.libertymusicpr.com/blog/ Want to know more about what we do here at Liberty Music PR? Follow the link to our website to get to know us! https://www.libertymusicpr.com/

In this episode of JM International's ‘The Power of Music', we will talk about music and community. Prof. Lee Higgins is the director of the International Centre of Community Music based at York St John University and & Dr. Sarah-Jane Gibson leads the Ethno on the Road research. They will talk about their research into Ethno, one of JMI's music programs. We will discuss the state of music in academia, the ‘magic' of Ethno, and - of course - the power of music. JMI is a global network of NGOs that empowers young people through music across all boundaryies. For more info go to www.jmi.net or check out all the amazing opportunities for musicians at www.mubazar.com.   ---------Professor Lee Higgins is the Director of the International Centre of Community Music based at York St John University, UK. He has held previously positions at Boston University, USA, Liverpool Institute for Performing Arts, UK and the University of Limerick, Ireland. Lee has been a visiting professor at Ludwig Maximilian University, Munich, Germany and Westminster Choir College, Princeton, USA. He received his PhD from the Irish Academy of Music and Dance, Ireland and is the President of International Society of Music Education (2016-2018). As a community musician he has worked across the education sector as well as within health settings, prison and probation service, youth and community, adult education, and arts organizations such as orchestras and dance. As a presenter and guest speaker, Lee has worked on four continents in university, school, and NGO settings. He is the senior editor for the International Journal of Community Music and was author of Community Music: In Theory and in Practice (2012, Oxford University Press) and co-editor of The Oxford Handbook of Community Music (2017). Sarah-Jane graduated with her PhD in Ethnomusicology from Queen's University in 2018. Her thesis focused on how identity is constructed through singing in a community choir, and if this influences broader identity formations, with a focus on Northern Ireland. Her research focuses on community and identity formation through engagement in musical practice. She has an extensive background in music education, having taught a wide range of ages and abilities in South Africa, the United Kingdom and the United States. Since completing her PhD she has been teaching at Queen's University, Belfast tutoring a variety of anthropology and music courses and conducting the University Chamber Choir. Currently, she also lectures at York St John University and runs a folk music ensemble. 

Pam is joined by country artist Alyssa Bonagura, daughter of Kathie Baillie and Michael Bonagura from RCA record's Bailey and the Boys. Alyssa was signed to Sony Nashville with The Sisterhood Band and traveled worldwide on tour. Attending the Liverpool Institute for the Performing Arts, Paul McCartney's music school in the UK, she was constantly writing music. She returned to Nashville in 2009, but she splits her time between here and the UK. Tune in to hear more about her musical journey.

Season 2, Episode 3 - Geoff Smith, Katie Pinder Brown, and Ken Gustafson join Matt to talk about the longstanding tradition of the piano bar. Topics includethe allure and accessibility of the show, multiple strategies for an ideal performance,balancing entertainment and musicality,and how a piano bar show can affect an audience.GuestsGeoff Smith is a prolific American music producer and performer. His work includes custom music creation for all forms of media and live- musical performance. Geoff's most recent projects include producing the new Cast Recording for the Musical KINGDOM COME and touring with the Wallflowers on bass guitar.Geoff grew up in Franklin in a musical family and studied music at Boston Conservatory and Berklee College of Music in the early 90s. While in college, Geoff began working for Opryland/Gaylord as a theme park performer in their Nashville and San Antonio, Texas parks. While in Texas, Geoff joined Howl At The Moon Dueling Pianos in 1995 and became the founding Entertainment Director for Crazy Pianos in Rotterdam, Holland, in 1997. While living in Europe, Geoff studied songwriting and studio production at Paul McCartney's Liverpool Institute for Performing Arts. Upon returning to the States, Geoff Smith became one of the original founding members of The Big Bang Dueling Piano Bar management team in 2001 (www.thebigbangbar.com). He co-founded Rock and Roll Pianos, a live event music company (www.rockandrollpianos.com). Geoff is a session musician and educator in Nashville and has been the touring bassist for the Wallflowers in 2018 and 2019. Other artists Geoff has played with include Will Lee, Phil Keaggy, Gabe Dixion, Sugar and the Hi-Lows, and Jim Messina. Geoff teaches grammar school music at Franklin Classical School. He is also a partner and the producer of www.ringtonefeeder.com - an innovative ringtone service. Geoff Smith has been an active supporter and composer for the Songs of Love Foundation since 2006. Geoff has had TV and commercial placement for his music (heard on the Voice, American Pickers, MTV Awards, and various ads for companies such as Blackberry and GoDaddy.) Geoff has produced the Original Cast Recording of the musical KINGDOM COME by well-known CCM and Soul Musician and his father, Moose Smith. Awards include:Winner of the Big Gig Jingle Contest for the Nashville MTA 2008 Winner of the 2007 Carolina Beach Music Award For Best Duo and Collaboration for the song "Rhythm" with the Impressions.You can find out more about Geoff can be found at his website: www.thegeoffsmith.comKatie Pinder Brown is an accomplished, versatile singer and piano entertainer based in Orlando whose dynamic voice, charismatic presence, and impressive repertoire have dazzled and delighted international audiences. Katie adeptly tackles various genres, from musical theatre and jazz to pop/top 40, from classical to rock 'n' roll. She has made a name for herself in Florida and beyond as a vocal chameleon, a human jukebox, and a musical Jill-of-all-trades. So far, her career has brought her to 25 US states, 18 countries, and four continents, and her goal is to rock all seven before she retires. She hopes her newly created Carole King tribute show Natural Woman will take her all the way. As a dueling piano player, she facilitates an extraordinary range of song requests with aplomb and expertly collaborates with countless partners instantaneously on her travels. She also founded her Certified Women-Owned production company Piano Party, which is emerging as an industry leader in world-class piano entertainment and specializing in all-female shows.Katie comes from a very musical family in Georgia who soweSupport the show

In this episode, Adam speaks with directors Sam Hunter,  Benedetto Sicca, and Olive Pascha.Sam Hunter is a writer, director, & teacher specializing in devised ensemble theater and collective play development. After graduating from UC, San Diego, he founded the Hungry River Theater Company and later co-founded The West, a collective creating theater, film, and radio dramas in LA. He was an Alexander von Humboldt Foundation German Chancellor Fellow in 2018, researching ensemble and collective theater administration. The research was published in American Theatre Magazine. He has been in Berlin since then working around Germany. His most recent play, Wandersterne is in rep at the Vagantenbühne.Benedetto Sicca is an  Italian director, playwright, actor, trainer, & artistic director. He writes for theater, musical theater, cinema, & television. In 2017 he was the Artistic Director of the Tramedutore Festival at the Piccolo Teatro in Milan and until then, was the artistic co-director of Mare Culturale Urbano. Winner of Carlo Annoni international award for LGBTQ dramaturgy (2020) National Association of Italian theatre Critics Award (2020) He is a Watermill Center fellow having worked with Robert Wilson and has collaborated extensively with Luca RonconiOlive Pascha is a Liverpool-based Director who works across theatre and film. She studied at the Liverpool Institute of Performing Arts and is an alumnus of the Young Everyman & Playhouse Director's program. Between 2014 and 2017 she worked in Russia and India with young people devising theatre and leading workshops. In 2020 she founded Make Vague, with writer Sarah Power, making her professional directing debut with Pig at The Royal Court, Liverpool. Olive's directing credits include Mike Bartlett's Bull and Katherine Manners Threads. She has made numerous short films including Evie, an official selection for London Super Shorts 2020, World London Film Festival, and Brussels Independent Film Festival. Mentioned in this episode:ACTKeith JohnstoneGabor TompaKim RubensteinGOB Squad Rude MechsClaire KaplanBela BanathyMartin Esslin's The Field of DramaNational Academy of Dramatic ArtSocietas Rafaello SanzioJulie StanzakAlSupport the show

The Outer Realm Welcomes Special Guest, Author Mark Olly, and he will be discussing his new book "Crystal Skulls and Human Heads", Ancient Mysteries, UFOs and Ets, and so much more! The Book: In a time when the world realized that it is not immortal this little book brings an entirely new view of what it means to be human, what the planet really is, how something as simple as a few grains of sand revolutionized civilization, how extinction is simply a part of nature, and how the whole of life we so comfortably fit into may not be quite what it seems. Nature, science, and technology combine to show the past, present, and future like never before, a life-and-death passage through realms largely unknown to us, but not to those ancient giants of intelligence who came before us. Author Mark Olly seamlessly combines the disciplines of archaeology, geology, science, and human studies, to push the boundaries of human existence wider in both directions and increase our appreciation of just exactly what the human race could potentially be capable of achieving. Far from being an end in itself, this book takes the reader on a magical mystery tour like no other, enlivens the mind, reaches some startling conclusions, and may just change the way we see our future. BIO: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Media: Please find Mark's Books on Amazon Mark can be found on Facebook All questions and comments can be directed here to The outer Realm as per his request at: theouterrealmcontact@gmail.com We will forward directly to him. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

The Outer Realm Welcomes Special Guest, Author Mark Olly, and he will be discussing his new book "Crystal Skulls and Human Heads", Ancient Mysteries, UFOs and Ets, and so much more! The Book: In a time when the world realized that it is not immortal this little book brings an entirely new view of what it means to be human, what the planet really is, how something as simple as a few grains of sand revolutionized civilization, how extinction is simply a part of nature, and how the whole of life we so comfortably fit into may not be quite what it seems. Nature, science, and technology combine to show the past, present, and future like never before, a life-and-death passage through realms largely unknown to us, but not to those ancient giants of intelligence who came before us. Author Mark Olly seamlessly combines the disciplines of archaeology, geology, science, and human studies, to push the boundaries of human existence wider in both directions and increase our appreciation of just exactly what the human race could potentially be capable of achieving. Far from being an end in itself, this book takes the reader on a magical mystery tour like no other, enlivens the mind, reaches some startling conclusions, and may just change the way we see our future. BIO: Mark Olly was born in 1962 in Warrington, England, and educated at Appleton Hall County Grammar School, Warrington College of Art & Design, the University of Liverpool Institute of Extension Studies field archaeology unit, various business schools, and El-Shaddai College of Advanced Ministry U.K. Manchester where he obtained a Certificate of Ministry (Ct.Min.AP) and Diploma of Biblical Studies (Dip.BS.AP). For over 22 years he worked as a professional musician, live DJ, compare, and in music management, founding Angelharp Music, Unicorn Entertainments Agency Ltd. and Legendthink Ltd. (one of the first ‘multi-media' companies in the world) before moving on to pursue a solo career as a writer, archaeologist and television presenter. This career has so far taken him to all parts of the UK, France, Egypt, Norway, Italy, Bulgaria, Cyprus, South America, Turkey, Malta, and North Africa in search of the ancient and the mysterious. His hobbies include collecting antiques and geological specimens, Dark Age, Celtic and Medieval costumed re-enactment, staging occasional exhibitions and live events, public speaking, and investigating ancient sites. He has six major books in print, appeared on Carlton Television's ‘The History Detectives', wrote and presented all three seasons (22 episodes) of ITV Granada's award nominated ‘Lost Treasures' adventure archaeology series, has presented for Sky History Channel, writes, presents and directs DVD's for US media giant Reality Entertainments / Reality Films, wrote and directed four Music Videos for International US band Hayseed Dixie and three for Sacred Wind's 2014/15 Christmas charity single, occasionally appears in movies, and recently played sessions with bands Soul Path, Sacred Wind, Metall Hose, Atakarma Giants, Wolf and Copperworm. He is visiting lecturer at Wilsmlow Guild and the University Of Chester, an exam invigilator, occasionally heads up his own archaeological unit, and runs his own DVD production and props company MythCo. Media: Please find Mark's Books on Amazon Mark can be found on Facebook All questions and comments can be directed here to The outer Realm as per his request at: theouterrealmcontact@gmail.com We will forward directly to him. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio are not necessarily those of the TOR Hosts, Sponsors, or the United Public Radio Network and its producers. We will however always be respectful and courteous to all involved. Thank you, we appreciate you all!

Two guests for you today on the show, firstly it's Kaya Herstad-Carney who is a BAST trainer and educational director for vocology in practice. Our second guest is Claire Cannon, lead vocalist for Flip and Fill and vocal coach specialising in advanced vocal techniques. The pair joined Alexa this week on Singing Teachers Talk to chat about becoming a vocology in practice authorised teacher.    KEY TAKEAWAYS ViP (Vocology in Practice) is a global network of elite voice professionals, including singing teachers, vocal coaches, songwriters, producers, music industry professionals, speech and language practitioners, ENT's and laryngologists. They exist as a community committed to continuous professional development, education and networking via in person training, one on one mentorship, research, educational events, seminars, webinars and articles.  Their aim is to be at the forefront of vocal health, science and pedagogy in order to provide the best vocal training and 360 degree care for today's contemporary vocalist. ViP has seven principals, those are: Artistry, Anatomy & Health, Musicianship, Voice Science, Body & Mind, Vocal Pedagogy, and Business Practices & Personal/Professional Development.  If you feel like you know more than anyone else in the room, then you should find a different room to be in. Both of our guests Kaya and Claire found it so beneficial to surround yourself with people who know more than you.    BEST MOMENTS ‘It's about having the network of experts to take questions to'  ‘If you want to progress and gain more skills and knowledge, you have to be in the room' ‘It's important to be part of a network which is really passionate'   EPISODE RESOURCES  BAST Training  Guest Website: kayamusic.com  vocologyinpractice.org  www.clairecannonvoice.co.uk  Social Media:   @kayamusic  @vocologyinpractice  @_clairecannon  Relevant Links & Mentions:   Jono McNeil: www.jonomcneiled.com  Wolfgang Saus: www.oberton.org  Dr Felix Graham: www.singwithdrfelix.com  Lisa Haupert  Ian Davidson: www.ianjdavidson.com  Justin Stoney: justinstoney.com  (Amber Mogg Cathey) Nashville Vocal Studio: www.nashvillevocalstudio.com  Gemma Sugrue: www.provocalartist.com  Teach Voice with Chris Johnson: www.teachvoice.com  Voice Study Centre: voicestudycentre.com  Heidi Moss: www.heidimosserickson.com  Line Hilton: linehilton.com  Johan Sundberg  Get Vocal Now: https://portal.getvocal-now.com/pages/home  Kerrie Obert: obertvoicestudios.com   Songbird Studio: https://songbirdsf.com/  Kaya's ViP Email Contact: education@vocologyinpractice.org   ABOUT THE GUESTS Kaya Herstad-Carney Kaya is a creative with a wide skill set, ranging from powerful performances of her original music, vocal coaching & singing teacher training, artist development & co-writing, artistic direction for Threshold Festival and gig promotion, band & choir direction/arranging, mentoring and community workshops, in addition to her lecturing career across the popular music subjects including voice, songwriting, band skill and music industry studies. Originally from Norway, she made the UK her home in 1999. She is an established artist with a track record of performances at The Royal Variety Show, to the BBC Songwriting Showcase, touring UK and Europe.  Kaya has a varied portfolio career and is a passionate singer, songwriter, performer and a harmony/vocal fanatic, vocal arranger and producer, festival director, mentor, musical/choir director, vocal geek and senior lecturer with a wide range of experiences and interests on and off the stage. She has a particular love for vocal habilitation and artist development in the Contemporary Commercial field of music including popular music, musical theatre and extreme vocals.  She is the Director of Education for the global vocal organisation Vocology in Practice (ViP), managing the education programme, and is a singing teacher trainer for BAST. Before taking on the course leader role at Water Bear, Kaya was head of vocals at Bårdar Academy and Principal Lecturer of Songwriter at DIME Online, and artist developer and senior lecturer in performance, vocals and songwriting/creative artistry at the Academy of Contemporary Music. She has also written HE module content for RSL (Rockschool) and WaterBear. She taught for seven years at Liverpool Institute for Performing Arts (LIPA) and five years at the University of Chester.  Kaya specialises in singing, songwriting, vocal work, motivation, coordination, networking, vocal arranging and artist development, both as a vocal coach, musical director, mentor and lecturer.    Claire Cannon For over a decade Claire has been dedicated to developing voices. Her clients include amateur and professional performers, leading speakers and charting recording artists.   Claire graduated from Liverpool Institute of Performing Arts with a Diploma in song and a Degree in Performing Arts - Music. Since then she has studied vocal science under some of the world's leading vocal coaches, gaining a Certification in Contemporary Vocal Coaching from The Voice College. She is a qualified vocal health first aider and has been involved with BAST since completing the program in 2015. She has gone on to become an authorised teacher with Vocology in Practice, a global network of elite voice professionals.   Claire is the lead vocalist for successful electronic dance group 'Flip and Fill' and has worked as a session singer for the past 12 years.  Claire specialises in teaching advanced vocal technique to both contemporary music artists and musical theatre performers in order to improve vocal function and overall vocal health.   ABOUT THE PODCAST BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. Website: basttraining.com Get updates to your inbox: Click here for updates from BAST Training Link to presenter's bios: basttraining.com/singing-teachers-talk-podcast-biosSee omnystudio.com/listener for privacy information.

Want to know why Macca suffers for his art by insisting on singing in the original key? Check out this clip from the new BWTB episode, featuring Allan Kozinn's May 2007 NYT interview.Also on the show: David Stark describing how Paul coaches young students at the Liverpool Institute for the Performing Arts.* To hear 'Buskin with The Beatles', please subscribe on Patreon: www.patreon.com/BWTB

This week, we speak to a specialist vocal producer first time. Cameron Gower Poole graduated from the Liverpool Institute for Performing Arts (LIPA), and made his way up the production ladder at Trevor Horn's Sarm studios. After excelling as an engineer in vocal recording sessions, Cameron built a reputation as someone who could get the best out of an artist's singing performance. After being nominated for breakthrough producer of the year by the Music Producer's Guild in 2021, and then vocal producer of the year in 2022, he's worked with an array of pop stars, including Dua Lipa on her grammy nominated Future Nostalgia album, Rita Sawayama, Anne-Marie, and Mahalia, to name a few. We speak to Cameron at his London studio about his role, and how he found it. The Process of Production is presented by Lawrence Diamond and Bob Matthews. Lawrence cut his teeth playing and writing in Indie bands before finding international success and touring the world with his band CITIZENS! During that time he worked with a host of revered producers including Liam Howe, Mark Ralph and Alex Kapranos. Since the band ended in 2016 he's been using that experience to help other artists develop their careers as a writer and producer while continuing to release his own music under various different guises. Bob learned his trade as the producer and multi-instrumentalist in Electronic Pop duo Alpines, whose career spans 3 albums, releases on major and indie record labels, shows with Florence + The Machine, The xx, Emeli Sandé, and a top 20 hit 'Tidal Wave' in collaboration with Sub Focus. In recent years he has turned his focus to producing other acts and has a studio in Chiswick in West London. If you have any feedback or questions, please email us: processofproductionpodcast@gmail.com Follow The Process of Production on Instagram @processofproduction If you like the podcast, please consider giving us a review on your podcast provider of choice! Thank you

Luis Albert Segura viene a De Música Ligera junto a Carlos Igual, responsable de comunicación de la AIE en RutaLuis Albert Segura (L.A.) viajó en mayo a la escuela fundada por sir Paul McCartney, el Liverpool Institute for Performing Arts (LIPA), donde impartió una masterclass a un grupo de alumnos. Ahora viene a De Música Ligera junto a Carlos Igual, responsable de comunicación de la AIE en Ruta, para contarnos la experiencia y la gira de cuatro conciertos por España derivada de la misma. Esto apesta a Beatles…

Luis Albert Segura viene a De Música Ligera junto a Carlos Igual, responsable de comunicación de la AIE en RutaLuis Albert Segura (L.A.) viajó en mayo a la escuela fundada por sir Paul McCartney, el Liverpool Institute for Performing Arts (LIPA), donde impartió una masterclass a un grupo de alumnos. Ahora viene a De Música Ligera junto a Carlos Igual, responsable de comunicación de la AIE en Ruta, para contarnos la experiencia y la gira de cuatro conciertos por España derivada de la misma. Esto apesta a Beatles…

Akilah Newton is an activist, entrepreneur and author. She has always had a fascination with the arts and pursued her passion by studying music, drama and dance, and performing in productions at John Abbott College and as a member of the Montreal Jubilation Gospel Choir. In 2003 she moved to England to attend the Liverpool Institute for Performing Arts. After earning a BA in Arts, Music & Entertainment Management she returned to Montreal and founded an organization for artistically-inclined youth. She founded Overture with the Arts (OWTA) in 2009; an organization committed to making the arts accessible to youth from all walks of life. She made it her mission to produce OWTA programs and events that spark discussions about social change. One of OWTA's most popular programs is their annual Black History Month school tour. The tour visits schools across Canada and educates youth about Canadian Black History using music and spoken word. Akilah is also the founder of Akilah Newton Projects Inc.; a company that celebrates diversity in ethnicity, gender and orientation through literature, games and art activities and supplies. In 2018 Akilah co-wrote the children's book Big Dreamers: The Canadian Black History Activity Book for Kids Volume 1. The book highlights the achievements of Black Canadians whose stories are often left untold. Since 2018, Big Dreamers has sold over 6,000 copies. Due to the popularity of the book, in November 2020, Akilah co-wrote and self-published Big Dreamers: The Canadian Black History Activity Book for Kids Volume 2, which has sold over 3,000 copies. 2021 has been an exciting year for Akilah with the recent launch of her first full colour children's storybook titled Movers, Shakers, History Makers: The Canadian Black History Book of Rhymes. In addition, she has several other product launches this year including a jigsaw puzzle, a line or crayons and more!

One listen and it becomes crystal clear that Alyssa Bonagura was born to make music. With a voice that touches somewhere deep inside, Alyssa's soulful sound and powerful lyrics will send you jet-setting into a broad range of human emotions. Growing up on the open roads of America, with her RCA country recording artists parents, Baillie & The Boys, made it impossible for Alyssa not to witness the power and magic of music. At just 3 weeks old, her cradle was the gentle rocking of a tour bus. Her play ground encompassed sound checks at fairs and festivals and back stage dressing rooms at a slew of different venues including the Grand Ole Opry and Country Music Award shows, and her “extended family” consisted of managers, promoters, roadies, musicians and other fellow mainstream country artists. At the age of 3, Alyssa performed on the Ralph Emory television show, Nashville Now. Where her version of the Leslie Gore classic; It's My Party brought the house down in front of millions of national viewers. At age 10, one of those major acts, Kenny Rogers, decided Alyssa was the perfect child singer to record a duet with him on his Christmas CD, Christmas From The Heart. By age 13, Alyssa had her first batch of songs written and received an endorsement from Gretsch Guitars. She had figured out her own unique style of guitar playing with open tunings inspired by Joni Mitchell. By age 16 she landed her first 50 date tour opening up for Marty Stuart and his Fabulous Superlatives. It soon became obvious that she was the real deal, not only as a musician and singer but as a prolific songwriter as well.While in high-school, Alyssa became a go-to session singer for people like Christian artist Matt Maher, where she created her own layered harmony vocal approach from years of hearing her parents sing together. Her songs started finding their way into television shows, (Switched! on ABC Family, MTV), movies, as well as getting her first cuts on other artists projects.After graduating high school, Alyssa received a full scholarship from Sennheiser to Paul McCartney's Liverpool Institute for the Performing Arts in Liverpool England, where she would spend the next three years earning a degree in Sound Technology while continuing to perform in local venues throughout Europe. While playing at a venue called The Zanzibar in Liverpool, Alyssa was spotted by Liverpool Rock Star Pete Wylie and was asked to join his band playing electric guitar and singing background vocals. Alyssa of course said yes, and experienced what most artists never experience; a private performance requested by the Queen to help support one of Liverpool's local charities. A performance with Ringo Starr at the 800th Anniversary of Liverpool's, “Capital Of Culture 2008” event; a performance slot at one of the UK's largest music festivals; Knowsley Hall on the same bill as The Who, and from there on scored her own slots performing on the Acoustic stage at Glastonbury in 2009, and a UK tour opening for Raul Malo of The Mavericks.While at LIPA, Alyssa was inspired by their music community and the extreme amount of talented people attending the school. She lived in Lennon Studios, an apartment complex that used to be the old maternity ward where John Lennon was born. Her incredibly unique experiences abroad inspired her debut album, The English Diaries, an all acoustic intimate collection of songs she produced and recorded herself in her one bedroom Beatles inspired flat. After graduating LIPA and receiving her diploma from Paul McCartney himself, Alyssa returned to Nashville and signed her first publishing  READ MORE AT http://www.alyssabonagura.com/

For her work helping artists and composers at the Liverpool Institute of the Performing Arts, Paul McCartney said, “Rowena Morgan is my hero!”   The vivacious Welsh dynamo's incredible career has included work in advertising, technology, sponsorship, radio, journalism, brand ambassador, artist liaison, social media management, event management, songwriting, publishing, music supervision, and business management at the British Academy of Songwriters, Composers and Authors (now The IVORS). She has become an icon of the British music industry as “The Musical Geisha” with her Ultimate Music/Media Industry Networking Nights, bringing together new artists, composers, publishers, label executives to exchange ideas, collaborate and create new projects. Radio Richard is grateful to have Rowena on the show discussing – the current state of the music business, it's challenges and ways to fix it – how an artist in 2021 can best achieve the career their talent deserves. Her information and sage advice can help YOU. So LISTEN to her fascinating conversation with composer Richard Niles, because, as she says, “It's like medicine – it won't do you any good in the bottle!” And while you're listening to Rowena, please like, share and SUBSCRIBE so we can keep bringing you this unique content! Please Like, Share, and Subscribe to our YouTube channel:

Hoy traemos a este podcast, la figura de un guitarrista que supo evolucionar e innovar a nuevas técnicas, su figura estuvo eclipsada por dos grandes genios que eran John Lennon y Paul McCartney.​ Poco a poco fue adquiriendo notoriedad en el grupo The Beatles, componiendo temas importantes en la discografía del grupo, su zenit llegó en 1969, cuando un tema suyo apareció como cara A de un single, copando las listas de éxito como número uno, nos referimos al tema Something, del cual se han hecho muchas versiones, destacando las de Fran Sinatra y Elvis Presley. Fue precursor de distintas formas de tocar la guitarra, empleó un pedal de tono recién inventado por un técnico de EMI en la canción de 1965, Yes it is, revolucionó la música con la inclusión del sitar indio en algunas composiciones de Los Beatles, así como el uso de la guitarra slide y el pedal de wah wah. Tras su separación de Los Beatles, se afianzó como gran compositor, consiguiendo éxitos en las décadas de los 70 y 80. Su debut fue sonado, sacando al mercado el primer albúm triple de la historia del rock, fruto de las innumerables composiciones que poseía en la última etapa Beatle y que fueron descartadas por el resto. Algunas de estas canciones fueron ensayadas en el proyecto del que iba a ser el último disco de Los Beatles, Get back. Estamos hablando del álbum All things must pass, que constaba en su primera edición de dos discos con material nuevo y un tercer disco con una jam sesión. La presentación fue innovadora, consistía en una caja de cartón con bisagras, en cuyo interior se alojaban los tres discos y un poster, presentación exclusiva de las obras de música clásica. Anteriormente a este disco, George había sacado dos discos más en solitario, nos referimos a Wonderwall music, aparecido en noviembre de 1968 y que fue la banda sonara del largometraje Wonderwall interpretado por Jane Birkin, el segundo fue lanzado en mayo de 1969, con el título Electronic sound, álbum experimental con temas largos interpretados por un sintetizador Moog. George vino al mundo un jueves 25 de febrero de 1943, en el domicilio familiar, en Liverpool, concretamente en el número 12 de Arnold Grove. De familia católica y de ascendencia irlandesa por parte de su madre Louise. Harold, su padre había sido marino mercante, hasta que lo dejo para ser conductor de autobús. Estudió en la escuela infantil Dovedale Road, cerca de Penny Lane, donde también lo hiciera John Lennon, aunque no se conocieron por la diferencia de edad. A la edad de 11 años tras superar una prueba, le fue concedida una plaza en el Liverpool Institute for Boys, hoy día convertido en el LIPA, donde conoció a Paul McCartney. Poco antes de iniciar el curso con 12 años, fue ingresado en el hospital por una nefritis (inflamación de riñón). Durante su convalecencia compró su primera guitarra, una Egmond, a un compañero del Dovedale, Raymond Hughes por 3 libras y 10 chelines. Pasaría poco tiempo para que se hiciese con su primera guitarra decente, una Hofner President, debido al auge del skiflle por aquellas fechas, forma su primer grupo, The Rebels, junto a su hermano Peter y Arthur Kelly, influenciado por los artistas Chuck Berry, Elvis Presley, Little Richard, Buddy Holly, Fats Domino, Bill Halley, Eddie Cochran, Lonnie Donegan y Chet Atkins. En 1959, tras finalizar su periplo en la escuela, alternó la música con un trabajo de aprendiz de electricista. Su formación ayudó a hacer de Harrison, el miembro más eficaz en el grupo a la hora de experimentar nuevos sonidos y reparar los equipos. George vio a The Quarrymen por primera vez el 6 de febrero de 1958 en el Wilson Hall. Posteriormente en marzo de ese mismo año, se presentó a una audición para formar parte como guitarrista del grupo, Lennon lo desestimó porque según él era demasiado joven para formar parte de la banda. McCartney, presionó a Lennon para que lo admitiera, ya que se habían hecho muy amigos en la escuela, debido a su afición por la música. McCartney organizó otro encuentro, por lo que le dijo a George que trajera su guitarra, el encuentro fue en la parte superior del autobús que hacía el trayecto de Penny Lane, Paul le dijo que tocara algo para John, tocó el tema Raunchy de Billy Haughn. John quedó fascinado por la interpretación del tema, ya que él no había conseguido aprenderlo, por lo que entró a formar parte de The Quarrymen, el resto ya es historia. Harrison no podía considerarse al principio como un guitarrista virtuoso, si bien a mediados de los 60, la practica le hizo un guitarrista más fluido y creativo, realizando las labores de guitarrista solista y rítmico. Más adelante, adentrados en los 70, el sonido que conseguía con la Steel guitar, se convertiría en su sello personal. A mediados de los 90, y debido en parte a ser un gran fumador, George libró una dura batalla con el cáncer, siendo eliminado en sucesivas operaciones primero de la boca y posteriormente del pulmón. El 30 de diciembre de 1999, fue asaltado en su mansión por un intruso a punta de navaja, Harrison y Olivia se enfrentaron a él y lograron reducirle. Michel Abraham, de 35 años declaró que estaba poseído por el espíritu de Harrison y que era una misión de Dios el matarle. Se le condenó y mandó a un sanatorio mental. Este sobresalto hizo que en el 2001 reapareciera el cáncer de pulmón, con dos metástasis en el cerebro. Se sometió a tratamientos agresivos en Suiza y Nueva York, pero el 22 de noviembre los médicos le confirmaron su carácter terminal, recibiendo solamente tratamientos paliativos. Para que George muriera en completa tranquilidad, McCartney le cedió una villa que poseía en Hollywood Hills, Los Ángeles. George organizó un último encuentro con Paul y Ringo, así como con su hermana Louise, de la cuál llevaba tiempo distanciado por diversos enfrentamientos. El 29 de noviembre del 2001 y a la edad de 58 años, George falleció. Fue incinerado y si bien algunos medios afirmaron que sus cenizas fueron arrojadas al río Ganges, no ha habido ninguna declaración familiar que lo certifique a día de hoy.

Jane is an awarded Creative Strategist with a background in Creative Direction, she describes herself as being a problem solver at her core. With experience in design, UX and Strategy as well as conceptual thinking, she works to find the right solution that balances all of these elements perfectly. Jane has spent the last 5 years at Facebook where she is the Entertainment and Autos Creative Lead for the UK, her passion lies in finding ways to engage and delight users with innovative uses of Facebooks Platforms that answer the business needs of her clients. Vanessa graduated in 2001 from the Liverpool Institute for Performing Arts (LIPA) with a First-Class Degree in Performing Arts (Management of Music, Entertainment, Theatre and Events). She then moved to London to an internship at M&C Saatchi. Then onto EMAP (now Bauer Media) where she worked across Music and Lifestyle press including Q, Mojo, Arena, Kerrang!, Smash Hits, The Face and Empire Magazine, and led commercial partnerships with major and indie record labels, film studios and music retailers such as HMV and Virgin. Vanessa also partnered with Glastonbury to lead the sponsorship and production of the Q Glastonbury Paper Guide each year. In 2007, Vanessa moved to Google just post-listing of the company on the Stock Exchange, where she started to build out their specialist Entertainment Team, leading global partnerships with film studios, gaming and music. She then continued to YouTube in 2008 when Google acquired the platform. In 2011, Vanessa joined Facebook Inc. prior to its listing on the Stock Exchange to lead Retail Sector partnerships, and in 2012, setting up the first Entertainment Vertical team where she continues to drive fundamental evolution and change as a Global Client Partner in how film and music industries globally market their releases and events on Facebook via the explosion of video consumption on mobile across Facebook and Instagram. Vanessa is now in the Music Week Roll of Honour as a 2020 Women in Music award winner Vanessa is on the Board of Trustees for The Royal Liverpool Philharmonic. Vanessa is also on the Liverpool City Region Digital and Arts Board as of 2020 Vanessa founded ‘The Wed Network' (Women in Entertainment and Digital), a supportive network of 1500 women in arts and entertainment sectors. Named one of the Alternative Power 100 Music List with She Said So - https://www.shesaid.so/alternative-power-100-music-list Named one of top 200 women redefining the Creative Industry in the UK for International Women's Day 2018 by The Dots - https://www.linkedin.com/pulse/meet-200-women-redefining-creative-industry-iwd2018-pip-jamieson/ She has a huge passion for music, film, education, and community and bringing all those things together where she can for good. A regular guest lecturer – recent lecturers have included the Universal of Central Lancashire, Leeds Conservatoire, Wrexham Glyndŵr University and LIPA. Host: Jamie Neale @jamienealejn Discussing rituals and habitual patterns in personal and work life. We ask questions about how to become more aware of one self and the world around us, how do we become 360 with ourselves? Host Instagram: @jamienealejn Podcast Instagram: @360_yourself Music from Electric Fruit Produced by Tom Dalby Composed by Toby Wright

If you are going to a Beth Nielsen Chapman concert get ready to laugh and cry and, well, just fasten your seat belt. One thing you can count on is one great song after another and some fascinating stories woven between them.Twice Grammy-nominated Nashville based, Beth Nielsen Chapman has released thirteen solo albums and written seven #1 hits and songs recorded by Bonnie Raitt, Willie Nelson, Bette Midler, Elton John, Neil Diamond, Michael McDonald, Keb Mo', Roberta Flack, Waylon Jennings, Indigo Girls, & Faith Hill's Mega-hit This Kiss, ASCAP'S 1999 Song Of The Year. Her songs have been featured in film and TV and as an artist Beth's work has been diverse, from singing in nine different languages on Prism (2007) to The Mighty Sky (2012) Grammy-nominated astronomy CD for kids of all ages in addition to her deeply moving body of work as a singer-songwriter throughout her other releases. 2014's UnCovered in which she reclaims her hits, features legendary guests from Vince Gill to Duane Eddy. Sand & Water (1997), written in the wake of her husband's death, was performed by Elton John to honor the memory of Princess Diana. In the fall of 2016, Beth, along with Olivia Newton-John & Amy Sky created and toured behind an inspiring project called Liv On – A New Album to Aid & Comfort Those Experiencing Grief & Loss While Using the Power of Music To Heal. Recently inducted into the Songwriter's Hall of Fame, Beth is also a breast cancer survivor and environmentalist and considers herself a creativity midwife, passionate about inspiring others to fully blossom into their creative life.Throughout her career, Beth has been in demand as a keynote speaker and teacher of workshops on creativity, songwriting, grief, and healing through art, using a unique inspiring approach to tapping into the creative process. She has also taught at Universities internationally including the Royal Scottish Academy of Music & Drama, The Liverpool Institute of Performing Arts, and the Berklee School of Music among others.Hearts Of Glass, Beth's 2018 album, riveting and sparse, is a powerful collection of songs that reach into the place within us where vulnerability meets strength which is often where Beth's songs will take you, right into the center of the full beautiful dance of contradictions that inhabit love and life. Early in 2020 Beth will debut “The SongSchool Podcast” powered by ACME Radio Live, which will feature legendary guest songwriters describing what they consider the “perfect song” as well as on the spot critiques for songs submitted, both live in the studio and down the phone line from the other side of the world. After the feedback, any songs that are rewritten and improved will be brought back to the show. All about making good songs GREAT! Most recently Beth has been invited to be an Ambassador for the Buddy Holly Educational Foundation.

David Carlyle joins Ewan Petrie for this weeks episode of "The Tracks That Take Us Back". David is a seasoned actor of both the stage and the screen. Raised in South Lanarkshire, David studied Acting at both the Liverpool Institute of Performing Arts and Ruse Bruford College, London. Since graduating David has amassed a very impressive CV appearing in productions at The National Theatre, Regents Park Open Air Theatre, Dundee Rep, The Citizens Theatre, The Royal Lyceum and the National Theatre of Scotland to name a few. Alongside his theatre work, David has started to make his mark on screen with roles in Casualty, Lip Service and Bodyguard. However, it is his portrayal of Gregory "Gloria" Finch in the smash hit Channel 4 drama "It's A Sin" that has catapulted David's career to new heights. Written by Russell T Davies, "It's A Sin" follows the story of a group of friends navigating the Aids/HIV crisis in London in the late 80's and early 90's. The show has broken all records on Channel 4's streaming service All 4, making it the most binge watched drama in Channel 4's history. Listen as David takes us on a journey to his most treasured Scottish Places and chooses the music that reminds him of these special locations. Don't miss the chance to hear David's infectious stories on the "The Tracks That Take Us Back".

Based in the UK by way of Durban, Julia Church grew up enamoured by the sounds of trailblazers Fleetwood Mac, Joni Mitchell, Carly Simon and Nora Jones.Based in the UK by way of Durban, Julia Church grew up enamoured by the sounds of trailblazers Fleetwood Mac, Joni Mitchell, Carly Simon and Nora Jones. Thanks to several features on dance tracks amassing over 50 million streams; most notably Tez Cadey’s “Walls” and Mozambo & Basic Tape’s “Bright Side”, Church began to garner recognition early on, before heading to university. At eighteen Julia decided to further herself artistically, moving to the UK to study music production at the Liverpool Institute for Performing Arts (LIPA) learning the creative skills that have led to her unmistakable sound, one that draws ties to her childhood idols. Producing and writing all of her own music, is a key part of her sound that’s won her fans across the globe, yet she finds herself having to make the distinction that she IS her own producer, a question rarely thrown at male artists. “Maybe it's just a reflection on me and my past experiences in male-dominant sessions but I feel like I am more reserved when I write with a group of guys as if my ideas aren’t as worthy and I’m just there to sing, even though writing is where my love really lies.”, says Julia, ‘’Writing is the ultimate form of catharsis for me.”

Based in the UK by way of Durban, Julia Church grew up enamoured by the sounds of trailblazers Fleetwood Mac, Joni Mitchell, Carly Simon and Nora Jones.Based in the UK by way of Durban, Julia Church grew up enamoured by the sounds of trailblazers Fleetwood Mac, Joni Mitchell, Carly Simon and Nora Jones. Thanks to several features on dance tracks amassing over 50 million streams; most notably Tez Cadey's “Walls” and Mozambo & Basic Tape's “Bright Side”, Church began to garner recognition early on, before heading to university. At eighteen Julia decided to further herself artistically, moving to the UK to study music production at the Liverpool Institute for Performing Arts (LIPA) learning the creative skills that have led to her unmistakable sound, one that draws ties to her childhood idols. Producing and writing all of her own music, is a key part of her sound that's won her fans across the globe, yet she finds herself having to make the distinction that she IS her own producer, a question rarely thrown at male artists. “Maybe it's just a reflection on me and my past experiences in male-dominant sessions but I feel like I am more reserved when I write with a group of guys as if my ideas aren't as worthy and I'm just there to sing, even though writing is where my love really lies.”, says Julia, ‘'Writing is the ultimate form of catharsis for me.”

I 2024 markerar me at det er 1000 år sidan Olav Den Heilage innførte Kristenretten på Moster. Med dette feirar me starten på rettsstaten og demokratiet i Noreg. For å fortelja meir om kva dette handlar om har eg fått med daglig leiar for Moster 2024, Elsa Aanensen, i studio. Elsa fortel og om ei spennende karriere som scenekunstnar med utdanning frå Liverpool Institute for Performing Arts og Lee Strasberg Theatre Institute i New York. Sjekk ut: https://moster2024.no

Mark Featherstone-Witty OBE is an educator and entrepreneur. He is the Founding Principal and Chief Executive of the Liverpool Institute for Performing Arts which he founded, with Paul McCartney, in the mid-1990s, after establishing the British Record Industry Trust BRIT School in Croydon with Richard Branson What an honour to interview him for this podcast series and how timely, with the tragic recent passing of one of Liverpool's founding fathers, Sir Ken Robinson. Hear what Mark says the English School's Minister, Nick Gibb said when he first met Sir Ken and also which Rocket Man he says is possibly going to be part of a tribute of some sort to his legacy. This podcast inspired our #TALKSWALKERS20 series, a series of chats with people who knew, worked with and were inspired by Sir Ken.

We had the opportunity to interview Sofía Valdés over Zoom video.A 20-year-old singer/songwriter born and bred in Panama, Sofía Valdés creates the kind of emotionally honest and beautifully original pop music that could only come from years of exploration. After learning to play guitar at the age of eight and writing her first song at 13, the independent-minded artist sharpened her craft by studying at fine-arts schools in the U.S. and U.K., and by building an eclectic sonic vocabulary informed by everything from British folk and bossa nova to ’60s Motown and ’70s soul. On her debut EP Ventura, Valdés alchemizes those inspirations into a sound all her own, gracing each track with her indelible songwriting and beguiling voice.With its transcendent melodies and shapeshifting rhythms, Ventura is an elegant introduction the vibrant musicality that may very well be in Valdés’s blood: her great-grandfather was the legendary Cuban musician Miguelito Valdés, and her great-great grandmother was Silvia De Grasse (a famed Panamanian singer who once performed with Louis Armstrong). As a child, Valdés discovered her musical talents after a therapist suggested she take up guitar to help with her coordination and concentration. (A notoriously poor student in her early years, she struggled in the classroom, changing schools countless times before the age of 15.) Since her mom mostly listened to top 40 radio—and her guitar teacher favored classic-rock bands like the Rolling Stones—Valdés took charge of her musical education and quickly found her way to formative influences like Nick Drake, João Gilberto, Stevie Nicks, Bobbie Womack, Bob Dylan and Minnie Riperton. Within a few years she’d written her first song (“It was about a ghost in my house; his name was Kevin”), and soon began infusing her material with the dreamy melancholy that defines her music today.Before long, Valdés was staying up all night working on songs and sleeping through school the next day—a cycle that continued until she decided to apply to Interlochen Arts Academy, a boarding school in Northern Michigan. Because her family was dealing with significant troubles at the time, Valdés sent in her application without her mother’s knowledge or consent. “I realized I couldn’t rely anyone to make things happen for me,” says Valdés. “I needed to find a way to get out on my own.”After gaining acceptance and securing financial aid—despite failing part of the entrance exam due to the language barrier—Valdés headed to Interlochen and immediately thrived in the school’s hyper-creative atmosphere. “We’d sit for hours and hours, just crafting songs,” she recalls. “We could spend two weeks on one song, going lyric by lyric, figuring out how to make it work.” Though she spoke some English upon landing in Michigan, Valdés soon mastered the language and expanded her lyrical palette, further honing her delicate yet distinct narrative voice.To move forward with her musical development, Valdés next headed to the Liverpool Institute for Performing Arts, a world-renowned university founded by Paul McCartney. Having journeyed more than 5,000 miles from home, she suffered even greater culture shock than in her early days in Michigan, and spent most of her first year in England feeling miserably out of place. “I didn’t have connections and I couldn’t even speak to people because I was so shy,” Valdés says. “That whole year I was just alone in my room, writing songs that no one else ever heard.” Although she tried working with others, each potential collaborator failed to grasp her vision for her music. “By the end of freshman year I was ready to drop out and go be a yoga teacher,” she says. “It was hell and I was so unhappy—but then it ended up all being worth it.”Upon returning to Liverpool the following year, Valdés connected with fellow musicians who encouraged her to keep writing and hooked her up with co-writing sessions in London. She also started posting her songs online, eventually catching the attention of a music manager who reached out to her toward the end of the semester. Within weeks, her Christmas trip home to Panama was derailed by a visit to Los Angeles to meet with record labels, which promptly led to her signing with Warner Records. Though she returned to Liverpool for the spring semester, Valdés soon had to fly back to Panama when the pandemic hit, taking off in such a rush that her guitars and computer were left behind. Once she’d gotten settled at home, Valdés began the process of working remotely with producers to bring her debut EP to life.A selection of songs Valdés has gathered since her days in Michigan, Ventura bears a lushly textured sound that perfectly echoes the effusive emotion of her songwriting—a quality she attributes partly to the ultra-romantic piano compositions she obsessed over as a child. “When I was younger someone gave me this huge collection of records from the Impressionist Era of classical music, and that was all I listened to for years,” she says. “I loved it because it was so melancholic and dramatic.” Co-produced by Valdés along with producer/engineers like Oscar Scheller (Charli XCX, Connie Constance), the EP’s sonic aesthetic fully preserves the intimacy of her songwriting process, which always starts in purposeful solitude. “It opens my head up to write in weird places, so sometimes I’ll take my guitar into my mom’s bathtub, or go sit under a table,” she notes.With most of its songs sparked from romantic disappointment, Ventura unfolds with a heartfelt expression that feels extraordinarily subtle yet lingers long after its last track. Throughout the EP, Valdés adorns her sensitive introspection with graceful guitar work and so many idiosyncratic details: the strangely hypnotic repetition of the title word on “Lonely,” the woozy grooves of “Handful of Water” (a song whose lyrics sometimes drift into Spanish—an unintentional deviation Valdés ultimately chose to keep in the final version, in recognition of her heritage). One of the most mesmerizing moments on Ventura, “Amsterdam” centers on a quietly devastating vocal performance from Valdés, who sounds sublimely lost in the haze of heartbroken memory. In a brilliant counterpart to her languid delivery, Valdés layers the song with a scratchy sample of a poem read in Spanish, as well as a bit of kinetic hand percussion inspired by the music she often heard while growing up in Panama (a country colonized by Spain). The result is a truly stunning track, a prime example of Valdés’s potent musical imagination.In reflecting on Ventura, Valdés points to an unexpected outcome of making the EP: a much more powerful connection to her cultural background. “The deeper I get into working on my music, the more I realize how much it’s connected to the music that people in my family were making a long time ago,” she says. “On the EP it’s in little things like the movement of the drums, but I want to explore that even more from now on.” Not only a major creative breakthrough, that shift in approach speaks to a greater sense of self-acceptance. “When I first went to the U.S., I realized that people saw me as different, and I started doing things like dyeing my hair blonde to try to fit in,” she says. “I was scared about people finding out where I was from, but then one day I just stopped and said, ‘This makes no sense.’ Now I want everyone to know that my culture is amazing and that I’m so proud of it, and that everyone else should be proud of their culture too.”We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.comAmerican Songwriter Podcast Network#podcast #interview #bringinbackpod  #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetworkListen & Subscribe to BiBFollow our podcast on Instagram and Twitter!

This week there are two episiodes of the podcast going up, both of them longer than normal. This one, episode one hundred, is the hundredth-episode special and is an hour and a half long. It looks at the early career of the Beatles, and at the three recordings of “Love Me Do”. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Misirlou” by Dick Dale and the Deltones. 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/ —-more—- Resources No Mixclouds this week, as both episodes have far too many songs by one artist. The mixclouds will be back with episode 101. While there are many books on the Beatles, and I have read dozens of them, only one needs to be mentioned as a reference for this episode (others will be used for others). All These Years Vol 1: Tune In by Mark Lewisohn is simply the *only* book worth reading on the Beatles’ career up to the end of 1962. It is the most detailed, most accurate, biography imaginable, and the gold standard by which all other biographies of musicians should be measured. I only wish volumes two and three were available already so I could not expect my future episodes on the Beatles to be obsolete when they do come out. There are two versions of the book — a nine-hundred page mass-market version and a 1700-page expanded edition. I recommend the latter. The information in this podcast is almost all from Lewisohn’s book, but I must emphasise that the opinions are mine, and so are any errors — Lewisohn’s book only has one error that I’m aware of (a joke attributed to the comedian Jasper Carrott in a footnote that has since been traced to an earlier radio show). I am only mortal, and so have doubtless misunderstood or oversimplified things and introduced errors where he had none.   The single version of “Love Me Do” can be found on Past Masters, a 2-CD compilation of the Beatles’ non-album tracks that includes the majority of their singles and B-sides. The version with Andy White playing on can be found on Please Please Me. The version with Pete Best, and many of the other early tracks used here, is on Anthology 1.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Errata I pronounce the name of Lewisohn’s book as “All Those Years” instead of “All These Years”. I say ” The Jets hadn’t liked playing at Williams’ club” at one point. I meant “at Koschmider’s club”   Transcript   The Beatles came closer than most people realise to never making a record. Until the publication of Mark Lewisohn’s seminal biography All These Years vol 1: Tune In, in 2013 everyone thought they knew the true story — John met Paul at Woolton Village Fete in 1957, and Paul joined the Quarrymen, who later became the Beatles. They played Hamburg and made a demo, and after the Beatles’ demo was turned down by Decca, their manager Brian Epstein shopped it around every record label without success, until finally George Martin heard the potential in it and signed them to Parlophone, a label which was otherwise known for comedy records. Martin was, luckily, the one producer in the whole of the UK who could appreciate the Beatles’ music, and he signed them up, and the rest was history. The problem is, as Lewisohn showed, that’s not what happened. Today I’m going to tell, as best I can the story of how the Beatles actually became the band that they became, and how they got signed to EMI records. I’m going to tell you the story of “Love Me Do”: [Excerpt: The Beatles, “Love Me Do (single version)”] As I mentioned at the beginning, this episode owes a *huge* debt to Mark Lewisohn’s book. I like to acknowledge my sources, anyway, but I’ve actually had difficulty with this episode because Lewisohn’s book is *so* detailed, *so* full, and written *so* well that much of the effort in writing this episode came from paring down the information, rather than finding more, and from reworking things so I was not just paraphrasing bits of his writing. Normally I rely on many sources, and integrate the material myself, but Lewisohn has done all that work far better than any other biographer of any other musician. Were the Beatles not such an important part of music history, I would just skip this episode because there is nothing for me to add. As it is, I *obviously* have to cover this, but I almost feel like I’m cheating in doing so. If you find this episode interesting at all, please do yourself a favour and buy that book.  This episode is going to be a long one — much longer than normal. I won’t know the precise length until after I’ve recorded and edited it, of course, but I’m guessing it’s going to be about ninety minutes. This is the hundredth episode, the end of the second year of the podcast, the end of the second book based on the podcast, and the introduction of the single most important band in the whole story, so I’m going to stretch out a bit. I should also mention that there are a couple of discussions of sudden, traumatic, deaths in this episode. With all that said, settle in, this is going to take a while. Every British act we’ve looked at so far — and many of those we’re going to look at in the next year or two — was based in London. Either they grew up there, or they moved there before their musical career really took off. The Beatles, during the time we’re covering in this episode, were based in Liverpool. While they did eventually move to London, it wasn’t until after they’d started having hits. And what listeners from outside the UK might not realise is what that means in terms of attitudes and perceptions. Liverpool is a large city — it currently has a population of around half a million, and the wider Liverpool metropolitan area is closer to two million — but like all British cities other than London, it was regarded largely as a joke in the British media, and so in return the people of Liverpool had a healthy contempt for London. To give Americans some idea of how London dominates in Britain, and thus how it’s thought of outside London, imagine that New York, Washington DC, and Los Angeles were all the same city — that the financial, media, and political centres of the country were all the same place. Now further imagine that Silicon Valley and all the Ivy League universities were half an hour’s drive from that city. Now, imagine how much worse the attitudes that that city would have about so-called “flyover states” would be, and imagine in return how people in large Midwestern cities like Detroit or Chicago would think about that big city.  In this analogy, Liverpool is Detroit, and like Detroit, it was very poor and had produced a few famous musicians, most notably Billy Fury, who was from an impoverished area of Liverpool called the Dingle: [Excerpt: Billy Fury, “Halfway to Paradise”] But Fury had, of course, moved to London to have his career. That’s what you did. But in general, Liverpool, if people in London thought of it at all, was thought of as a provincial backwater full of poor people, many of them Irish, and all of them talking with a ridiculous accent. Liverpool was ignored by London, and that meant that things could develop there out of sight. The story of the Beatles starts in the 1950s, with two young men in their mid-teens. John Winston Lennon was born in 1940, and had had a rather troubled childhood. His father had been a merchant seaman who had been away in the war, and his parents’ relationship had deteriorated for that and other reasons. As a result, Lennon had barely known his father, and when his mother met another man, Lennon’s aunt, Mary Smith, who he always called Mimi, had taken him in, believing that his mother “living in sin” would be a bad influence on the young boy. The Smith family were the kind of lower middle class family that seemed extremely rich to the impoverished families in Liverpool, but were not well off by any absolute standard. Mimi, in particular, was torn between two very different urges. On one hand, she had strongly bohemian, artistic, urges — as did all of her sisters. She was a voracious reader, and a lover of art history, and encouraged these tendencies in John. But at the same time, she was of that class which has a little status, but not much security, and so she was extremely wary of the need to appear respectable. This tension between respectability and rebellion was something that would appear in many of the people who Lennon later worked with, such as Brian Epstein and George Martin, and it was something that Lennon would always respond to — those people would be the only ones who Lennon would ever view as authority figures he could respect, though he would also resent them at times. And it might be that combination of rebellion and respectability that Lennon saw in Paul McCartney. McCartney was from a family who, in the Byzantine world of the British class system of the time, were a notch or so lower than the Smith family who raised Lennon, but he was academically bright, and his family had big plans for him — they thought that it might even be possible that he might become a teacher if he worked very hard at school. McCartney was a far less openly rebellious person than Lennon was, but he was still just as caught up in the music and fashions of the mid-fifties that his father associated with street gangs and hooliganism. Lennon, like many teenagers in Britain at the time, had had his life changed when he first heard Elvis Presley, and he had soon become a rock and roll obsessive — Elvis was always his absolute favourite, but he also loved Little Richard, who he thought was almost as good, and he admired Buddy Holly, who had a special place in Lennon’s heart as Holly wore glasses on stage, something that Lennon, who was extremely short-sighted, could never bring himself to do, but which at least showed him that it was a possibility. Lennon was, by his mid-teens, recreating a relationship with his mother, and one of the things they bonded over was music — she taught him how to play the banjo, and together they worked out the chords to “That’ll Be the Day”, and Lennon later switched to the guitar, playing banjo chords on five of the six strings.  Like many, many, teenagers of the time, Lennon also formed a skiffle group, which he called the Quarrymen, after a line in his school song. The group tended to have a rotating lineup, but Lennon was the unquestioned leader. The group had a repertoire consisting of the same Lonnie Donegan songs that every other skiffle group was playing, plus any Elvis and Buddy Holly songs that could sound reasonable with a lineup of guitars, teachest bass, and washboard. The moment that changed the history of the music, though, came on July the sixth, 1957, when Ivan Vaughan, a friend of Lennon’s, invited his friend Paul McCartney to go and see the Quarry Men perform at Woolton Village Fete. That day has gone down in history as “the day John met Paul”, although Mark Lewisohn has since discovered that Lennon and McCartney had briefly met once before. It is, though, the day on which Lennon and McCartney first impressed each other musically. McCartney talks about being particularly impressed that the Quarry Men’s lead singer was changing the lyrics to the songs he was performing, making up new words when he forgot the originals — he says in particular that he remembers Lennon singing “Come Go With Me” by the Del-Vikings: [Excerpt: The Del-Vikings, “Come Go With Me”] McCartney remembers Lennon as changing the lyrics to “come go with me, right down to the penitentiary”, and thinking that was clever. Astonishingly, some audio recording actually exists of the Quarry Men’s second performance that day — they did two sets, and this second one comes just after Lennon met McCartney rather than just before. The recording only seems to exist in a very fragmentary form, which has snatches of Lennon singing “Baby Let’s Play House” and Lonnie Donegan’s hit “Puttin’ on the Style”, which was number one on the charts at the time, but that even those fragments have survived, given how historic a day this was, is almost miraculous: [Excerpt: The Quarrymen, “Puttin’ on the Style”] After the first set, Lennon met McCartney, who was nearly two years younger, but a more accomplished musician — for a start, he knew how to tune the guitar with all six strings, and to proper guitar tuning, rather than tuning five strings like a banjo. Lennon and his friends were a little nonplussed by McCartney holding his guitar upside-down at first — McCartney is left-handed — but despite having an upside-down guitar with the wrong tuning, McCartney managed to bash out a version of Eddie Cochran’s “Twenty-Flight Rock”, a song he would often perform in later decades when reminding people of this story: [Excerpt: Paul McCartney, “Twenty-Flight Rock”] This was impressive to Lennon for three reasons. The first was that McCartney was already a strong, confident performer — he perhaps seemed a little more confident than he really was, showing off in front of the bigger boys like this. The second was that “Twenty-Flight Rock” was a moderately obscure song — it hadn’t charted, but it *had* appeared in The Girl Can’t Help It, a film which every rock and roll lover in Britain had watched at the cinema over and over. Choosing that song rather than, say, “Be-Bop-A-Lula”, was a way of announcing a kind of group affiliation — “I am one of you, I am a real rock and roll fan, not just a casual listener to what’s in the charts”. I stress that second point because it’s something that’s very important in the history of the Beatles generally — they were *music fans*, and often fans of relatively obscure records. That’s something that bound Lennon and McCartney, and later the other members, together from the start, and something they always noted about other musicians. They weren’t the kind of systematic scholars who track down rare pressings and memorise every session musician’s name, but they were constantly drawn to find the best new music, and to seek it out wherever they could. But the most impressive thing for Lennon — and one that seems a little calculated on McCartney’s part, though he’s never said that he thought about this that I’m aware of — was that this was an extremely wordy song, and McCartney *knew all the words*. Remember that McCartney had noticed Lennon forgetting the words to a song with lyrics as simple as “come, come, come, come, come into my heart/Tell me darling we will never part”, and here’s McCartney singing this fast-paced, almost patter song, and getting the words right.  From the beginning, McCartney was showing how he could complement Lennon — if Lennon could impress McCartney by improvising new lyrics when he forgot the old ones, then McCartney could impress Lennon by remembering the lyrics that Lennon couldn’t — and by writing them down for Lennon, sharing his knowledge freely. McCartney went on to show off more, and in particular impressed Lennon by going to a piano and showing off his Little Richard imitation. Little Richard was the only serious rival to Elvis in Lennon’s affections, and McCartney could do a very decent imitation of him. This was someone special, clearly. But this put Lennon in a quandary. McCartney was clearly far, far, better than any of the Quarry Men — at least Lennon’s equal, and light years ahead of the rest of them. Lennon had a choice — invite this young freak of nature into his band, and improve the band dramatically, but no longer be the unquestioned centre of the group, or remain in absolute control but not have someone in the group who *knew the words* and *knew how to tune a guitar*, and other such magical abilities that no mere mortals had. Those who only know of Lennon from his later reputation as a massive egoist would be surprised, but he decided fairly quickly that he had to make the group better at his own expense. He invited McCartney to join the group, and McCartney said yes. Over the next few months the membership of the Quarry Men changed. They’d been formed while they were all at Quarry Bank Grammar School, but that summer Lennon moved on to art school. I’m going to have to talk about the art school system, and the British education system of the fifties and early sixties a lot over the next few months, but here’s an extremely abbreviated and inaccurate version that’s good enough for now. Between the ages of eleven and sixteen, people in Britain — at least those without extremely rich parents, who had a different system — went to two kinds of school depending on the result of an exam they took aged eleven, which was based on some since-discredited eugenic research about children’s potential. If you passed the exam, you were considered academically apt, and went to a grammar school, which was designed to filter you through to university and the professions. If you failed the exam, you went to a secondary modern, which was designed to give you the skills to get a trade and make a living working with your hands. And for the most part, people followed the pipeline that was set up for them. You go to grammar school, go to university, become a lawyer or a doctor or a teacher. You go to secondary modern, leave school at fourteen, become a plumber or a builder or a factory worker. But there are always those people who don’t properly fit into the neat categories that the world tries to put them in. And for people in their late teens and early twenties, people who’d been through the school system but not been shaped properly by it, there was another option at this time. If you were bright and creative, but weren’t suited for university because you’d failed your exams, you could go to art school. The supposed purpose of the art schools was to teach people to do commercial art, and they would learn skills like lettering and basic draughtsmanship. But what the art schools really did was give creative people space to explore ideas, to find out about areas of art and culture that would otherwise have been closed to them. Keith Richards, Pete Townshend, Ian Dury, Ray Davies, Bryan Ferry, Syd Barrett, and many more people we’ll be seeing over the course of this story went to art school, and as David Bowie would put it later, the joke at the time was that you went to art school to learn to play blues guitar. With Lennon and his friends all moving on from the school that had drawn them together, the group stabilised for a time on a lineup of Lennon, McCartney, Colin Hanton, Len Garry, and Eric Griffiths. But the first time this version of the group played live, while McCartney sang well, he totally fluffed his lead guitar lines on stage. While there were three guitarists in the band at this point, they needed someone who could play lead fluently and confidently on stage. Enter George Harrison, who had suddenly become a close friend of McCartney. Harrison went to the same school as McCartney — a grammar school called the Liverpool Institute, but was in the year below McCartney, and so the two had always been a bit distant. However, at the same time as Lennon was moving on to art school after failing his exams, McCartney was being kept back a year for failing Latin — which his father always thought was deliberate, so he wouldn’t have to go to university. Now he was in the same year at school as Harrison, and they started hanging out together. The two bonded strongly over music, and would do things like take a bus journey to another part of town, where someone lived who they heard owned a copy of “Searchin'” by the Coasters: [Excerpt: The Coasters, “Searchin'”] The two knocked on this stranger’s door, asked if he’d play them this prized record, and he agreed — and then they stole it from him as they left his house. Another time they took the bus to another part of town again, because they’d heard that someone in that part of town knew how to play a B7 chord on his guitar, and sat there as he showed them. So now the Quarrymen needed a lead guitarist, McCartney volunteered his young mate. There are a couple of stories about how Harrison came to join the band — apparently he auditioned for Lennon at least twice, because Lennon was very unsure about having such a young kid in his band — but the story I like best is that Harrison took his guitar to a Quarry Men gig at Wilson Hall — he’d apparently often take his guitar to gigs and just see if he could sit in with the bands. On the bill with the Quarry Men was another group, the Eddie Clayton Skiffle Group, who were generally regarded as the best skiffle band in Liverpool. Lennon told Harrison that he could join the band if he could play as well as Clayton, and Harrison took out his guitar and played “Raunchy”: [Excerpt: Bill Justis, “Raunchy”] I like this story rather than the other story that the members would tell later — that Harrison played “Raunchy” on a bus for Lennon — for one reason. The drummer in the Eddie Clayton Skiffle Group was one Richy Starkey, and if it happened that way, the day that George joined the Quarry Men was also the day that John, Paul, George, and Ringo were all in the same place for the first time. George looked up to John and essentially idolised him, though Lennon thought of him as a little annoying at times — he’d follow John everywhere, and not take a hint when he wasn’t wanted sometimes, just eager to be with his big cool new mate. But despite this tiny bit of tension, John, Paul, and George quickly became a solid unit — helped by the fact that the school that Paul and George went to was part of the same complex of buildings as Lennon’s art college, so they’d all get the bus there and back together.  George was not only younger, he was a notch or two further down the social class ladder than John or Paul, and he spoke more slowly, which made him seem less intelligent. He came from Speke, which was a rougher area, and he would dress even more like a juvenile delinquent than the others. Meanwhile, Len Garry and Eric Griffiths left the group — Len Garry because he became ill and had to spend time in hospital, and anyway they didn’t really need a teachest bass. What they did need was an electric bass, and since they had four guitars now they tried to persuade Eric to get one, but he didn’t want to pay that much money, and he was always a little on the outside of the main three members, as he didn’t share their sense of humour. So the group got Nigel Walley, who was acting as the group’s manager, to fire him. The group was now John, Paul, and George all on guitars, and Colin Hanton on drums. Sometimes, if they played a venue that had a piano, they’d also bring along a schoolfriend of Paul’s, John “Duff” Lowe, to play piano. Meanwhile, the group were growing in other ways. Both John and Paul had started writing songs, together and apart. McCartney seems to have been the first, writing a song called “I Lost My Little Girl” which he would eventually record more than thirty years later: [Excerpt: Paul McCartney, “I Lost My Little Girl”] Lennon’s first song likewise sang about a little girl, this time being “Hello, Little Girl”. By the middle of 1958, this five-piece group was ready to cut their first record — at a local studio that would cut a single copy of a disc for you. They went into this studio at some time around July 1958, and recorded two songs. The first was their version of “That’ll Be the Day”: [Excerpt: The Quarry Men, “That’ll be the Day”] The B-side was a song that McCartney had written, with a guitar solo that George had come up with, so the label credit read “McCartney/Harrison”. “In Spite of All the Danger” seems to have been inspired by Elvis’ “Trying to Get to You”: [Excerpt: Elvis Presley, “Trying to Get to You”] It’s a rough song, but a good attempt for a teenager who had only just started writing songs: [Excerpt: The Quarry Men, “In Spite of All the Danger”] Apparently Lowe and Hanton hadn’t heard the song before they started playing, but they make a decent enough fist of it in the circumstances. Lennon took the lead even though it was McCartney’s song — he said later “I was such a bully in those days I didn’t even let Paul sing his own song.” That was about the last time that this lineup of Quarry Men played together. In July, the month that seems likely for the recording, Lowe finished at the Liverpool Institute, and so he drifted away from McCartney and Harrison. Meanwhile Hanton had a huge row with the others after a show, and they fell out and never spoke again. The Quarry Men were reduced to a trio of Lennon, McCartney, and Harrison. But — possibly the very day after that recording if an unreliable plaque at the studio where they recorded it is to be believed — something happened which was to have far more impact on the group than the drummer leaving. John Lennon’s mother, with whom he’d slowly been repairing his relationship, had called round to visit Mimi. She left the house, and bumped into Nigel Walley, who was calling round to see John. She told him he wasn’t there, and that he could walk with her to the bus stop. They walked a little while, then went off in different directions. Walley heard a thump and turned round — Julia Lennon had been hit by a car and killed instantly. As you can imagine, John’s mother dying caused him a huge amount of distress, but it also gave him a bond with McCartney, whose own mother had died of cancer shortly before they met. Neither really spoke about it to each other, and to the extent they did it was with ultra-cynical humour — but the two now shared something deeper than just the music, even though the music itself was deep enough. Lennon became a much harder, nastier, person after this, at least for a time, his natural wit taking on a dark edge, and he would often drink too much and get aggressive. But life still went on, and John, Paul, and George kept trying to perform — though the gigs dried up, and they didn’t have a drummer any more. They’d just say “the rhythm’s in the guitars” when asked why they didn’t have one. They were also no longer the Quarry Men — they didn’t have a name. At one point late in the year, they also only had two guitars between the three of them — Lennon seems to have smashed his in a fit of fury after his mother’s death. But he stole one backstage at a talent contest, and soon they were back to having three. That talent show was one run by Carroll Levis, who we talked about before in the episode on “Shakin’ All Over”. The three boys went on Levis’ show, this time performing as Johnny & The Moondogs —  in Manchester, at the Hippodrome in Ancoats, singing Buddy Holly’s “Think it Over”: [Excerpt: The Crickets, “Think it Over”] Lennon sang lead with his arms draped over the shoulders of Paul and George, who sang backing vocals and played guitar. They apparently did quite well, but had to leave before the show finished to get the last train back to Liverpool, and so never found out whether the audience would have made them the winner, with the possibility of a TV appearance. They did well enough, though, to impress a couple of other young lads on the bill, two Manchester singers named Allan Clarke and Graham Nash. But in general, the Japage Three, a portmanteau of their names that they settled on as their most usual group name at this point, played very little in 1959 — indeed, George spent much of the early part of the year moonlighting in the Les Stewart Quartet, another group, though he still thought of Lennon and McCartney as his musical soulmates; the Les Stewart Quartet were just a gig.  The three of them would spend much of their time at the Jacaranda, a coffee bar opened by a Liverpool entrepreneur, Allan Williams, in imitation of the 2is, which was owned by a friend of his. Lennon was also spending a lot of time with an older student at his art school, Stuart Sutcliffe, one of the few people in the world that Lennon himself looked up to. The Les Stewart Quartet would end up indirectly being key to the Beatles’ development, because after one of their shows at a local youth club they were approached by a woman named Mona Best. Mona’s son Pete liked to go to the youth club, but she was fairly protective of him, and also wanted him to have more friends — he was a quiet boy who didn’t make friends easily. So she’d hit upon a plan — she’d open her own club in her cellar, since the Best family were rich enough to have a big house. If there was a club *in Pete’s house* he’d definitely make lots of friends. They needed a band, and she asked the Les Stewart Quartet if they’d like to be the resident band at this new club, the Casbah, and also if they’d like to help decorate it.  They said yes, but then Paul and George went on a hitch-hiking holiday around Wales for a few days, and George didn’t get back in time to play a gig the quartet had booked. Ken Brown, the other guitarist, didn’t turn up either, and Les Stewart got into a rage and split the group. Suddenly, the Casbah had no group — George and Ken were willing to play, but neither was a lead singer — and no decorators either. So George roped in John and Paul, who helped decorate the place, and with the addition of Ken Brown, the group returned to the Quarry Men name for their regular Saturday night gig at the Casbah. The group had no bass player or drummer, and they all kept pestering everyone they knew to get a bass or a drum kit, but nobody would bite. But then Stuart Sutcliffe got half a painting in an exhibition put on by John Moores, the millionaire owner of Littlewoods, who was a big patron of the arts in Liverpool. I say he got half a painting in the exhibition, because the painting was done on two large boards — Stuart and his friends took the first half of the painting down to the gallery, went back to get the other half, and got distracted by the pub and never brought it. But Moores was impressed enough with the abstract painting that he bought it at the end of the exhibition’s run, for ninety pounds — about two thousand pounds in today’s money. And so Stuart’s friends gave him a choice — he could either buy a bass or a drum kit, either would be fine. He chose the bass. But the same week that Stuart joined, Ken Brown was out, and they lost their gig at the Casbah. John, Paul, George and Ken had turned up one Saturday, and Ken hadn’t felt well, so instead of performing he just worked on the door. At the end of the show, Mona Best insisted on giving Ken an equal share of the money, as agreed. John, Paul, and George wouldn’t stand for that, and so Ken was out of the group, and they were no longer playing for Mona Best. Stuart joining the group caused tensions — George was fine with him, thinking that a bass player who didn’t yet know how to play was better than no bass player at all, but Paul was much less keen. Partly this was because he thought the group needed to get better, which would be hard with someone who couldn’t play, but also he was getting jealous of Sutcliffe’s closeness to Lennon, especially when the two became flatmates. But John wanted him in the group, and what John wanted, he got. There are recordings of the group around this time that circulate — only one has been released officially, a McCartney instrumental called “Cayenne”, but the others are out there if you look: [Excerpt: The Quarry Men, “Cayenne”] The gigs had dried up again, but they did have one new advantage — they now had a name they actually liked. John and Stuart had come up with it, inspired by Buddy Holly’s Crickets. They were going to be Beatles, with an a. Shortly after the Beatles’ first appearance under that name, at the art school student union, came the Liverpool gig which was to have had Eddie Cochran and Gene Vincent headlining, before Cochran died. A lot of Liverpool groups were booked to play on the bill there, but not the Beatles — though Richy Starkey was going to play the gig, with his latest group Rory Storm and the Hurricanes. Allan Williams, the local promoter, added extra groups to fill out the bill, including Gerry and the Pacemakers, and suddenly everyone who loved rock and roll in Liverpool realised that there were others out there like them. Overnight, a scene had been born. And where there’s a scene, there’s money to be made. Larry Parnes, who had been the national promoter of the tour, was at the show and realised that there were a lot of quite proficient musicians in Liverpool. And it so happened that he needed backing bands for three of his artists who were going on tour, separately — two minor stars, Duffy Power and Johnny Gentle, and one big star, Billy Fury. And both Gentle and Fury were from Liverpool themselves. So Parnes asked Allan Williams to set up auditions with some of the local groups. Williams invited several groups, and one he asked along was the Beatles, largely because Lennon and Sutcliffe begged him. He also found them a drummer, Tommy Moore, who was a decade older than the rest of them — though Moore didn’t turn up to the audition because he had to work, and so Johnny “Hutch” Hutchinson of Cass and the Cassanovas sat in with them, much to Hutch’s disgust — he hated the Beatles, and especially Lennon.  Cass of the Cassanovas also insisted that “the Beatles” was a stupid name, and that the group needed to be Something and the Somethings, and he suggested Long John and the Silver Beatles, and that stuck for a couple of shows before they reverted to their proper name. The Beatles weren’t chosen for any of the main tours that were being booked, but then Parnes phoned Williams up — there were some extra dates on the Johnny Gentle tour that he hadn’t yet booked a group for. Could Williams find him a band who could be in Scotland that Friday night for a nine-day tour? Williams tried Cass and the Cassanovas, Rory Storm and the Hurricanes, and Gerry and the Pacemakers, but none of them could go on tour at such short notice. They all had gigs booked, or day jobs they had to book time off with. The Beatles had no gigs booked, and only George had a day job, and he didn’t mind just quitting that. They were off to Scotland. They were so inspired by being on tour with a Larry Parnes artist that most of them took on new names just like those big stars — George became Carl Harrison, after Carl Perkins, Stuart became Stuart de Staël, after his favourite painter, and Paul became Paul Ramon, which he thought sounded mysterious and French. There’s some question about whether John took on a new name — some sources have him becoming “Long John”, while others say he was “Johnny” Lennon rather than John. Tommy Moore, meanwhile, was just Thomas Moore. It was on this tour, of course, that Lennon helped Johnny Gentle write “I’ve Just Fallen For Someone”, which we talked about last week: [Excerpt: Darren Young, “I’ve Just Fallen For Someone”] The tour was apparently fairly miserable, with horrible accommodation, poor musicianship from the group, and everyone getting on everyone’s nerves — George and Stuart got into fistfights, John bullied Stuart a bit because of his poor playing, and John particularly didn’t get on well with Moore — a man who was a decade older, didn’t share their taste in music, and worked in a factory rather than having the intellectual aspirations of the group. The two hated each other by the end of the tour. But the tour did also give the group the experience of signing autographs, and of feeling like stars in at least a minor way. When they got back to Liverpool, George moved in with John and Stuart, to get away from his mum telling him to get a proper job, and they got a few more bookings thanks to Williams, but they soon became drummerless — they turned up to a gig one time to find that Tommy Moore wasn’t there. They went round to his house, and his wife shouted from an upstairs window, “Yez can piss off, he’s had enough of yez and gone back to work at the bottle factory”. The now four-piece group carried on, however, and recordings exist of them in this period, sounding much more professional than only a few months before, including performances of some of their own songs. The most entertaining of these is probably “You’ll Be Mine”, an Ink Spots parody with some absurd wordplay from Lennon: [Excerpt: The Beatles, “You’ll Be Mine”] Soon enough the group found another drummer, Norm Chapman, and carried on as before, getting regular bookings thanks to Williams. There was soon a temporary guest at the flat John, Stuart, and George shared with several other people — Royston Ellis, the Beat poet and friend of the Shadows, had turned up in Liverpool and latched on to the group, partly because he fancied George. He performed with them a couple of times, crashed at the flat, and provided them with two formative experiences — he gave them their first national press, talking in Record and Show Mirror about how he wanted them to be his full-time group, and he gave them their first drug experience, showing them how to get amphetamines out of inhalers. While the group’s first national press was positive, there was soon some very negative press indeed associated with them. A tabloid newspaper wanted to do a smear story about the dangerous Beatnik menace. The article talked about how “they revel in filth”, and how beatniks were “a dangerous menace to our young people… a corrupting influence of drug addicts and peddlers, degenerates who specialise in obscene orgies”. And for some reason — it’s never been made clear exactly how — the beatnik “pad” they chose to photograph for this story was the one that John, Stuart, and George lived in, though they weren’t there at the time — several of their friends and associates are in the pictures though. They were all kicked out of their flat, and moved back in with their families, and around this time they lost Chapman from the group too — he was called up to do his National Service, one of the last people to be conscripted before conscription ended for good. They were back to a four-piece again, and for a while Paul was drumming. But then, as seems to have happened so often with this group, a bizarre coincidence happened. A while earlier, Allan Williams had travelled to Hamburg, with the idea of trying to get Liverpool groups booked there. He’d met up with Bruno Koschmider, the owner of a club called the Kaiserkeller. Koschmider had liked the idea, but nothing had come of it, partly because neither could speak the other’s language well. A little while later, Koschmider had remembered the idea and come over to the UK to find musicians. He didn’t remember where Williams was from, so of course he went to London, to the 2is, and there he found a group of musicians including Tony Sheridan, who we talked about back in the episode on “Brand New Cadillac”, the man who’d been Vince Taylor’s lead guitarist and had a minor solo career: [Excerpt: Tony Sheridan, “Why?”] Sheridan was one of the most impressive musicians in Britain, but he also wanted to skip the country — he’d just bought a guitar on credit in someone else’s name, and he also had a wife and six-month-old baby he wanted rid of. He eagerly went off with Koschmider, and a scratch group called the Jets soon took up residence at the Kaiserkeller. Meanwhile, in Liverpool, Derry and the Seniors were annoyed. Larry Parnes had booked them for a tour, but then he’d got annoyed at the unprofessionalism of the Liverpool bands he was booking and cancelled the booking, severing his relationship with Williams. The Seniors wanted to know what Williams was going to do about it.  There was no way to get them enough gigs in Liverpool, so Williams, being a thoroughly decent man who had a sense of obligation, offered to drive the group down to London to see if they could get work there. He took them to the 2is, and they were allowed to get up and play there, since Williams was a friend of the owner. And Bruno Koschmider was there. The Jets hadn’t liked playing at Williams’ club, and they’d scarpered to another one with better working conditions, which they helped get off the ground and renamed the Top Ten, after Vince Taylor’s club in London. So Bruno had come back to find another group, and there in the same club at the same time was the man who’d given him the idea in the first place, with a group. Koschmider immediately signed up Derry and the Seniors to play at the Kaiserkeller.  Meanwhile, the best gig the Beatles could get, also through Williams, was backing a stripper, where they played whatever instrumentals they knew, no matter how inappropriate, things like the theme from The Third Man: [Excerpt: Anton Karas, “Theme from The Third Man”] A tune guaranteed to get the audience into a sexy mood, I’m sure you’ll agree. But then Allan Williams got a call from Koschmider. Derry and the Seniors were doing great business, and he’d decided to convert another of his clubs to be a rock and roll club. Could Williams have a group for him by next Friday? Oh, and it needed to be five people. Williams tried Rory Storm and the Hurricanes. They were busy. He tried Cass and the Cassanovas. They were busy. He tried Gerry and the Pacemakers. They were busy. Finally, he tried the Beatles. They weren’t busy, and said yes they could go to Hamburg that week. There were a few minor issues, like there not being five of them, none of them having passports, and them not having a drummer. The passports could be sorted quickly — there’s a passport office in Liverpool — but the lack of a fifth Beatle was more of a problem. In desperation, they turned eventually to Pete Best, Mrs. Best’s son, because they knew he had a drum kit. He agreed.  Allan Williams drove the group to Hamburg, and they started playing six-hour sets every night at the Indra, not finishing til three in the morning, at which point they’d make their way to their lodgings — the back of a filthy cinema.  By this time, the Beatles had already got good — Howie Casey, of Derry and the Seniors, who’d remembered the Beatles as being awful at the Johnny Gentle audition, came over to see them and make fun of them, but found that they were far better than they had been. But playing six hours a night got them *very* good *very* quickly — especially as they decided that they weren’t going to play the same song twice in a night, meaning they soon built up a vast repertoire. But right from the start, there was a disconnect between Pete Best and the other four — they socialised together, and he went off on his own. He was also a weak player — he was only just starting to learn — and so the rest of the group would stamp their feet to keep him in time. That, though, also gave them a bit more of a stage act than they might otherwise have had. There are lots of legendary stories about the group’s time in Hamburg, and it’s impossible to sort fact from fiction, and the bits we can sort out would get this podcast categorised as adult content, but they were teenagers, away from home for a long period for the first time, living in a squalid back room in the red light district of a city with a reputation for vice. I’m sure whatever you imagine is probably about right. After a relatively short time, they were moved from the Indra, which had to stop putting on rock and roll shows, to the Kaiserkeller, where they shared the bill with Rory Storm & the Hurricanes, up to that point considered Liverpool’s best band. There’s a live recording of the Hurricanes from 1960, which shows that they were certainly powerful: [Excerpt: Rory Storm and the Hurricanes, “Brand New Cadillac”] That recording doesn’t have the Hurricanes’ normal drummer on, who was sick for that show. But compared to what the Beatles had become — a stomping powerhouse with John Lennon, whose sense of humour was both cruel and pointed, doing everything he could to get a rise out of the audience — they were left in the dust. A letter home that George Harrison wrote sums it up — “Rory Storm & the Hurricanes came out here the other week, and they are crumby. He does a bit of dancing around but it still doesn’t make up for his phoney group. The only person who is any good in the group is the drummer.” That drummer was Richy Starkey from the Eddie Clayton Skiffle Group, now performing as Ringo Starr. They struck up a friendship, and even performed together at least once — John, Paul, George, and Ringo acting as the backing group for Lu Walters of the Hurricanes on a demo, which is frustratingly missing and hasn’t been heard since. They were making other friends, too. There was Tony Sheridan, who they’d seen on TV, but who would now sometimes jam with them as equals. And there was a trio of arty bohemian types who had stumbled across the club, where they were very out of place — Astrid Kirscherr, Klaus Voormann, and Jurgen Vollmer. They all latched on to the Beatles, and especially to Stuart, who soon started dating Astrid, despite her speaking no English and him speaking no German. But relations between Koschmider and the Beatles had worsened, and he reported to the police that George, at only seventeen, was under-age. George got deported. The rest of the group decided to move over to the Top Ten Club, and as a parting gift, Paul and Pete nailed some condoms to their bedroom wall and set fire to them. Koschmider decided to report this to the police as attempted arson, and those two were deported as well. John followed a week later, while Stuart stayed in Hamburg for a while, to spend more time with Astrid, who he planned to marry. The other four regrouped, getting in a friend, Chas Newby, as a temporary bass player while Stuart was away. And on the twenty-seventh of December, 1960, when they played Litherland Town Hall, they changed the Liverpool music scene. They were like nothing anyone had ever seen, and the audience didn’t dance — they just rushed to the stage, to be as close to the performance as possible. The Beatles had become the best band in Liverpool. Mark Lewisohn goes further, and suggests that the three months of long nights playing different songs in Hamburg had turned them into the single most experienced rock band *in the world* — which seems vanishingly unlikely to me, but Lewisohn is not a man given to exaggeration. By this time, Mona Best had largely taken over the group’s bookings, and there were a lot of them, as well as a regular spot at the Casbah. Neil Aspinall, a friend of Pete’s, started driving them to gigs, while they also had a regular MC, Bob Wooler, who ran many local gigs, and who gave the Beatles their own theme music — he’d introduce them with the fanfare from Rossini’s William Tell Overture: [Excerpt: Rossini, “William Tell Overture”] Stuart came over from Hamburg in early January, and once again the Beatles were a five-piece — and by now, he could play quite well, well enough, at any rate, that it didn’t destroy the momentum the group had gathered. The group were getting more and more bookings, including the venue that would become synonymous with them, the Cavern, a tiny little warehouse cellar that had started as a jazz club, and that the Quarry Men had played once a couple of years earlier, but had been banned from for playing too much rock and roll. Now, the Beatles were getting bookings at the Cavern’s lunchtime sessions, and that meant more than it seemed. Most of the gigs they played otherwise were on the outskirts of the city, but the Cavern was in the city centre. And that meant that for the lunchtime sessions, commuters from outside the city were coming to see them — which meant that the group got fans from anywhere within commuting distance, fans who wanted them to play in their towns. Meanwhile, the group were branching out musically — they were particularly becoming fascinated by the new R&B, soul, and girl-group records that were coming out in the US. After already having loved “Money” by Barrett Strong, John was also obsessed with the Miracles, and would soon become a fervent fan of anything Motown, and the group were all big fans of the Shirelles. As they weren’t playing original material live, and as every group would soon learn every other group’s best songs, there was an arms race on to find the most exciting songs to cover. As well as Elvis and Buddy and Eddie, they were now covering the Shirelles and Ray Charles and Gary US Bonds. The group returned to Hamburg in April, Paul and Pete’s immigration status having been resolved and George now having turned eighteen, and started playing at the Top Ten club, where they played even longer sets, and more of them, than they had at the Kaiserkeller and the Indra. Tony Sheridan started regularly joining them on stage at this time, and Paul switched to piano while Sheridan added the third guitar. This was also when they started using Preludin, a stimulant related to amphetamines which was prescribed as a diet drug — Paul would take one pill a night, George a couple, and John would gobble them down. But Pete didn’t take them — one more way in which he was different from the others — and he started having occasional micro-sleeps in the middle of songs as the long nights got to him, much to the annoyance of the rest of the group. But despite Pete’s less than stellar playing they were good enough that Sheridan — the single most experienced musician in the British rock and roll scene — described them as the best R&B band he’d ever heard. Once they were there, they severed their relationship with Allan Williams, refusing to pay him his share of the money, and just cutting him out of their careers.  Meanwhile, Stuart was starting to get ill. He was having headaches all the time, and had to miss shows on occasion. He was also the only Beatle with a passion for anything else, and he managed to get a scholarship to study art with the famous sculptor Eduardo Paolozzi, who was now working in Hamburg. Paul subbed for Stuart on bass, and eventually Stuart left the group, though on good terms with everyone other than Paul. So it was John, Paul, George and Pete who ended up making the Beatles’ first records. Bert Kaempfert, the most important man in the German music industry, had been to see them all at the Top Ten and liked what he saw. Outside Germany, Kaempfert was probably best known for co-writing Elvis’ “Wooden Heart”, which the Beatles had in their sets at this time: [Excerpt: Elvis Presley, “Wooden Heart”] Kaempfert had signed Tony Sheridan to a contract, and he wanted the Beatles to back him in the studio — and he was also interested in recording a couple of tracks with them on their own. The group eagerly agreed, and their first session started at eight in the morning on the twenty-second of June 1961, after they had finished playing all night at the club, and all of them but Pete were on Preludin for the session. Stuart came along for moral support, but didn’t play. Pete was a problem, though. He wasn’t keeping time properly, and Kaempfert eventually insisted on removing his bass drum and toms, leaving only a snare, hi-hat, and ride cymbal for Pete to play. They recorded seven songs at that session in total. Two of them were just by the Beatles. One was a version of “Ain’t She Sweet”, an old standard which Gene Vincent had recorded fairly recently, but the other was the only track ever credited to Lennon and Harrison as cowriters. On their first trip to Hamburg, they’d wanted to learn “Man of Mystery” by the Shadows: [Excerpt: The Shadows, “Man of Mystery”] But there was a slight problem in that they didn’t have a copy of the record, and had never heard it — it came out in the UK while they were in Germany. So they asked Rory Storm to hum it for them. He hummed a few notes, and Lennon and Harrison wrote a parody of what Storm had sung, which they named “Beatle Bop” but by this point they’d renamed “Cry For a Shadow”: [Excerpt: The Beatles, “Cry For a Shadow”] The other five songs at the session were given over to Tony Sheridan, with the Beatles backing him, and the song that Kaempfert was most interested in recording was one the group had been performing on stage — a rocked-up version of the old folk song “My Bonnie”: [Excerpt: Tony Sheridan and the Beat Brothers, “My Bonnie”] That was the record chosen as the single, but it was released not as by Tony Sheridan and the Beatles, but by Tony Sheridan and the Beat Brothers — “Beatles”, to German ears, sounded a little like “piedels”, a childish slang term for penises. The Beatles had made their first record, but it wasn’t one they thought much of. They knew they could do better. The next week, the now four-piece Beatles returned to Liverpool, with much crying at Stuart staying behind — even Paul, now Stuart was no longer a threat for John’s attention, was contrite and tried to make amends to him.  On their return to Liverpool, they picked up where they had left off, playing almost every night, and spending the days trying to find new records — often listening to the latest releases at NEMS, a department store with an extensive record selection. Brian Epstein, the shop’s manager, prided himself on being able to get any record a customer wanted, and whenever anyone requested anything he’d buy a second copy for the shelves. As a result, you could find records there that you wouldn’t get anywhere else in Liverpool, and the Beatles were soon adding more songs by the Shirelles and Gary US Bonds to their sets, as well as more songs by the Coasters and Ben E. King’s “Stand By Me”. They were playing gigs further afield, and Neil Aspinall was now driving them everywhere. Aspinall was Pete Best’s closest friend — and was having an affair with Pete’s mother — but unlike Pete himself he also became close to the other Beatles, and would remain so for the rest of his life.  By this point, the group were so obviously the best band on the Liverpool scene that they were starting to get bored — there was no competition. And by this point it really was a proper scene — John’s old art school friend Bill Harry had started up a magazine, Mersey Beat, which may be the first magazine anywhere in the world to focus on one area’s local music scene. Brian Epstein from NEMS had a column, as did Bob Wooler, and often John’s humorous writing would appear as well. The Beatles were featured in most issues — although Paul McCartney’s name was misspelled almost every time it appeared — and not just because Lennon and Harry were friends. By this point there were the Beatles, and there were all the other groups in the area. For several months this continued — they learned new songs, they played almost every day, and they continued to be the best. They started to find it boring. The one big change that came at this point was when John and Paul went on holiday to Paris, saw Vince Taylor, bumped into their friend Jurgen from Hamburg, and got Jurgen to do their hair like his — the story we told in the episode on “Brand New Cadillac”. They now had the Beatles haircut, though they were still wearing leather. When they got back, George copied their new style straight away, but Pete decided to leave his hair in a quiff. There was nowhere else to go without a manager to look after them. They needed management — and they found it because of “My Bonnie”: [Excerpt: Tony Sheridan and the Beat Brothers, “My Bonnie”] “My Bonnie” was far from a great record, but it was what led to everything that followed. The Beatles had mentioned from the stage at the Cavern that they had a record out, and a young man named Raymond Jones walked into NEMS and asked for a copy of it. Brian Epstein couldn’t find it in the record company catalogues, and asked Jones for more information — Jones explained that they were a Liverpool group, but the record had come out in Germany. A couple of days later, two young girls came into the shop asking for the same record, and now Epstein was properly intrigued — in his view, if *two* people asked for a record, that probably meant a lot more than just two people wanted it. He decided to check these Beatles out for himself. Epstein was instantly struck by the group, and this has led to a lot of speculation over the years, because his tastes ran more to Sibelius than to Little Richard. As Epstein was also gay, many people have assumed that the attraction was purely physical. And it might well have been, at least in part, but the suggestion that everything that followed was just because of that seems unlikely — Epstein was also someone who had a long interest in the arts, and had trained as an actor at RADA, the most prestigious actors’ college in the UK, before taking up his job at the family store. Given that the Beatles were soon to become the most popular musicians in the history of the world, and were already the most popular musicians in the Liverpool area, the most reasonable assumption must be that Epstein was impressed by the same things that impressed roughly a billion other people over the next sixty years. Epstein started going to the Cavern regularly, to watch the Beatles and to make plans — the immaculately dressed, public-school-educated, older rich man stood out among the crowd, and the Beatles already knew his face from his record shop, and so they knew something was going on. By late November, Brian had managed to obtain a box of twenty-five copies of “My Bonnie”, and they’d sold out within hours. He set up a meeting with the Beatles, and even before he got them signed to a management contract he was using his contacts with the record industry in London to push the Beatles at record companies. Those companies listened to Brian, because NEMS was one of their biggest customers. December 1961, the month they signed with Brian Epstein, was also the month that they finally started including Lennon/McCartney songs in their sets.  And within a couple of weeks of becoming their manager, even before he’d signed them to a contract, Brian had managed to persuade Mike Smith, an A&R man from Decca, to come to the Cavern to see the group in person. He was impressed, and booked them in for a studio session. December 61 was also the first time that John, Paul, George, and Ringo played together in that lineup, without any other musicians, when on the twenty-seventh of December Pete called in sick for a show, and the others got in their friend to cover for him. It wouldn’t be the last time they would play together. On New Year’s Day 1962, the Beatles made the trek down to London to record fifteen songs at the Decca studios. The session was intended for two purposes — to see if they sounded as good on tape as they did in the Cavern, and if they did to produce their first single. Those recordings included the core of their Cavern repertoire, songs like “Money”: [Excerpt: The Beatles, “Money (Decca version)”] They also recorded three Lennon/McCartney songs, two by Paul — “Love of the Loved” and “Like Dreamers Do”: [Excerpt: The Beatles, “Like Dreamers Do”] And one by Lennon — “Hello Little Girl”: [Excerpt: The Beatles, “Hello Little Girl”] And they were Lennon/McCartney songs, even though they were written separately — the two agreed that they were going to split the credit on anything either of them wrote. The session didn’t go well — the group’s equipment wasn’t up to standard and they had to use studio amps, and they’re all audibly nervous — but Mike Smith was still fairly confident that they’d be releasing something through Decca — he just had to work out the details with his boss, Dick Rowe. Meanwhile, the group were making other changes. Brian suggested that they could get more money if they wore suits, and so they agreed — though they didn’t want just any suits, they wanted stylish mohair suits, like the black American groups they loved so much.  The Beatles were now a proper professional group — but unfortunately, Decca turned them down. Dick Rowe, Mike Smith’s boss, didn’t think that electric guitars were going to become a big thing — he was very tuned in to the American trends, and nothing with guitars was charting at the time. Smith was considering two groups — the Beatles, and Brian Poole and the Tremeloes, and wanted to sign both. Rowe told him that he could sign one, but only one, of them. The Tremeloes had been better in the studio, and they lived round the corner from Smith and were friendly with him. There was no contest — much as Smith wanted to sign both groups, the Tremeloes were the better prospect. Rowe did make an offer to Epstein: if Epstein would pay a hundred pounds (a *lot* of money in those days), Tony Meehan, formerly of the Shadows, would produce the group in another session, and Decca would release that. Brian wasn’t interested — if the Beatles were going to make a record, they were going to make it with people who they weren’t having to pay for the privilege. John, Paul, and George were devastated, but for their own reasons they didn’t bother to tell Pete they’d been turned down. But they did have a tape of themselves, at least — a professional-quality recording that they could use to attract other labels. And their career was going forward in other ways. The same day Brian had his second meeting with Decca, they had an audition with the BBC in Manchester, where they were accepted to perform on Teenager’s Turn, a radio programme hosted by the Northern Dance Orchestra. A few weeks later, on the seventh of March, they went to Manchester to record four songs in front of an audience, of which three would be broadcast: [Excerpt: The Beatles, “Please Mr. Postman (Teenager’s Turn)”] That recording of John singing “Please Mr. Postman” is historic for another reason, which shows just how on the cutting edge of musical taste the Beatles actually were — it was the first time ever that a Motown song was played on the BBC. Now we get to the part of the story that, before Mark Lewisohn’s work in his book a few years back, had always been shrouded in mystery. What Lewisohn shows is that George Ma

This week there are two episiodes of the podcast going up, both of them longer than normal. This one, episode one hundred, is the hundredth-episode special and is an hour and a half long. It looks at the early career of the Beatles, and at the three recordings of "Love Me Do". Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Misirlou" by Dick Dale and the Deltones. 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/ ----more---- Resources No Mixclouds this week, as both episodes have far too many songs by one artist. The mixclouds will be back with episode 101. While there are many books on the Beatles, and I have read dozens of them, only one needs to be mentioned as a reference for this episode (others will be used for others). All These Years Vol 1: Tune In by Mark Lewisohn is simply the *only* book worth reading on the Beatles' career up to the end of 1962. It is the most detailed, most accurate, biography imaginable, and the gold standard by which all other biographies of musicians should be measured. I only wish volumes two and three were available already so I could not expect my future episodes on the Beatles to be obsolete when they do come out. There are two versions of the book -- a nine-hundred page mass-market version and a 1700-page expanded edition. I recommend the latter. The information in this podcast is almost all from Lewisohn's book, but I must emphasise that the opinions are mine, and so are any errors -- Lewisohn's book only has one error that I'm aware of (a joke attributed to the comedian Jasper Carrott in a footnote that has since been traced to an earlier radio show). I am only mortal, and so have doubtless misunderstood or oversimplified things and introduced errors where he had none.   The single version of "Love Me Do" can be found on Past Masters, a 2-CD compilation of the Beatles' non-album tracks that includes the majority of their singles and B-sides. The version with Andy White playing on can be found on Please Please Me. The version with Pete Best, and many of the other early tracks used here, is on Anthology 1.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Errata I pronounce the name of Lewisohn's book as "All Those Years" instead of "All These Years". I say " The Jets hadn't liked playing at Williams' club" at one point. I meant "at Koschmider's club"   Transcript   The Beatles came closer than most people realise to never making a record. Until the publication of Mark Lewisohn's seminal biography All These Years vol 1: Tune In, in 2013 everyone thought they knew the true story -- John met Paul at Woolton Village Fete in 1957, and Paul joined the Quarrymen, who later became the Beatles. They played Hamburg and made a demo, and after the Beatles' demo was turned down by Decca, their manager Brian Epstein shopped it around every record label without success, until finally George Martin heard the potential in it and signed them to Parlophone, a label which was otherwise known for comedy records. Martin was, luckily, the one producer in the whole of the UK who could appreciate the Beatles' music, and he signed them up, and the rest was history. The problem is, as Lewisohn showed, that's not what happened. Today I'm going to tell, as best I can the story of how the Beatles actually became the band that they became, and how they got signed to EMI records. I'm going to tell you the story of "Love Me Do": [Excerpt: The Beatles, "Love Me Do (single version)"] As I mentioned at the beginning, this episode owes a *huge* debt to Mark Lewisohn's book. I like to acknowledge my sources, anyway, but I've actually had difficulty with this episode because Lewisohn's book is *so* detailed, *so* full, and written *so* well that much of the effort in writing this episode came from paring down the information, rather than finding more, and from reworking things so I was not just paraphrasing bits of his writing. Normally I rely on many sources, and integrate the material myself, but Lewisohn has done all that work far better than any other biographer of any other musician. Were the Beatles not such an important part of music history, I would just skip this episode because there is nothing for me to add. As it is, I *obviously* have to cover this, but I almost feel like I'm cheating in doing so. If you find this episode interesting at all, please do yourself a favour and buy that book.  This episode is going to be a long one -- much longer than normal. I won't know the precise length until after I've recorded and edited it, of course, but I'm guessing it's going to be about ninety minutes. This is the hundredth episode, the end of the second year of the podcast, the end of the second book based on the podcast, and the introduction of the single most important band in the whole story, so I'm going to stretch out a bit. I should also mention that there are a couple of discussions of sudden, traumatic, deaths in this episode. With all that said, settle in, this is going to take a while. Every British act we've looked at so far -- and many of those we're going to look at in the next year or two -- was based in London. Either they grew up there, or they moved there before their musical career really took off. The Beatles, during the time we're covering in this episode, were based in Liverpool. While they did eventually move to London, it wasn't until after they'd started having hits. And what listeners from outside the UK might not realise is what that means in terms of attitudes and perceptions. Liverpool is a large city -- it currently has a population of around half a million, and the wider Liverpool metropolitan area is closer to two million -- but like all British cities other than London, it was regarded largely as a joke in the British media, and so in return the people of Liverpool had a healthy contempt for London. To give Americans some idea of how London dominates in Britain, and thus how it's thought of outside London, imagine that New York, Washington DC, and Los Angeles were all the same city -- that the financial, media, and political centres of the country were all the same place. Now further imagine that Silicon Valley and all the Ivy League universities were half an hour's drive from that city. Now, imagine how much worse the attitudes that that city would have about so-called "flyover states" would be, and imagine in return how people in large Midwestern cities like Detroit or Chicago would think about that big city.  In this analogy, Liverpool is Detroit, and like Detroit, it was very poor and had produced a few famous musicians, most notably Billy Fury, who was from an impoverished area of Liverpool called the Dingle: [Excerpt: Billy Fury, "Halfway to Paradise"] But Fury had, of course, moved to London to have his career. That's what you did. But in general, Liverpool, if people in London thought of it at all, was thought of as a provincial backwater full of poor people, many of them Irish, and all of them talking with a ridiculous accent. Liverpool was ignored by London, and that meant that things could develop there out of sight. The story of the Beatles starts in the 1950s, with two young men in their mid-teens. John Winston Lennon was born in 1940, and had had a rather troubled childhood. His father had been a merchant seaman who had been away in the war, and his parents' relationship had deteriorated for that and other reasons. As a result, Lennon had barely known his father, and when his mother met another man, Lennon's aunt, Mary Smith, who he always called Mimi, had taken him in, believing that his mother "living in sin" would be a bad influence on the young boy. The Smith family were the kind of lower middle class family that seemed extremely rich to the impoverished families in Liverpool, but were not well off by any absolute standard. Mimi, in particular, was torn between two very different urges. On one hand, she had strongly bohemian, artistic, urges -- as did all of her sisters. She was a voracious reader, and a lover of art history, and encouraged these tendencies in John. But at the same time, she was of that class which has a little status, but not much security, and so she was extremely wary of the need to appear respectable. This tension between respectability and rebellion was something that would appear in many of the people who Lennon later worked with, such as Brian Epstein and George Martin, and it was something that Lennon would always respond to -- those people would be the only ones who Lennon would ever view as authority figures he could respect, though he would also resent them at times. And it might be that combination of rebellion and respectability that Lennon saw in Paul McCartney. McCartney was from a family who, in the Byzantine world of the British class system of the time, were a notch or so lower than the Smith family who raised Lennon, but he was academically bright, and his family had big plans for him -- they thought that it might even be possible that he might become a teacher if he worked very hard at school. McCartney was a far less openly rebellious person than Lennon was, but he was still just as caught up in the music and fashions of the mid-fifties that his father associated with street gangs and hooliganism. Lennon, like many teenagers in Britain at the time, had had his life changed when he first heard Elvis Presley, and he had soon become a rock and roll obsessive -- Elvis was always his absolute favourite, but he also loved Little Richard, who he thought was almost as good, and he admired Buddy Holly, who had a special place in Lennon's heart as Holly wore glasses on stage, something that Lennon, who was extremely short-sighted, could never bring himself to do, but which at least showed him that it was a possibility. Lennon was, by his mid-teens, recreating a relationship with his mother, and one of the things they bonded over was music -- she taught him how to play the banjo, and together they worked out the chords to "That'll Be the Day", and Lennon later switched to the guitar, playing banjo chords on five of the six strings.  Like many, many, teenagers of the time, Lennon also formed a skiffle group, which he called the Quarrymen, after a line in his school song. The group tended to have a rotating lineup, but Lennon was the unquestioned leader. The group had a repertoire consisting of the same Lonnie Donegan songs that every other skiffle group was playing, plus any Elvis and Buddy Holly songs that could sound reasonable with a lineup of guitars, teachest bass, and washboard. The moment that changed the history of the music, though, came on July the sixth, 1957, when Ivan Vaughan, a friend of Lennon's, invited his friend Paul McCartney to go and see the Quarry Men perform at Woolton Village Fete. That day has gone down in history as "the day John met Paul", although Mark Lewisohn has since discovered that Lennon and McCartney had briefly met once before. It is, though, the day on which Lennon and McCartney first impressed each other musically. McCartney talks about being particularly impressed that the Quarry Men's lead singer was changing the lyrics to the songs he was performing, making up new words when he forgot the originals -- he says in particular that he remembers Lennon singing "Come Go With Me" by the Del-Vikings: [Excerpt: The Del-Vikings, "Come Go With Me"] McCartney remembers Lennon as changing the lyrics to "come go with me, right down to the penitentiary", and thinking that was clever. Astonishingly, some audio recording actually exists of the Quarry Men's second performance that day -- they did two sets, and this second one comes just after Lennon met McCartney rather than just before. The recording only seems to exist in a very fragmentary form, which has snatches of Lennon singing "Baby Let's Play House" and Lonnie Donegan's hit "Puttin' on the Style", which was number one on the charts at the time, but that even those fragments have survived, given how historic a day this was, is almost miraculous: [Excerpt: The Quarrymen, "Puttin' on the Style"] After the first set, Lennon met McCartney, who was nearly two years younger, but a more accomplished musician -- for a start, he knew how to tune the guitar with all six strings, and to proper guitar tuning, rather than tuning five strings like a banjo. Lennon and his friends were a little nonplussed by McCartney holding his guitar upside-down at first -- McCartney is left-handed -- but despite having an upside-down guitar with the wrong tuning, McCartney managed to bash out a version of Eddie Cochran's "Twenty-Flight Rock", a song he would often perform in later decades when reminding people of this story: [Excerpt: Paul McCartney, "Twenty-Flight Rock"] This was impressive to Lennon for three reasons. The first was that McCartney was already a strong, confident performer -- he perhaps seemed a little more confident than he really was, showing off in front of the bigger boys like this. The second was that "Twenty-Flight Rock" was a moderately obscure song -- it hadn't charted, but it *had* appeared in The Girl Can't Help It, a film which every rock and roll lover in Britain had watched at the cinema over and over. Choosing that song rather than, say, "Be-Bop-A-Lula", was a way of announcing a kind of group affiliation -- "I am one of you, I am a real rock and roll fan, not just a casual listener to what's in the charts". I stress that second point because it's something that's very important in the history of the Beatles generally -- they were *music fans*, and often fans of relatively obscure records. That's something that bound Lennon and McCartney, and later the other members, together from the start, and something they always noted about other musicians. They weren't the kind of systematic scholars who track down rare pressings and memorise every session musician's name, but they were constantly drawn to find the best new music, and to seek it out wherever they could. But the most impressive thing for Lennon -- and one that seems a little calculated on McCartney's part, though he's never said that he thought about this that I'm aware of -- was that this was an extremely wordy song, and McCartney *knew all the words*. Remember that McCartney had noticed Lennon forgetting the words to a song with lyrics as simple as "come, come, come, come, come into my heart/Tell me darling we will never part", and here's McCartney singing this fast-paced, almost patter song, and getting the words right.  From the beginning, McCartney was showing how he could complement Lennon -- if Lennon could impress McCartney by improvising new lyrics when he forgot the old ones, then McCartney could impress Lennon by remembering the lyrics that Lennon couldn't -- and by writing them down for Lennon, sharing his knowledge freely. McCartney went on to show off more, and in particular impressed Lennon by going to a piano and showing off his Little Richard imitation. Little Richard was the only serious rival to Elvis in Lennon's affections, and McCartney could do a very decent imitation of him. This was someone special, clearly. But this put Lennon in a quandary. McCartney was clearly far, far, better than any of the Quarry Men -- at least Lennon's equal, and light years ahead of the rest of them. Lennon had a choice -- invite this young freak of nature into his band, and improve the band dramatically, but no longer be the unquestioned centre of the group, or remain in absolute control but not have someone in the group who *knew the words* and *knew how to tune a guitar*, and other such magical abilities that no mere mortals had. Those who only know of Lennon from his later reputation as a massive egoist would be surprised, but he decided fairly quickly that he had to make the group better at his own expense. He invited McCartney to join the group, and McCartney said yes. Over the next few months the membership of the Quarry Men changed. They'd been formed while they were all at Quarry Bank Grammar School, but that summer Lennon moved on to art school. I'm going to have to talk about the art school system, and the British education system of the fifties and early sixties a lot over the next few months, but here's an extremely abbreviated and inaccurate version that's good enough for now. Between the ages of eleven and sixteen, people in Britain -- at least those without extremely rich parents, who had a different system -- went to two kinds of school depending on the result of an exam they took aged eleven, which was based on some since-discredited eugenic research about children's potential. If you passed the exam, you were considered academically apt, and went to a grammar school, which was designed to filter you through to university and the professions. If you failed the exam, you went to a secondary modern, which was designed to give you the skills to get a trade and make a living working with your hands. And for the most part, people followed the pipeline that was set up for them. You go to grammar school, go to university, become a lawyer or a doctor or a teacher. You go to secondary modern, leave school at fourteen, become a plumber or a builder or a factory worker. But there are always those people who don't properly fit into the neat categories that the world tries to put them in. And for people in their late teens and early twenties, people who'd been through the school system but not been shaped properly by it, there was another option at this time. If you were bright and creative, but weren't suited for university because you'd failed your exams, you could go to art school. The supposed purpose of the art schools was to teach people to do commercial art, and they would learn skills like lettering and basic draughtsmanship. But what the art schools really did was give creative people space to explore ideas, to find out about areas of art and culture that would otherwise have been closed to them. Keith Richards, Pete Townshend, Ian Dury, Ray Davies, Bryan Ferry, Syd Barrett, and many more people we'll be seeing over the course of this story went to art school, and as David Bowie would put it later, the joke at the time was that you went to art school to learn to play blues guitar. With Lennon and his friends all moving on from the school that had drawn them together, the group stabilised for a time on a lineup of Lennon, McCartney, Colin Hanton, Len Garry, and Eric Griffiths. But the first time this version of the group played live, while McCartney sang well, he totally fluffed his lead guitar lines on stage. While there were three guitarists in the band at this point, they needed someone who could play lead fluently and confidently on stage. Enter George Harrison, who had suddenly become a close friend of McCartney. Harrison went to the same school as McCartney -- a grammar school called the Liverpool Institute, but was in the year below McCartney, and so the two had always been a bit distant. However, at the same time as Lennon was moving on to art school after failing his exams, McCartney was being kept back a year for failing Latin -- which his father always thought was deliberate, so he wouldn't have to go to university. Now he was in the same year at school as Harrison, and they started hanging out together. The two bonded strongly over music, and would do things like take a bus journey to another part of town, where someone lived who they heard owned a copy of "Searchin'" by the Coasters: [Excerpt: The Coasters, "Searchin'"] The two knocked on this stranger's door, asked if he'd play them this prized record, and he agreed -- and then they stole it from him as they left his house. Another time they took the bus to another part of town again, because they'd heard that someone in that part of town knew how to play a B7 chord on his guitar, and sat there as he showed them. So now the Quarrymen needed a lead guitarist, McCartney volunteered his young mate. There are a couple of stories about how Harrison came to join the band -- apparently he auditioned for Lennon at least twice, because Lennon was very unsure about having such a young kid in his band -- but the story I like best is that Harrison took his guitar to a Quarry Men gig at Wilson Hall -- he'd apparently often take his guitar to gigs and just see if he could sit in with the bands. On the bill with the Quarry Men was another group, the Eddie Clayton Skiffle Group, who were generally regarded as the best skiffle band in Liverpool. Lennon told Harrison that he could join the band if he could play as well as Clayton, and Harrison took out his guitar and played "Raunchy": [Excerpt: Bill Justis, "Raunchy"] I like this story rather than the other story that the members would tell later -- that Harrison played "Raunchy" on a bus for Lennon -- for one reason. The drummer in the Eddie Clayton Skiffle Group was one Richy Starkey, and if it happened that way, the day that George joined the Quarry Men was also the day that John, Paul, George, and Ringo were all in the same place for the first time. George looked up to John and essentially idolised him, though Lennon thought of him as a little annoying at times -- he'd follow John everywhere, and not take a hint when he wasn't wanted sometimes, just eager to be with his big cool new mate. But despite this tiny bit of tension, John, Paul, and George quickly became a solid unit -- helped by the fact that the school that Paul and George went to was part of the same complex of buildings as Lennon's art college, so they'd all get the bus there and back together.  George was not only younger, he was a notch or two further down the social class ladder than John or Paul, and he spoke more slowly, which made him seem less intelligent. He came from Speke, which was a rougher area, and he would dress even more like a juvenile delinquent than the others. Meanwhile, Len Garry and Eric Griffiths left the group -- Len Garry because he became ill and had to spend time in hospital, and anyway they didn't really need a teachest bass. What they did need was an electric bass, and since they had four guitars now they tried to persuade Eric to get one, but he didn't want to pay that much money, and he was always a little on the outside of the main three members, as he didn't share their sense of humour. So the group got Nigel Walley, who was acting as the group's manager, to fire him. The group was now John, Paul, and George all on guitars, and Colin Hanton on drums. Sometimes, if they played a venue that had a piano, they'd also bring along a schoolfriend of Paul's, John "Duff" Lowe, to play piano. Meanwhile, the group were growing in other ways. Both John and Paul had started writing songs, together and apart. McCartney seems to have been the first, writing a song called "I Lost My Little Girl" which he would eventually record more than thirty years later: [Excerpt: Paul McCartney, "I Lost My Little Girl"] Lennon's first song likewise sang about a little girl, this time being "Hello, Little Girl". By the middle of 1958, this five-piece group was ready to cut their first record -- at a local studio that would cut a single copy of a disc for you. They went into this studio at some time around July 1958, and recorded two songs. The first was their version of "That'll Be the Day": [Excerpt: The Quarry Men, "That'll be the Day"] The B-side was a song that McCartney had written, with a guitar solo that George had come up with, so the label credit read "McCartney/Harrison". "In Spite of All the Danger" seems to have been inspired by Elvis' "Trying to Get to You": [Excerpt: Elvis Presley, "Trying to Get to You"] It's a rough song, but a good attempt for a teenager who had only just started writing songs: [Excerpt: The Quarry Men, "In Spite of All the Danger"] Apparently Lowe and Hanton hadn't heard the song before they started playing, but they make a decent enough fist of it in the circumstances. Lennon took the lead even though it was McCartney's song -- he said later "I was such a bully in those days I didn’t even let Paul sing his own song." That was about the last time that this lineup of Quarry Men played together. In July, the month that seems likely for the recording, Lowe finished at the Liverpool Institute, and so he drifted away from McCartney and Harrison. Meanwhile Hanton had a huge row with the others after a show, and they fell out and never spoke again. The Quarry Men were reduced to a trio of Lennon, McCartney, and Harrison. But -- possibly the very day after that recording if an unreliable plaque at the studio where they recorded it is to be believed -- something happened which was to have far more impact on the group than the drummer leaving. John Lennon's mother, with whom he'd slowly been repairing his relationship, had called round to visit Mimi. She left the house, and bumped into Nigel Walley, who was calling round to see John. She told him he wasn't there, and that he could walk with her to the bus stop. They walked a little while, then went off in different directions. Walley heard a thump and turned round -- Julia Lennon had been hit by a car and killed instantly. As you can imagine, John's mother dying caused him a huge amount of distress, but it also gave him a bond with McCartney, whose own mother had died of cancer shortly before they met. Neither really spoke about it to each other, and to the extent they did it was with ultra-cynical humour -- but the two now shared something deeper than just the music, even though the music itself was deep enough. Lennon became a much harder, nastier, person after this, at least for a time, his natural wit taking on a dark edge, and he would often drink too much and get aggressive. But life still went on, and John, Paul, and George kept trying to perform -- though the gigs dried up, and they didn't have a drummer any more. They'd just say "the rhythm's in the guitars" when asked why they didn't have one. They were also no longer the Quarry Men -- they didn't have a name. At one point late in the year, they also only had two guitars between the three of them -- Lennon seems to have smashed his in a fit of fury after his mother's death. But he stole one backstage at a talent contest, and soon they were back to having three. That talent show was one run by Carroll Levis, who we talked about before in the episode on "Shakin' All Over". The three boys went on Levis' show, this time performing as Johnny & The Moondogs --  in Manchester, at the Hippodrome in Ancoats, singing Buddy Holly's "Think it Over": [Excerpt: The Crickets, "Think it Over"] Lennon sang lead with his arms draped over the shoulders of Paul and George, who sang backing vocals and played guitar. They apparently did quite well, but had to leave before the show finished to get the last train back to Liverpool, and so never found out whether the audience would have made them the winner, with the possibility of a TV appearance. They did well enough, though, to impress a couple of other young lads on the bill, two Manchester singers named Allan Clarke and Graham Nash. But in general, the Japage Three, a portmanteau of their names that they settled on as their most usual group name at this point, played very little in 1959 -- indeed, George spent much of the early part of the year moonlighting in the Les Stewart Quartet, another group, though he still thought of Lennon and McCartney as his musical soulmates; the Les Stewart Quartet were just a gig.  The three of them would spend much of their time at the Jacaranda, a coffee bar opened by a Liverpool entrepreneur, Allan Williams, in imitation of the 2is, which was owned by a friend of his. Lennon was also spending a lot of time with an older student at his art school, Stuart Sutcliffe, one of the few people in the world that Lennon himself looked up to. The Les Stewart Quartet would end up indirectly being key to the Beatles' development, because after one of their shows at a local youth club they were approached by a woman named Mona Best. Mona's son Pete liked to go to the youth club, but she was fairly protective of him, and also wanted him to have more friends -- he was a quiet boy who didn't make friends easily. So she'd hit upon a plan -- she'd open her own club in her cellar, since the Best family were rich enough to have a big house. If there was a club *in Pete's house* he'd definitely make lots of friends. They needed a band, and she asked the Les Stewart Quartet if they'd like to be the resident band at this new club, the Casbah, and also if they'd like to help decorate it.  They said yes, but then Paul and George went on a hitch-hiking holiday around Wales for a few days, and George didn't get back in time to play a gig the quartet had booked. Ken Brown, the other guitarist, didn't turn up either, and Les Stewart got into a rage and split the group. Suddenly, the Casbah had no group -- George and Ken were willing to play, but neither was a lead singer -- and no decorators either. So George roped in John and Paul, who helped decorate the place, and with the addition of Ken Brown, the group returned to the Quarry Men name for their regular Saturday night gig at the Casbah. The group had no bass player or drummer, and they all kept pestering everyone they knew to get a bass or a drum kit, but nobody would bite. But then Stuart Sutcliffe got half a painting in an exhibition put on by John Moores, the millionaire owner of Littlewoods, who was a big patron of the arts in Liverpool. I say he got half a painting in the exhibition, because the painting was done on two large boards -- Stuart and his friends took the first half of the painting down to the gallery, went back to get the other half, and got distracted by the pub and never brought it. But Moores was impressed enough with the abstract painting that he bought it at the end of the exhibition's run, for ninety pounds -- about two thousand pounds in today's money. And so Stuart's friends gave him a choice -- he could either buy a bass or a drum kit, either would be fine. He chose the bass. But the same week that Stuart joined, Ken Brown was out, and they lost their gig at the Casbah. John, Paul, George and Ken had turned up one Saturday, and Ken hadn't felt well, so instead of performing he just worked on the door. At the end of the show, Mona Best insisted on giving Ken an equal share of the money, as agreed. John, Paul, and George wouldn't stand for that, and so Ken was out of the group, and they were no longer playing for Mona Best. Stuart joining the group caused tensions -- George was fine with him, thinking that a bass player who didn't yet know how to play was better than no bass player at all, but Paul was much less keen. Partly this was because he thought the group needed to get better, which would be hard with someone who couldn't play, but also he was getting jealous of Sutcliffe's closeness to Lennon, especially when the two became flatmates. But John wanted him in the group, and what John wanted, he got. There are recordings of the group around this time that circulate -- only one has been released officially, a McCartney instrumental called "Cayenne", but the others are out there if you look: [Excerpt: The Quarry Men, "Cayenne"] The gigs had dried up again, but they did have one new advantage -- they now had a name they actually liked. John and Stuart had come up with it, inspired by Buddy Holly's Crickets. They were going to be Beatles, with an a. Shortly after the Beatles' first appearance under that name, at the art school student union, came the Liverpool gig which was to have had Eddie Cochran and Gene Vincent headlining, before Cochran died. A lot of Liverpool groups were booked to play on the bill there, but not the Beatles -- though Richy Starkey was going to play the gig, with his latest group Rory Storm and the Hurricanes. Allan Williams, the local promoter, added extra groups to fill out the bill, including Gerry and the Pacemakers, and suddenly everyone who loved rock and roll in Liverpool realised that there were others out there like them. Overnight, a scene had been born. And where there's a scene, there's money to be made. Larry Parnes, who had been the national promoter of the tour, was at the show and realised that there were a lot of quite proficient musicians in Liverpool. And it so happened that he needed backing bands for three of his artists who were going on tour, separately -- two minor stars, Duffy Power and Johnny Gentle, and one big star, Billy Fury. And both Gentle and Fury were from Liverpool themselves. So Parnes asked Allan Williams to set up auditions with some of the local groups. Williams invited several groups, and one he asked along was the Beatles, largely because Lennon and Sutcliffe begged him. He also found them a drummer, Tommy Moore, who was a decade older than the rest of them -- though Moore didn't turn up to the audition because he had to work, and so Johnny "Hutch" Hutchinson of Cass and the Cassanovas sat in with them, much to Hutch's disgust -- he hated the Beatles, and especially Lennon.  Cass of the Cassanovas also insisted that "the Beatles" was a stupid name, and that the group needed to be Something and the Somethings, and he suggested Long John and the Silver Beatles, and that stuck for a couple of shows before they reverted to their proper name. The Beatles weren't chosen for any of the main tours that were being booked, but then Parnes phoned Williams up -- there were some extra dates on the Johnny Gentle tour that he hadn't yet booked a group for. Could Williams find him a band who could be in Scotland that Friday night for a nine-day tour? Williams tried Cass and the Cassanovas, Rory Storm and the Hurricanes, and Gerry and the Pacemakers, but none of them could go on tour at such short notice. They all had gigs booked, or day jobs they had to book time off with. The Beatles had no gigs booked, and only George had a day job, and he didn't mind just quitting that. They were off to Scotland. They were so inspired by being on tour with a Larry Parnes artist that most of them took on new names just like those big stars -- George became Carl Harrison, after Carl Perkins, Stuart became Stuart de Staël, after his favourite painter, and Paul became Paul Ramon, which he thought sounded mysterious and French. There's some question about whether John took on a new name -- some sources have him becoming "Long John", while others say he was "Johnny" Lennon rather than John. Tommy Moore, meanwhile, was just Thomas Moore. It was on this tour, of course, that Lennon helped Johnny Gentle write "I've Just Fallen For Someone", which we talked about last week: [Excerpt: Darren Young, "I've Just Fallen For Someone"] The tour was apparently fairly miserable, with horrible accommodation, poor musicianship from the group, and everyone getting on everyone's nerves -- George and Stuart got into fistfights, John bullied Stuart a bit because of his poor playing, and John particularly didn't get on well with Moore -- a man who was a decade older, didn't share their taste in music, and worked in a factory rather than having the intellectual aspirations of the group. The two hated each other by the end of the tour. But the tour did also give the group the experience of signing autographs, and of feeling like stars in at least a minor way. When they got back to Liverpool, George moved in with John and Stuart, to get away from his mum telling him to get a proper job, and they got a few more bookings thanks to Williams, but they soon became drummerless -- they turned up to a gig one time to find that Tommy Moore wasn't there. They went round to his house, and his wife shouted from an upstairs window, "Yez can piss off, he's had enough of yez and gone back to work at the bottle factory". The now four-piece group carried on, however, and recordings exist of them in this period, sounding much more professional than only a few months before, including performances of some of their own songs. The most entertaining of these is probably "You'll Be Mine", an Ink Spots parody with some absurd wordplay from Lennon: [Excerpt: The Beatles, "You'll Be Mine"] Soon enough the group found another drummer, Norm Chapman, and carried on as before, getting regular bookings thanks to Williams. There was soon a temporary guest at the flat John, Stuart, and George shared with several other people -- Royston Ellis, the Beat poet and friend of the Shadows, had turned up in Liverpool and latched on to the group, partly because he fancied George. He performed with them a couple of times, crashed at the flat, and provided them with two formative experiences -- he gave them their first national press, talking in Record and Show Mirror about how he wanted them to be his full-time group, and he gave them their first drug experience, showing them how to get amphetamines out of inhalers. While the group's first national press was positive, there was soon some very negative press indeed associated with them. A tabloid newspaper wanted to do a smear story about the dangerous Beatnik menace. The article talked about how "they revel in filth", and how beatniks were "a dangerous menace to our young people… a corrupting influence of drug addicts and peddlers, degenerates who specialise in obscene orgies". And for some reason -- it's never been made clear exactly how -- the beatnik "pad" they chose to photograph for this story was the one that John, Stuart, and George lived in, though they weren't there at the time -- several of their friends and associates are in the pictures though. They were all kicked out of their flat, and moved back in with their families, and around this time they lost Chapman from the group too -- he was called up to do his National Service, one of the last people to be conscripted before conscription ended for good. They were back to a four-piece again, and for a while Paul was drumming. But then, as seems to have happened so often with this group, a bizarre coincidence happened. A while earlier, Allan Williams had travelled to Hamburg, with the idea of trying to get Liverpool groups booked there. He'd met up with Bruno Koschmider, the owner of a club called the Kaiserkeller. Koschmider had liked the idea, but nothing had come of it, partly because neither could speak the other's language well. A little while later, Koschmider had remembered the idea and come over to the UK to find musicians. He didn't remember where Williams was from, so of course he went to London, to the 2is, and there he found a group of musicians including Tony Sheridan, who we talked about back in the episode on "Brand New Cadillac", the man who'd been Vince Taylor's lead guitarist and had a minor solo career: [Excerpt: Tony Sheridan, "Why?"] Sheridan was one of the most impressive musicians in Britain, but he also wanted to skip the country -- he'd just bought a guitar on credit in someone else's name, and he also had a wife and six-month-old baby he wanted rid of. He eagerly went off with Koschmider, and a scratch group called the Jets soon took up residence at the Kaiserkeller. Meanwhile, in Liverpool, Derry and the Seniors were annoyed. Larry Parnes had booked them for a tour, but then he'd got annoyed at the unprofessionalism of the Liverpool bands he was booking and cancelled the booking, severing his relationship with Williams. The Seniors wanted to know what Williams was going to do about it.  There was no way to get them enough gigs in Liverpool, so Williams, being a thoroughly decent man who had a sense of obligation, offered to drive the group down to London to see if they could get work there. He took them to the 2is, and they were allowed to get up and play there, since Williams was a friend of the owner. And Bruno Koschmider was there. The Jets hadn't liked playing at Williams' club, and they'd scarpered to another one with better working conditions, which they helped get off the ground and renamed the Top Ten, after Vince Taylor's club in London. So Bruno had come back to find another group, and there in the same club at the same time was the man who'd given him the idea in the first place, with a group. Koschmider immediately signed up Derry and the Seniors to play at the Kaiserkeller.  Meanwhile, the best gig the Beatles could get, also through Williams, was backing a stripper, where they played whatever instrumentals they knew, no matter how inappropriate, things like the theme from The Third Man: [Excerpt: Anton Karas, "Theme from The Third Man"] A tune guaranteed to get the audience into a sexy mood, I'm sure you'll agree. But then Allan Williams got a call from Koschmider. Derry and the Seniors were doing great business, and he'd decided to convert another of his clubs to be a rock and roll club. Could Williams have a group for him by next Friday? Oh, and it needed to be five people. Williams tried Rory Storm and the Hurricanes. They were busy. He tried Cass and the Cassanovas. They were busy. He tried Gerry and the Pacemakers. They were busy. Finally, he tried the Beatles. They weren't busy, and said yes they could go to Hamburg that week. There were a few minor issues, like there not being five of them, none of them having passports, and them not having a drummer. The passports could be sorted quickly -- there's a passport office in Liverpool -- but the lack of a fifth Beatle was more of a problem. In desperation, they turned eventually to Pete Best, Mrs. Best's son, because they knew he had a drum kit. He agreed.  Allan Williams drove the group to Hamburg, and they started playing six-hour sets every night at the Indra, not finishing til three in the morning, at which point they'd make their way to their lodgings -- the back of a filthy cinema.  By this time, the Beatles had already got good -- Howie Casey, of Derry and the Seniors, who'd remembered the Beatles as being awful at the Johnny Gentle audition, came over to see them and make fun of them, but found that they were far better than they had been. But playing six hours a night got them *very* good *very* quickly -- especially as they decided that they weren't going to play the same song twice in a night, meaning they soon built up a vast repertoire. But right from the start, there was a disconnect between Pete Best and the other four -- they socialised together, and he went off on his own. He was also a weak player -- he was only just starting to learn -- and so the rest of the group would stamp their feet to keep him in time. That, though, also gave them a bit more of a stage act than they might otherwise have had. There are lots of legendary stories about the group's time in Hamburg, and it's impossible to sort fact from fiction, and the bits we can sort out would get this podcast categorised as adult content, but they were teenagers, away from home for a long period for the first time, living in a squalid back room in the red light district of a city with a reputation for vice. I'm sure whatever you imagine is probably about right. After a relatively short time, they were moved from the Indra, which had to stop putting on rock and roll shows, to the Kaiserkeller, where they shared the bill with Rory Storm & the Hurricanes, up to that point considered Liverpool's best band. There's a live recording of the Hurricanes from 1960, which shows that they were certainly powerful: [Excerpt: Rory Storm and the Hurricanes, "Brand New Cadillac"] That recording doesn't have the Hurricanes' normal drummer on, who was sick for that show. But compared to what the Beatles had become -- a stomping powerhouse with John Lennon, whose sense of humour was both cruel and pointed, doing everything he could to get a rise out of the audience -- they were left in the dust. A letter home that George Harrison wrote sums it up -- "Rory Storm & the Hurricanes came out here the other week, and they are crumby. He does a bit of dancing around but it still doesn’t make up for his phoney group. The only person who is any good in the group is the drummer." That drummer was Richy Starkey from the Eddie Clayton Skiffle Group, now performing as Ringo Starr. They struck up a friendship, and even performed together at least once -- John, Paul, George, and Ringo acting as the backing group for Lu Walters of the Hurricanes on a demo, which is frustratingly missing and hasn't been heard since. They were making other friends, too. There was Tony Sheridan, who they'd seen on TV, but who would now sometimes jam with them as equals. And there was a trio of arty bohemian types who had stumbled across the club, where they were very out of place -- Astrid Kirscherr, Klaus Voormann, and Jurgen Vollmer. They all latched on to the Beatles, and especially to Stuart, who soon started dating Astrid, despite her speaking no English and him speaking no German. But relations between Koschmider and the Beatles had worsened, and he reported to the police that George, at only seventeen, was under-age. George got deported. The rest of the group decided to move over to the Top Ten Club, and as a parting gift, Paul and Pete nailed some condoms to their bedroom wall and set fire to them. Koschmider decided to report this to the police as attempted arson, and those two were deported as well. John followed a week later, while Stuart stayed in Hamburg for a while, to spend more time with Astrid, who he planned to marry. The other four regrouped, getting in a friend, Chas Newby, as a temporary bass player while Stuart was away. And on the twenty-seventh of December, 1960, when they played Litherland Town Hall, they changed the Liverpool music scene. They were like nothing anyone had ever seen, and the audience didn't dance -- they just rushed to the stage, to be as close to the performance as possible. The Beatles had become the best band in Liverpool. Mark Lewisohn goes further, and suggests that the three months of long nights playing different songs in Hamburg had turned them into the single most experienced rock band *in the world* -- which seems vanishingly unlikely to me, but Lewisohn is not a man given to exaggeration. By this time, Mona Best had largely taken over the group's bookings, and there were a lot of them, as well as a regular spot at the Casbah. Neil Aspinall, a friend of Pete's, started driving them to gigs, while they also had a regular MC, Bob Wooler, who ran many local gigs, and who gave the Beatles their own theme music -- he'd introduce them with the fanfare from Rossini's William Tell Overture: [Excerpt: Rossini, "William Tell Overture"] Stuart came over from Hamburg in early January, and once again the Beatles were a five-piece -- and by now, he could play quite well, well enough, at any rate, that it didn't destroy the momentum the group had gathered. The group were getting more and more bookings, including the venue that would become synonymous with them, the Cavern, a tiny little warehouse cellar that had started as a jazz club, and that the Quarry Men had played once a couple of years earlier, but had been banned from for playing too much rock and roll. Now, the Beatles were getting bookings at the Cavern's lunchtime sessions, and that meant more than it seemed. Most of the gigs they played otherwise were on the outskirts of the city, but the Cavern was in the city centre. And that meant that for the lunchtime sessions, commuters from outside the city were coming to see them -- which meant that the group got fans from anywhere within commuting distance, fans who wanted them to play in their towns. Meanwhile, the group were branching out musically -- they were particularly becoming fascinated by the new R&B, soul, and girl-group records that were coming out in the US. After already having loved "Money" by Barrett Strong, John was also obsessed with the Miracles, and would soon become a fervent fan of anything Motown, and the group were all big fans of the Shirelles. As they weren't playing original material live, and as every group would soon learn every other group's best songs, there was an arms race on to find the most exciting songs to cover. As well as Elvis and Buddy and Eddie, they were now covering the Shirelles and Ray Charles and Gary US Bonds. The group returned to Hamburg in April, Paul and Pete's immigration status having been resolved and George now having turned eighteen, and started playing at the Top Ten club, where they played even longer sets, and more of them, than they had at the Kaiserkeller and the Indra. Tony Sheridan started regularly joining them on stage at this time, and Paul switched to piano while Sheridan added the third guitar. This was also when they started using Preludin, a stimulant related to amphetamines which was prescribed as a diet drug -- Paul would take one pill a night, George a couple, and John would gobble them down. But Pete didn't take them -- one more way in which he was different from the others -- and he started having occasional micro-sleeps in the middle of songs as the long nights got to him, much to the annoyance of the rest of the group. But despite Pete's less than stellar playing they were good enough that Sheridan -- the single most experienced musician in the British rock and roll scene -- described them as the best R&B band he'd ever heard. Once they were there, they severed their relationship with Allan Williams, refusing to pay him his share of the money, and just cutting him out of their careers.  Meanwhile, Stuart was starting to get ill. He was having headaches all the time, and had to miss shows on occasion. He was also the only Beatle with a passion for anything else, and he managed to get a scholarship to study art with the famous sculptor Eduardo Paolozzi, who was now working in Hamburg. Paul subbed for Stuart on bass, and eventually Stuart left the group, though on good terms with everyone other than Paul. So it was John, Paul, George and Pete who ended up making the Beatles' first records. Bert Kaempfert, the most important man in the German music industry, had been to see them all at the Top Ten and liked what he saw. Outside Germany, Kaempfert was probably best known for co-writing Elvis' "Wooden Heart", which the Beatles had in their sets at this time: [Excerpt: Elvis Presley, "Wooden Heart"] Kaempfert had signed Tony Sheridan to a contract, and he wanted the Beatles to back him in the studio -- and he was also interested in recording a couple of tracks with them on their own. The group eagerly agreed, and their first session started at eight in the morning on the twenty-second of June 1961, after they had finished playing all night at the club, and all of them but Pete were on Preludin for the session. Stuart came along for moral support, but didn't play. Pete was a problem, though. He wasn't keeping time properly, and Kaempfert eventually insisted on removing his bass drum and toms, leaving only a snare, hi-hat, and ride cymbal for Pete to play. They recorded seven songs at that session in total. Two of them were just by the Beatles. One was a version of "Ain't She Sweet", an old standard which Gene Vincent had recorded fairly recently, but the other was the only track ever credited to Lennon and Harrison as cowriters. On their first trip to Hamburg, they'd wanted to learn "Man of Mystery" by the Shadows: [Excerpt: The Shadows, "Man of Mystery"] But there was a slight problem in that they didn't have a copy of the record, and had never heard it -- it came out in the UK while they were in Germany. So they asked Rory Storm to hum it for them. He hummed a few notes, and Lennon and Harrison wrote a parody of what Storm had sung, which they named "Beatle Bop" but by this point they'd renamed "Cry For a Shadow": [Excerpt: The Beatles, "Cry For a Shadow"] The other five songs at the session were given over to Tony Sheridan, with the Beatles backing him, and the song that Kaempfert was most interested in recording was one the group had been performing on stage -- a rocked-up version of the old folk song "My Bonnie": [Excerpt: Tony Sheridan and the Beat Brothers, "My Bonnie"] That was the record chosen as the single, but it was released not as by Tony Sheridan and the Beatles, but by Tony Sheridan and the Beat Brothers -- "Beatles", to German ears, sounded a little like "piedels", a childish slang term for penises. The Beatles had made their first record, but it wasn't one they thought much of. They knew they could do better. The next week, the now four-piece Beatles returned to Liverpool, with much crying at Stuart staying behind -- even Paul, now Stuart was no longer a threat for John's attention, was contrite and tried to make amends to him.  On their return to Liverpool, they picked up where they had left off, playing almost every night, and spending the days trying to find new records -- often listening to the latest releases at NEMS, a department store with an extensive record selection. Brian Epstein, the shop's manager, prided himself on being able to get any record a customer wanted, and whenever anyone requested anything he'd buy a second copy for the shelves. As a result, you could find records there that you wouldn't get anywhere else in Liverpool, and the Beatles were soon adding more songs by the Shirelles and Gary US Bonds to their sets, as well as more songs by the Coasters and Ben E. King's "Stand By Me". They were playing gigs further afield, and Neil Aspinall was now driving them everywhere. Aspinall was Pete Best's closest friend -- and was having an affair with Pete's mother -- but unlike Pete himself he also became close to the other Beatles, and would remain so for the rest of his life.  By this point, the group were so obviously the best band on the Liverpool scene that they were starting to get bored -- there was no competition. And by this point it really was a proper scene -- John's old art school friend Bill Harry had started up a magazine, Mersey Beat, which may be the first magazine anywhere in the world to focus on one area's local music scene. Brian Epstein from NEMS had a column, as did Bob Wooler, and often John's humorous writing would appear as well. The Beatles were featured in most issues -- although Paul McCartney's name was misspelled almost every time it appeared -- and not just because Lennon and Harry were friends. By this point there were the Beatles, and there were all the other groups in the area. For several months this continued -- they learned new songs, they played almost every day, and they continued to be the best. They started to find it boring. The one big change that came at this point was when John and Paul went on holiday to Paris, saw Vince Taylor, bumped into their friend Jurgen from Hamburg, and got Jurgen to do their hair like his -- the story we told in the episode on "Brand New Cadillac". They now had the Beatles haircut, though they were still wearing leather. When they got back, George copied their new style straight away, but Pete decided to leave his hair in a quiff. There was nowhere else to go without a manager to look after them. They needed management -- and they found it because of "My Bonnie": [Excerpt: Tony Sheridan and the Beat Brothers, "My Bonnie"] "My Bonnie" was far from a great record, but it was what led to everything that followed. The Beatles had mentioned from the stage at the Cavern that they had a record out, and a young man named Raymond Jones walked into NEMS and asked for a copy of it. Brian Epstein couldn't find it in the record company catalogues, and asked Jones for more information -- Jones explained that they were a Liverpool group, but the record had come out in Germany. A couple of days later, two young girls came into the shop asking for the same record, and now Epstein was properly intrigued -- in his view, if *two* people asked for a record, that probably meant a lot more than just two people wanted it. He decided to check these Beatles out for himself. Epstein was instantly struck by the group, and this has led to a lot of speculation over the years, because his tastes ran more to Sibelius than to Little Richard. As Epstein was also gay, many people have assumed that the attraction was purely physical. And it might well have been, at least in part, but the suggestion that everything that followed was just because of that seems unlikely -- Epstein was also someone who had a long interest in the arts, and had trained as an actor at RADA, the most prestigious actors' college in the UK, before taking up his job at the family store. Given that the Beatles were soon to become the most popular musicians in the history of the world, and were already the most popular musicians in the Liverpool area, the most reasonable assumption must be that Epstein was impressed by the same things that impressed roughly a billion other people over the next sixty years. Epstein started going to the Cavern regularly, to watch the Beatles and to make plans -- the immaculately dressed, public-school-educated, older rich man stood out among the crowd, and the Beatles already knew his face from his record shop, and so they knew something was going on. By late November, Brian had managed to obtain a box of twenty-five copies of "My Bonnie", and they'd sold out within hours. He set up a meeting with the Beatles, and even before he got them signed to a management contract he was using his contacts with the record industry in London to push the Beatles at record companies. Those companies listened to Brian, because NEMS was one of their biggest customers. December 1961, the month they signed with Brian Epstein, was also the month that they finally started including Lennon/McCartney songs in their sets.  And within a couple of weeks of becoming their manager, even before he'd signed them to a contract, Brian had managed to persuade Mike Smith, an A&R man from Decca, to come to the Cavern to see the group in person. He was impressed, and booked them in for a studio session. December 61 was also the first time that John, Paul, George, and Ringo played together in that lineup, without any other musicians, when on the twenty-seventh of December Pete called in sick for a show, and the others got in their friend to cover for him. It wouldn't be the last time they would play together. On New Year's Day 1962, the Beatles made the trek down to London to record fifteen songs at the Decca studios. The session was intended for two purposes -- to see if they sounded as good on tape as they did in the Cavern, and if they did to produce their first single. Those recordings included the core of their Cavern repertoire, songs like "Money": [Excerpt: The Beatles, "Money (Decca version)"] They also recorded three Lennon/McCartney songs, two by Paul -- "Love of the Loved" and "Like Dreamers Do": [Excerpt: The Beatles, "Like Dreamers Do"] And one by Lennon -- "Hello Little Girl": [Excerpt: The Beatles, "Hello Little Girl"] And they were Lennon/McCartney songs, even though they were written separately -- the two agreed that they were going to split the credit on anything either of them wrote. The session didn't go well -- the group's equipment wasn't up to standard and they had to use studio amps, and they're all audibly nervous -- but Mike Smith was still fairly confident that they'd be releasing something through Decca -- he just had to work out the details with his boss, Dick Rowe. Meanwhile, the group were making other changes. Brian suggested that they could get more money if they wore suits, and so they agreed -- though they didn't want just any suits, they wanted stylish mohair suits, like the black American groups they loved so much.  The Beatles were now a proper professional group -- but unfortunately, Decca turned them down. Dick Rowe, Mike Smith's boss, didn't think that electric guitars were going to become a big thing -- he was very tuned in to the American trends, and nothing with guitars was charting at the time. Smith was considering two groups -- the Beatles, and Brian Poole and the Tremeloes, and wanted to sign both. Rowe told him that he could sign one, but only one, of them. The Tremeloes had been better in the studio, and they lived round the corner from Smith and were friendly with him. There was no contest -- much as Smith wanted to sign both groups, the Tremeloes were the better prospect. Rowe did make an offer to Epstein: if Epstein would pay a hundred pounds (a *lot* of money in those days), Tony Meehan, formerly of the Shadows, would produce the group in another session, and Decca would release that. Brian wasn't interested -- if the Beatles were going to make a record, they were going to make it with people who they weren't having to pay for the privilege. John, Paul, and George were devastated, but for their own reasons they didn't bother to tell Pete they'd been turned down. But they did have a tape of themselves, at least -- a professional-quality recording that they could use to attract other labels. And their career was going forward in other ways. The same day Brian had his second meeting with Decca, they had an audition with the BBC in Manchester, where they were accepted to perform on Teenager's Turn, a radio programme hosted by the Northern Dance Orchestra. A few weeks later, on the seventh of March, they went to Manchester to record four songs in front of an audience, of which three would be broadcast: [Excerpt: The Beatles, "Please Mr. Postman (Teenager's Turn)"] That recording of John singing "Please Mr. Postman" is historic for another reason, which shows just how on the cutting edge of musical taste the Beatles actually were -- it was the first time ever that a Motown song was played on the BBC. Now we get to the part of the story that, before Mark Lewisohn's work in his book a few years back, had always been shrouded in mystery. What Lewisohn shows is that George Martin was in fact forced to sign the Beatles, against his will, and that this may have been as a punishment. The Beatles had already been turned down by Parlophone once, based on "My Bonnie", when Brian Epstein walked into the HMV store on Oxford Street in London in mid-February. HMV is now mostly known as a retail chain, Britain's biggest chain of physical media stores, but at the time it was owned by EMI, and was associated with their label of the same name -- HMV stood for "His Master's Voice", and its logo was the same one as America's RCA, with whom it had a mutual distribution deal for many years. As a record retailer, Epstein naturally had a professional interest in other record shops, and he had a friend at HMV, who suggested to him that they could use a disc-cutting machine that the shop had to turn his copy of the Decca tapes into acetate discs, which would be much more convenient for taking round and playing to record labels. That disc-cutter was actually in a studio that musicians used for making records for themselves, much as the Quarry Men had years earlier -- it was in fact the studio where Cliff Richard had cut *his* first private demo, the one he'd used to get signed to EMI.  Jim Foy, the man who worked the lathe cutter, liked what he heard, and he talked with Brian about the group. Brian mentioned that some of the songs were originals, and Foy told him that EMI also owned a publishing company, Ardmore & Beechwood, and the office was upstairs -- would Brian like to meet with them to discuss publishing? Brian said he would like that. Ardmore & Beechwood wanted the original songs on the demo. They were convinced that Lennon and McCartney had potential as songwriters, and that songs like "Like Dreamers Do" could become hits in the right hands. And Brian Epstein agreed with them -- but he also knew that the Beatles had no interest in becoming professional songwriters. They wanted to make records, not write songs for other people to record.  Brian took his new discs round to George Martin at EMI -- who wasn't very impressed, and basically said "Don't call us, we'll call you". Brian went back to Liverpool, and got on with the rest of the group's career, including setting up another Hamburg residency for them, this time at a new club called the Star Club. That Star Club residency, in April, would be devastating for the group -- on Tuesday the tenth of April, the same day John, Paul, and Pete got to Hamburg (George was ill and flew over the next day), Stuart Sutcliffe, who'd been having headaches and feeling ill for months, collapsed and died, aged only twenty-one. The group found out the next day -- they got to the airport to meet George, and bumped into Klaus and Astrid, who were there to meet Stuart's mother from the same flight. They asked where Stuart was, and heard the news from Astrid.  John basically went