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Every type of gasm. Intro Music: Smokey Robinson- Gasms Submit music to demolistenpodcast@gmail.com. Become a patron at https://www.patreon.com/demolistenpodcast. Leave us a message at (260)222-8341 Queue: Elvis 2, Mongrel, Pack Rat, Securse, Friction, Myth Carver, Iron Eater, Glowing Brain, Zero Azucar, Mengzhumeng https://elvis2.bandcamp.com/album/thank-you-very-much https://dazestyle.bandcamp.com/album/baptized-in-the-gutter https://packratpunk.bandcamp.com/album/lifes-a-trap https://securse.bandcamp.com/album/665 https://totalsupply.bandcamp.com/album/tsr-014-crazier-things-have-happened https://mythcarver.bandcamp.com/album/twist-of-fate https://recklessrelease.bandcamp.com/album/rr004-demo
Police say they are using gang conflict warranst to help dial down tensions between the Mongrel Mob and Black Power in Hawke's Bay and Gisborne. Detective Inspector Marty James spoke to Ingrid Hipkiss.
Expect disruptions as the Mongrel Mob farewells its Napier president, 'Heil Dogg', this weekend, police say. Extra police have been brought in from across the country and a number of checkpoints have seen two vehicles being seized. A handful of people have also had gang insignia taken off them under the new laws banning patches in public. But as Alexa Cook reports - most people are peacefully paying their respects.
A Mongrel Mob member has gone from living in his car to running a flourishing rewana bread business. Ashleigh McCaull went to check it out.
See omnystudio.com/listener for privacy information.
See omnystudio.com/listener for privacy information.
Dozens of officers and a police helicopter descended on the Bay of Plenty for the tangi of senior Mongrel Mob member in the most significant test of the new gang patch legislation. In a social media video a furious local Kuia, Ngareta Timutimu called out officers for setting up outside a wahi tapu site, her ancestrial urupa or burial ground, saying their presence was disrespectful and there was no consultation. Bay of Plenty District Commander Superintendent Tim Anderson spoke to Lisa Owen.
14 peple were arrested at the tangi of a prominent Mongrel Mob figure today - the first major test of the government's new gang patch legislation. About 70 officers descended on the small town of Matapihi, as dozens of gang members made their way to the marae. Finn Blackwell has more.
A long-term Mongrel Mob member says some gang members will fight and die to defend their patches from police confiscation. Bill Hickman reports.
A fresh start on election eve for the 2nd year of the ST WOW podcast now available your listening enjoyment! So much in this episode including an early call in from Fort Worthington with an update on his coyote/cat Mongrel after surviving a recent wiener dog attack. Then an early end to act 1 when special guests Holly and Johnny join us with tales of legend and love and the mini beer shot before ushering yet another inexplicable and unexplainable ST WOW coincidence that literally rocks the bar and blows Tommy and Colin's minds. This show checks all the boxes of a great show and the clinks are plenty. Season 2 is here folks, let's listen and laugh! Clink!Send us a text
Nick joins the guys to chat:- Ironman Frankfurt with Nick Thompson (00.00.35).- Steve joins the chat late and intros Nick (00.06.58).- Weird penalties mid race (00.10.00).- Race and media motor bikes (00.13.00).- Drafting (00.15.30).- Crazy marathon times (00.18.40).- Wet conditions and bike crashes (00.24.00).- Busselton 2023 (00.30.00).- Mongrel athletes (00.32.40).- Steve update (00.37.00).- Sweat testing (00.41.30).- Would you rather (00.48.45).- World Champ versus World Champ (00.52.30).
In this episode of our sister podcast, Read This, host Michael Williams speaks with journalist, editor and media proprietor Eric Beecher about his new book The Men Who Killed the News. Eric has worked for some of the most well-respected newspapers in the world, including the Sydney Morning Herald and the Wall Street Journal. He's currently the head of Private Media, which runs the website, Crikey.
Eric Beecher is a news man. As a journalist, he's worked for some of the most well-respected newspapers in the world, including the Sydney Morning Herald and the Wall Street Journal. As his career progressed, Eric climbed the media ladder: he's currently the head of Private Media, which runs the website, Crikey. This week, Michael sits down with Eric to discuss his new book, The Men Who Killed the News.Reading list:The Men Who Killed the News, Eric Beecher, 2024Woo Woo, Ella Baxter, 2024You can find these books and all the others we mentioned at your favourite independent book store. Socials: Stay in touch with Read This on Instagram and TwitterGuest: Eric BeecherSee omnystudio.com/listener for privacy information.
Eric Beecher is a news man. As a journalist, he's worked for some of the most well-respected newspapers in the world, including the Sydney Morning Herald and the Wall Street Journal. As his career progressed, Eric climbed the media ladder: he's currently the head of Private Media, which runs the website, Crikey. This week, Michael sits down with Eric to discuss his new book, The Men Who Killed the News. Reading list: The Men Who Killed the News, Eric Beecher, 2024 Woo Woo, Ella Baxter, 2024 You can find these books and all the others we mentioned at your favourite independent book store. Socials: Stay in touch with Read This on Instagram and Twitter Guest: Eric Beecher
ODM MEMBERS JOIN CABINET AS RAILA BETRAYS KENYANS
ODM MEMBERS JOIN CABINET AS RAILA BETRAYS KENYANS
Jenna Todd of Time Out bookstore reviews Mongrel by Hanako Footman published by Footnote.
On this special show we talk to founder, head creator, and CEO of Devil's Due Studios Josh Blaylock. Josh has published many comics but one titled Arkworld was featured at the very first Cosmic Summit in 2023 with Randal Carlson. We're going to learn about Arkworld and what inspired a comic book writer to take on the task of writing a story of a high tech world before 10,000 BCE? This and much more on this next episode! www.devilsduestudios.com DEVIL'S DUE STUDIOS IS AMERICA'S INDIE COMIC BOOK HOME FOR SUPERNATURAL, SCI-FI, AND DARK HUMOR COMICS FOR ALL. THE HOME OF MERCY SPARX, THE ENCODED, ARKWORLD, TRAILER PARK BOYS, MONGREL, AND MORE. FORGED IN THE FIRES OF EARLY 2000S INDIE COMICS BY WRITER AND ARTIST, JOSH BLAYLOCK, IN A TIME BEFORE GEEKS WERE COOL, DEVIL'S DUE EMERGED TO BRING THOUSANDS OF LONG LOST COLLECTORS BACK INTO THE CULTURE WITH SEVERAL BREAKOUT HITS. ITS BATTLE CRY: “POP CULTURE IS OUR CULTURE.” THEN, FANDOM CONQUERED THE MAINSTREAM, AND TO THE UNDERGROUND WE RETURNED. THERE WE LIVE. WE THRIVE. STEPPING OUT FROM THE SHADOWS AT RANDOM, WITH SURPRISE HIT COMIC DROPS, RISING UP FROM THE UNDERGROUND! ITS TITLES ARE DISTRIBUTED THROUGHOUT THE ENGLISH SPEAKING WORLD BY DIAMOND COMIC DISTRIBUTORS AND SIMON & SCHUSTER, AND SEVERAL DIGITAL PLATFORMS. DEVIL'S DUE COMICS IS PART OF THE BLAYLOCK COMICS FAMILY. ******************************************* You can email the hosts with your UFO/UAP and Paranormal stories at: mi.ufo.podcast@gmail.com Help support the show with the links below: Join this channel to get access to perks: https://www.youtube.com/channel/UCjUTzsRX5rBq9_r7_YtaEJg/join You can now purchase our Merch on the "STORE" TAB in the channel description All Our Links Including Our MERCH Store: https://linktr.ee/mi.ufo.podcast Paypal: Donate via paypal: https://paypal.me/miufo Become a Patreon supporter and get a show shoutout for as long as you're a member! Become a Patreon at: https://www.patreon.com/miufospep --- Send in a voice message: https://podcasters.spotify.com/pod/show/michiganufos/message Support this podcast: https://podcasters.spotify.com/pod/show/michiganufos/support
Emma and Nicole speak to Hanako Footman, actor and author of her debut novel, Mongrel, following the lives of three women, Mei, Yuki and Haruka "revealing a tangled web of desire, isolation, belonging and ultimately, hope." Hanako is British-Japanese and has appeared in ITV's The Town, BBC Two's Defending the Guilty, and Netflix's The Crown. They discuss growing up in predominantly white environments, what it means to be mixed Asian, the casting couch as a mixed person, how we hold on to our identity when we lose a parent and why we hate the phrase 'white passing'. Pre-order our book The Half Of It: https://lnkfi.re/nf0upC Hanako Footman: https://www.instagram.com/hanakofootman/ Instagram: https://instagram.com/mixedup.podcast Website: https://www.mixedup.co.uk/ Substack: https://mixeduppod.substack.com
When Mongrel Dogs Teach by William J Burghardt https://amzn.to/49SFyZY What happens when a 45-year-old Baby Boomer goes back to teach high school and finds the students are more in touch with reality than his colleagues and supervisors? In a soldier's stance, I aimed my hand At the mongrel dogs who teach Not fearing I'd become my enemy In the instance that I preach -- Bob Dylan, "My Back Pages"
Welcome to season 4 of Art from the Outside! This episode we are thrilled to kick off the season with the artist Zadie Xa. Born in Vancouver in 1983 and now based in London, Zadie has developed an expansive practice that addresses the nature of diasporic identities, global histories, familial legacies and interspecies communication. Working across painting, sculpture, textile production, and performance, she draws upon her Korean heritage as she seeks to elevate narratives that have been erased or repressed by the West and occupying powers. Her work has been presented at venues around the world, such as the Whitechapel Gallery in London, Remai Modern, Saskatoon, Canada and Tramway, Glasgow, Scotland. In 2019, Zadie was invited to contribute to the performance program at the 58th Venice Biennale, which was also curated by Ralph Rugoff and Aaron Cezar - another Art from the Outside guest. In July Zadie opened the exhibition Nine Tailed Tall Tales: Trickster, Mongrel, Beast at Space K Seoul, South Korea. Some artists discussed in this episode: Benito Mayor Vallejo Ice Cube Mykki Blanco Azealia Banks For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram. Enjoy! https://www.instagram.com/artfromtheoutsidepodcast/
EP316: We're chopping it up with We Kill Cowboys' frontwoman, Alex Muller this week. We're touching on her band and their upcoming EP called The Rage, their experience working with a label (Mongrel Records), what the Cape Town music scene could improve on, figuring out social media as artists, getting consistent streams, and more.Check out their latest single 'Earth Demon' hereSupport the showWebsitehttps://www.sludgeunderground.comMerchhttps://www.sludgeunderground.com/storeInstagramhttps://www.instagram.com/sludgeundergroundTikTokhttps://www.tiktok.com/@sludgeundergroundYouTubehttps://www.youtube.com/channel/UCxyLW9b_W81ETvby7J4wmwATwitterhttps://twitter.com/Sludge031Facebookhttps://www.facebook.com/SludgeUnderground
YouTube link: https://youtu.be/NKOd8imBa2s Prof. Jonathan Oppenheim focuses on the stochastic coupling between quantum mechanics and gravity, offering alternative views to loop quantum gravity and string theory. - Patreon: https://patreon.com/curtjaimungal (early access to ad-free audio episodes!) - Crypto: https://tinyurl.com/cryptoTOE - PayPal: https://tinyurl.com/paypalTOE - Twitter: https://twitter.com/TOEwithCurt - Discord Invite: https://discord.com/invite/kBcnfNVwqs - iTunes: https://podcasts.apple.com/ca/podcast/better-left-unsaid-with-curt-jaimungal/id1521758802 - Pandora: https://pdora.co/33b9lfP - Spotify: https://open.spotify.com/show/4gL14b92xAErofYQA7bU4e - Subreddit r/TheoriesOfEverything: https://reddit.com/r/theoriesofeverything - TOE Merch: https://tinyurl.com/TOEmerch LINKS MENTIONED: - Podcast w/ Nicholas Gisin on TOE: https://youtu.be/jcHzgy0I6gk - Jonathan Oppenheim's Quanta video: https://www.youtube.com/watch?v=DkRbNXILroI - Chapel Hill Conference Documentary on Quantum Gravity (Curt Jaimungal): https://youtu.be/eBA3RUxkZdc - The Second Laws of Quantum Thermodynamics: https://arxiv.org/abs/1305.5278 - Podcast w/ Chiara Marletto on TOE: COMING SOON https://youtube.com/TheoriesOfEverything - Podcast with Lue Elizondo on TOE: https://youtu.be/wULw64ZL1Bg - Podcast with Edward Frankel on TOE: https://youtu.be/n_oPMcvHbAc - Podcast w/ Theo Von on TOE: https://youtu.be/1cziCepYeEM?t=4673 - Podcast w/ Joscha Bach on TOE: https://youtu.be/3MNBxfrmfmI - Podcast w/ Noam Chomsky on TOE: https://www.youtube.com/playlist?list=PLZ7ikzmc6zlORiRfcaQe8ZdxKxF-e2BCY - Podcast w/ Stephen Wolfram on TOE: https://youtu.be/1sXrRc3Bhrs - Every TOE Playlist: https://www.youtube.com/@TheoriesofEverything/playlists TIMESTAMPS: - 00:00:00 Introduction - 00:02:37 Integrating general relativity and quantum theory - 00:05:18 The nature of classical mechanics - 00:10:12 Discrete vs continuous space in physics - 00:13:32 Boundary of physics and philosophy - 00:18:44 Post-quantum theory of classical gravity - 00:20:00 Mongrel relativity - 00:24:00 The issue of causal structure in quantum theory of gravity - 00:27:18 Gravity and string theory - 00:34:26 Quantum-classical system coupling (Feynman's position) - 00:45:31 Quantum vs post-quantum noise - 00:58:08 Quantum thermodynamics and the multiple Second Laws - 01:03:35 No-go theorem and classical gravity - 01:06:09 Bohmian mechanics vs many-worlds - 01:08:07 Advice for quantum gravity researchers - 01:13:57 Independent study and learning - 01:15:35 Graviton entanglement testing - 01:20:05 The struggle of podcasting (Theories of Everything's journey) - 01:21:26 Future projects for TOE - 01:24:52 Gratitude for support Learn more about your ad choices. Visit megaphone.fm/adchoices
Welcome to episode six of the Better Business series and our second with Phil Cloros from Mongrel Boots. In the first part of our chat, we explored Phil's background and his perspective on the challenges and opportunities facing the family business, especially in the context of generational differences and workforce challenges. In this second part, we delve deeper into how Phil manages communication within the family business, the role of the next generation, and the importance of modernising their approach to stay relevant in the market.This episode of The Better Business podcast is supported by the Farm Business Resilience Program through the Australian Government's Future Drought Fund and the New South Wales Department of Primary Industries.
We're half way through the Better Business Series! Here is episode five with Phil Cloris from Mongrel Boots as our guest. In this episode, we dive into Phil's journey with Mongrel Boots, a fifth-generation Australian shoe business founded in 1930. We explore how Phil, alongside his family members, has worked to maintain the family values and ethos while also bringing in non-family employees on their journey. Phil shares insights into navigating generational shifts and the importance of balancing craftsmanship with modernity.The craft of boot-making is becoming less and less common. Phil discusses the challenges in finding skilled labour, how they've adapted to ensure the quality of their boots remains top-notch and how their branding has evolved. This conversation provides insights into family businesses, the evolving landscape of manufacturing in Australia, and the dedication to producing Australian-made goods. Stay tuned for our next episode with Phil being released next week! This episode of The Better Business podcast is supported by the Farm Business Resilience Program through the Australian Government's Future Drought Fund and the New South Wales Department of Primary Industries.
Mongrel and maths collide as campaigns launch - and media ponder National's tax plan; scrutiny of candidates' online footprints prompts pushback and claims of 'agendas'.
A Hawkes Bay Black Power family has complained it was forced to live in Mongrel mob territory because of a shortage of temporary housing. The Black Power family of five lost its home when the Tutaekuri River burst its banks and after applying for help it was found a house by the Temporary Accommodation Service. But one thing that's not on the application form for a home, is gang affiliations. Kate Green has the story.
National's Mark Mitchell says it's hard to swallow an explanation a Labour MP went to a Mongrel Mob hui by mistake. A long-time gang member wrote on Facebook that Taieri MP Ingrid Leary- whose name he didn't add - gate crashed the event. Leary says she thought it was an Electoral Commission meeting, and attending didn't mean she condones the Mongrel Mob's actions. Mitchell says he doesn't buy it- and she's either been extremely naïve, or turned up to participate in the hui. LISTEN ABOVESee omnystudio.com/listener for privacy information.
Police say Bay of Plenty Mongrel Mob boss Steven Taiatini died after being hit by a ute. Investigators believe a Holden Colorado 4 wheel drive found gutted by a fire on the outskirts of town at the weekend was the vehicle involved. Hundreds of gang members attended the 45 year old's nehu in Whakatane yesterday, with police maintaining a large presence in the area today. Finn Blackwell reports.
The Bay of Plenty towns of Ōpōtiki and Whakatāne were effectively shut down yesterday as a Mongrel Mob funeral procession caused massive disruption to the community - including a closed highway that created traffic chaos and fresh gunshots under investigation by police. Bay of Plenty District Police Commander Tim Anderson told Newstalk ZB's Mike Hosking Breakfast this morning they were not “out-manned” yesterday as a large procession of gang members flooded State Highway 2 prompting it's hours-long closure. The town had a large influx of gang members come in for the tangi yesterday but were now leaving, he said. Back in the day police did not allow roads to be closed, Anderson said. “But now police work with gangs so everything is safe but we do not tolerate any unlawful behaviour.” Anderson said he did not see much of the unlawful behaviour yesterday. Detective Inspector Tim Anderson says team work is what makes the difference in resolving cases. Photo / Christine Cornege “We saw a couple of burnouts, we have taken photographs and will be looking at them.” Speaking about gunshots, he said these events had started last Friday. “Our team have zero tolerance for act of violence and intimidation.” Overnight a number of gang members were arrested, Anderson said. “Our staff have been working extremely hard 24x7 arresting gang members, seizing weapons, and drugs since Friday night in Ōpōtiki and Whakatāne.” Speaking to National's police spokesman Mark Mitchell's comments from his days as a dog handler when gang members would hide at the sight of them, Anderson said they had dog handlers doing the same thing. “I guess the thing that has changed is there are more tools and tactics available for police now to handle such situations and keep staff safer.” PM: ‘Gang convoys suck' Prime Minister Chris Hipkins last night condemned the activity, which was honouring the slain Mongrel Mob Barbarians president, saying “gangs contribute nothing to society”. Police vowed to impound vehicles, issue fines and charge drivers, while officers were also investigating multiple reports of shots being fired at cars in Whakatāne yesterday afternoon. Hundreds of motorbikes, cars, utes and vans descended on Whakatāne for Barbarians president Steven Taiatini's tangi at Hillcrest Crematorium. Many barked and others yelled “seig heil” as they shot past. Taiatini was killed in what police called a “disorder-related incident” on St John St, Ōpōtiki, on Friday. Police have launched a homicide investigation. The hearse and motorcycle procession for the tangi. Photo / Andrew Warner Hipkins told Newstalk ZB yesterday it was up to the police to make the “operational decisions” about how to handle to influx of mobsters to the area. “Well, we have changed the law recently to give police more powers around gang convoys because we have been concerned about convoys and the intimidating nature of them,” Hipkins said. “Gang convoys suck for everybody who is disrupted by them ... One of the reasons that we've changed the law to give police more powers to crack down on gangs is because I don't have any time for that kind of behaviour.” Superintendent Tim Anderson, the Bay of Plenty District Commander, said police were yet to find those responsible for the reported gunshots and there were no reports of injuries. However, one vehicle believed to be involved has been found by police. Anderson confirmed the high police presence will continue through several days as they try to hold those behaving unlawfully accountable. “We have already identified a number of drivers and registered owners and they can expect to receive infringement notices, and in some cases, be charged for their actions for driving behaviour and face the court,” Anderson said. “Police have also today obtained a search warrant under the Criminal Activity Intervention Legislation Act 2023, which allows police to search vehicles of suspected gang members and seize their weapons during times of conflict.” The hearse carrying Taiatini leads a procession of mob members on their bikes He also confirmed two people have already been arrested and charged with possession of a firearm and cannabis. State Highway 2, which was closed earlier today, between Ōpōtiki and Whakatāne, was closed yesterday due to the convoy but has since reopened. One resident out for a bike ride in Ōhope said the procession “sounded like a bomber going overhead”. Many of the gang members were hanging outside their windows, doors and sitting on roofs and he couldn't believe the “state of lawlessness”. Taiatini's death has sparked tension in Ōpōtiki with fears of retribution that caused schools to close and stopped public transport. An extra 50 police officers were deployed to Ōpōtiki to provide “community reassurance” Mongrel Mob members talk to police. Photo / Andrew Warner Taiatini's funeral convoy was led by a red ute and red American classic muscle cars. The thunderclap of hundreds of motorcycles and classic American muscle cars pierced the normally sleepy seaside town of Whakatāne about 11.20am. The convoy of vehicles lasted more than 15 minutes as 50 to 100 patched motorcyclists roared ahead of several hundred vehicles packed with mobsters. A massive queue of local residents trying to travel in the region was lining Pōhutawaka Dr as far as the eye can see behind the Ōhope Rd cordon. Some were hanging out of windows and doors. One was on the roof of a vehicle - throwing up gang signs and salutes. One motorcyclist performed a skid up the hill on Ōhope Rd as the smell of burnt rubber lingered in the air. Many opted to stand on the tray of utes as they sped towards the crematorium. After the procession, police blocked Pōhutukawa Drive at Ōhope Beach from motorists heading towards Whakatāne with the queue stretching beyond the eye could see. The cordon lasted more than an hour. Some motorists opted to turn around and go the other way while most sat and waited. “If you let them (Mongrel mob) get away with it, this is what they'll do,” a disgruntled bystander said. National police spokesman Mark Mitchell said the increased gang activity was “absolutely outrageous". Photo / File National's police spokesman Mark Mitchell told Newstalk ZB gang members had become bold and were terrorising locals. The former police officer said when he was stationed in Gisborne they often called to Ōpōtiki, when they pulled up with vans and dogs, gang members would go away at the sight of them. The increased gang activity was “absolutely outrageous,” he said. Earlier in the week, Detective Inspector Lew Warner said police investigating Taiatini's death were seeking information on a burnt-out vehicle. The vehicle was found on Sunday morning on Waiotahe Valley Rd and police believe it was set alight overnight on Saturday. Investigators were conducting extensive inquiries into Taiatini's death, including whether there was any connection with the vehicle. “We are committed to establishing what has occurred and locating those responsible for his death.” On Monday, Puwhakamua rehabilitation programme founder Billy Macfarlane Snr said Taiatini needed to be acknowledged for the “good stuff he's done. “He's worked seriously hard to help make changes in the methamphetamine harm space. He and his partner, Pauline, have done a lot of work even in Rotorua.” Macfarlane said Taiatini's death was a “tragedy” and that he was “going to be missed.” “He wasn't a bad guy ... He was quite a pleasant fellow to talk to and he wanted to do good.” * Anyone with information that may assist the police in their homicide investigation is asked to contact police on 105 or online using the update report. Please reference file number: 230610/2652. - Luke Kirkness and Rachel Maher, NZ HeraldSee omnystudio.com/listener for privacy information.
Tonight on The Huddle, Infrastructure NZ Chief Executive Nick Leggett and Jack Tame from ZB's Saturday Mornings and Q&A joined in on a discussion about the following issues of the day- and more! Auckland Transport's Chief Executive and Wellington Regional Council say they won't be ready to offer under-25s public transport discounts by the Government's July deadline. Is this a sign the 2023 Budget was poorly thought out? Motorists in Ōhope and Whakatane were angry police in the Bay of Plenty shut down a number of roads for hours for a Mongrel Mob tangi procession. Police say they stopped offending vehicles and collected footage - and could impound vehicles, or issue infringements or charges. Should roads be closed for gang funerals? Does Tim Shadbolt need a taxpayer funded statue? LISTEN ABOVESee omnystudio.com/listener for privacy information.
In Opotiki, a tangihanga is under way for Steven Taiatini, the president of the Mongrel Mob Barbarians. The 45-year-old was killed on Friday night on St John Street and there is now a heavy gang presence in the town. Police say they will be providing 24/7 coverage over the coming days to offer reassurance to the wider community that may be feeling unsafe. Opotiki Mayor David Moore has been working closely with leaders from local iwi Whakatohea and Police over the past few days. He spoke to Corin Dann.
When the livestock began to go missing and the howls grew more strange, one farming family began to suspect something may be hunting them. Enjoy these new and allegedly true scary stories! Follow and review Tales from the Break Room on Spotify and Apple Podcasts! https://pod.link/1621075170 Join EERIECAST PLUS to unlock ad-free episodes and support this show! (Will still contain some host-read sponsorships) https://www.eeriecast.com/plus SCARY STORIES TIMESTAMPS: 0:00 INTRO 1:02 A Skinwalker in the Pig Pin from Anthony1997 5:55 The Mongrel from Anthony1997 9:47 Doppelgangers in my House from NixieHistoria 18:23 UFO Experience in Ontario Canada from NixieHistoria 27:23 The Visitors from MattoMan 30:47 Behind the Mound from Merthra 34:03 Fright School from Douglas G. 37:35 Airsoft at Night from airsoft sniper 46:20 I Don't Know What It Was But I'm Pretty Scared from Feliks 49:39 Shadows in the Corner from Supernova420 53:03 Smoke Wolves from Gorgomas the Great 56:24 Black Figure at Night from anonymous CREDITS: Background music for these stories by: LAZURAY http://www.instagram.com/lazurayofficial Dark Music LINKS: Join my DISCORD: https://discord.gg/5Wj9RqTR3w Follow us on Spotify! https://open.spotify.com/show/3mNZyXkaJPLwUwcjkz6Pv2 Follow and Review us on iTunes! https://podcasts.apple.com/us/podcast/darkness-prevails-podcast-true-horror-stories/id1152248491 Submit Your Story Here: https://www.darkstories.org/ Get Darkness Prevails Podcast Merchandise! https://teespring.com/stores/darknessprevails Subscribe on YouTube for More Stories! https://www.youtube.com/channel/UCh_VbMnoL4nuxX_3HYanJbA?sub_confirmation=1 Learn more about your ad choices. Visit podcastchoices.com/adchoices
Grant Scooter Patterson, what an absolute legend! Scooter is a paralympic medalist for swimming and was able to live out one of his childhood dreams during the 2020 Tokyo Games as he secured a silver and a bronze medal. Scooter has courage, grit, and determination to live out his life to the fullest every single day even though he has been dealt a challenging hand. Keep inspiring people, my man! If you want to follow along Scooter's journey, you can on the below links: Instagram - @grantscoot.patterson - https://www.instagram.com/grantscooter.patterson/ Thank you for taking the time to listen to this episode of Unbeatable You, if this connected with you and you'd like to reach out, please see the links below: Email - info@brettrobbo.com Instagram - @brettrobbocoach Website - https://www.brettrobbo.com/community You can also find us over on YouTube - https://www.youtube.com/@brettrobbocoach Keep thriving and as always remember, if not now, then when? If not you, then who? This is your opportunity to live YOUR UNBEATABLE LIFE!
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Hughesy & Kate Catchup - Hit Network - Dave Hughes and Kate Langbroek
On today's catch up with the crew, we ponder the question of dating a mates ex, Hughesy found out his dog's WILD breed and how wild was our Wedding For One!?Subscribe on LiSTNR: https://play.listnr.com/podcast/hughesy-ed-and-erinSee omnystudio.com/listener for privacy information.
He's back! Tech guru, Patrick Bonello from the OK Smartass podcast joins me today for a hearty banter about all things... not exactly tech, it seems. For a technology nut he sure knows a LOT about art, sport, veganism and the world at large. Our conversation meanders through a bunch of these topics, such as would you eat cultured meat? That's meat that's made by humans in petri dishes rather than by farming animals. Sounds great from an ethical perspective, yet terrifying from a can-humans-be-trusted-with-such-ingredients perspective, if you ask me. All this and more... Enjoy! SPONSORED BY TESTART FAMILY LAWYERS Website: www.testartfamilylaw.com.au PATRICK BONELLO Website: www.oksmartass.com TIFFANEE COOK Linktree: https://linktr.ee/rollwiththepunches/ Website: www.rollwiththepunches.com.au LinkedIn: www.linkedin.com/in/tiffaneecook/ Facebook: www.facebook.com/rollwiththepunchespodcast/ Instagram: www.instagram.com/rollwiththepunches_podcast/ Instagram: www.instagram.com/tiffaneeandcoSee omnystudio.com/listener for privacy information.
New Breeder On The Block "The Chondro Series" w/ Mongrel ReptilesJOIN PATRON FAMILY HERE: https://bit.ly/311x4gxTRAP MERCH: https://www.trappodcast.com/shop/p/style-01-ej5na-9sfbySUBSCRIBE TO THE TRAP TALK PODCAST: https://bit.ly/39kZBkZSUBSCRIBE TO TRAP TALK CLIPS:https://www.youtube.com/channel/UCA40BzRi5eeTRPmwY6XSdVASUBSCRIBE TO THE TRAP VLOGS:https://www.youtube.com/channel/UCKxLByAE_Kt06XayYFOxHqLIMITED EDITION TRAP TALK POCKET TEES:thesnaketrapsessions@gmail.comMORPH MARKET STORE: https://www.morphmarket.com/stores/exoticscartal/SUPPORT USARK: https://usark.org/memberships/Follow On IG: Trap Talk Podcast https://bit.ly/2WLXL7w MJExoticsCartal https://bit.ly/3hthAZuUnfiltered Reptiles Podcast https://bit.ly/3eSqAFMSubscribe to Unfiltered Reptiles Podcast: https://bit.ly/2WM11jsListen On Apple:Trap Talk With MJ https://bit.ly/2CVW9Bd Unfiltered Reptiles Podcast https://bit.ly/3jySnhV Listen On Spotify:Trap Talk With MJ https://bit.ly/2WMcKOO Unfiltered Reptiles Podcast https://bit.ly/2ZQ2JCbTRAP TALK w/ MJ BROUGHT TO YOU BY:ALWAYS EVOLVING PYTHONS https://www.instagram.com/alwaysevolvingpythons/FREEDOM BREEDERhttps://www.freedombreeder.com/MARC BAILEY REPTILES https://www.morphmarket.com/stores/marcbailey/SIMS CONTAINER https://www.instagram.com/simcontainer/FOCUS CUBED HABITAT https://www.instagram.com/focuscubedhabitats/RIDICULOUS RHACShttps://www.instagram.com/ridiculousrhacs/TOFAUTI ROYALS OF AFRICA https://www.instagram.com/tofauti_royals/CHIMERA REPTILEShttps://www.instagram.com/chimerareptile/CLTCHhttps://cltch.io/GS REPTILES https://www.instagram.com/gs.reptiles/https://www.youtube.com/@gsreptiles5606Support Mongrel Reptiles:https://www.instagram.com/mongrel_reptiles/https://www.trappodcast.com#greentreepython #newbreederontheblock #coolestreptilepodcastintheworld
I Don't Wanna Hear It Podcast209 – Cool To Hate: Your Bones SuckIt's been a while since we've loosed the dogs of war and wanton criticism on our imagined musical enemies. So here's a massive, burning shit pile of venom and vitriol to upset absolutely nobody because we are ALSO nobody and nothing about us is important. Feels good.Check out more of our stuff at I Don't Wanna Hear It and join the Patreon, jabroni. I mean, if you want. Don't be weird about it. Oh, and we publish books now at WND Press because we want to be bankrupted by a dying medium.We now have a Big Cartel where you can buy shirts, pins, mugs, and coffee.Also, you should listen to our 2021 Christmas special: A Black Metal Christmas Carol, our 2022 Halloween special: Ghoulie Ghoulie Ghoul, Where Are You?, our 2022 Christmas Special: How the Stench Stole Christmas, as well as Mikey's true crime podcast, Wasteland and Shane's psychology podcast, Why We Do What We Do.Aaannnddd... our good buddy and frequent third host Matt Moment is in a great hardcore band called Contact. Check 'em out! You can preorder their upcoming record, Before and Through and Beyond All Time right here from Patient Zero Records.Episode Links:Some of our old bands are on Spotify:Absent FriendsWe're Not DeadYears From NowMusical Attribution:Licensed through NEOSounds. License information available upon request.“5 O'Clock Shadow,” “America On the Move,” “Baby You Miss Me,” “Big Fat Gypsy,” “Bubble Up,” “C'est Chaud,” “East River Blues,” “The Gold Rush,” “Gypsy Fiddle Jazz,” “Here Comes That Jazz,” “I Wish I Could Charleston,” “I Told You,” “It Feels Like Love To Me,” “Little Tramp,” “Mornington Crescent,” “No Takeaways.”
The mother of a teenage cancer patient says unmasked Mongrel Mob members in Christchurch Hospital's intensive care unit put her son at risk. Anne-Maree Thomas says no one seemed willing to ask the gang members to put on a mask. It happened during the same two-week period leading up to Christmas when the gang members blocked off public hospital carparks. Te Whatu Ora Waitaha says it's policy for all hospital visitors to wear a medical paper face mask. Niva Chittock reports.
Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "The Chipmunk Song" by Canned Heat. 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/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner. I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall. Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives. At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point). They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues. But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting. They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood. Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer. (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act. Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions. The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no. Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer. In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row. The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them. Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move. But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes. Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group. Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing. And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying. But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds. The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe
On this spooky season edition of Parallax Views, documentarian Joe O'Connell joins us to discuss his latest feature, RONDO AND BOB, about the parallel lives of Robert A. Burns, the behind-the-scenes art force behind such cult classic horror movies as Tober Hooper's THE TEXAS CHAINSAW MASSACRE, Stuart Gordon's RE-ANIMATOR, Joe Dante's THE HOWLING, and Wes Craven's THE HILLS HAVE EYES, and Rondo Hatton, an acromelgaly-afflicted journalist of the early 20th century who made his way to Hollywood to become Tinsel Town's 1940s equivalent to monster movie icon Boris Karloff. Before getting into RONDO AND BOB, however, Joe and I discuss his previous documentary DANGER MAN. Said film focused on the life and times of stuntman Gary Kent, who was involved with a plethora of B-movie and independent films in the 1960s and 1970s. Kent also is one of the stuntmen upon which Brad Pitt's character in Quentin Tarantino's ONCE UPON TIME IN HOLLYWOOD was based. Specifically, the fact that Gary Kent had an encounter with Charles Manson while filming a movie on Spahn Ranch (where the Manson Family were living before the Tate/LaBianca murders) became a plot point in the aforementioned Tarantino feature. We then delve into the stories of Bob Burns and Rondo Hatton, including the similarities and differences in their lives. Burns was someone who appeared normal on the outside but was an eccentric in life and also felt unlovable. Rondo, most known for his appearances as "The Creeper" in films like the Sherlock Holmes caper PEARL OF DEATH, HOUSE OF HORRORS, and THE BRUTE MAN, appeared odd on the outside but was a normal, affable, and much loved man in his every day life. What can we learn from the lives of these two creative individuals who lived life on their on terms? That's the question in this fascinating edition of Parallax Views. Among the topics discussed: - The career of Gary Kent, who went to Hollywood with no experience but grew to become a long-running stuntman in Hollywood who often worked on the independent/grindhouse/drive-in movie circuit productions of Sam Sherman, Al Adamson, Don Jones, and Ray Dennis Steckler; his credits include movies like Schoolgirls in Chains, Bubba Ho-Tep, Psych-Out, Hell's Bloody Devils, Satan's Sadists, the Bruce Willis vehicle Color of Night, and Monte Hellman's Ride in the Whirlwind; how the documentary Danger God came together; the challenges of stunt work; Gary Kent's role in Rondo and Bob - The strange and fantastic lives of Bob Burns and Rondo Hatton; Rondo's early life, involvement with WWI, and his career in Hollywood; Bob's eccentric personality and loneliness; the continued fandom around Bob's work; Bob's acting as serial killing drifter Henry Lee Lucas in Confessions of a Serial Killer; Bob's movies Mongrel (with Hollywood star Aldo Ray) and his unreleased comedy Scream Test; Bob's home-made pinball machined based on the adult movie comedy Deep Throat with Linda Lovelace; the ways in which Rondo and Bob's lives mirror each other and the tragedies in their lives; Bob Burns, Tobe Hooper, and the University of Texas tower shooting - The influence of the George Lazenby/James Bond 007 documentary Becoming Bond on Rondo and Bob; the half-documentary/half-documentary approach of Rondo and Bob And much, much more!
The FAMILY? Cast: Food And Music Is Life Yes? with Chef Josh K
This kid does it all. Drums. Brews. Cocktails. AND a rad husband/dad. That was a fun little chat. Thanks Ryan! Check out his brewery-- https://www.southnorte.com/about-us Make sure you visit all of the spots Ryan has brewed beers besides South Norte as well: Coronado Brewing and Black Market. Get the latest EP from MONGREL, and catch some shows when you can. https://mongrelsd.bandcamp.com/releases ----- I have some merch too... Stickers and Pins are here! Check the design by Nate Parrish, they're on the IG page. (instagram.com/thefamilycast) Oh hey, I'm an affiliate with Dan-O's Seasoning now. So get ya some at https://danosseasoning.com/ref/PUNKCHEFJK/ and hit me up so I can give you a discount code for your first purchase... +=++======+==++++===+=======+++++===+++=+=== FAMCAST THEME SONG written/performed by McQueen (instagram.com/mcqueen_studios), vox by myself.... If you want to hire me to make music with you: https://featuredx.com/feature/josh-kemble/ or DM me!! I take venmo too: @joshuack IJS ... THANKS FOR LISTENING AS ALWAYS -- LOVE CHEF JOSH (YOSH) Follow the show on instagram.com/thefamilycast and for more exclusive content check patreon.com/familycast and linktr.ee/familycast for all the links!! Check out buymeacoffee.com/punkchef too... Please leave a rating and review, wherever you listen. Tremendous! . You need a KNIFE or 2? or 3! check out GRUMPY CHEF: visit grumpychefshop.com use code FAMCAST at checkout for 15% off everything! BE SURE TO CHECK OUT THE YOUTUBE CHANNEL (video clips of the interviews) Get some HYDRATION: shop liquiddeath.com and use code FAMCAST at checkout. Stay up to date on music I'm making/have done: https://soundcloud.com/atwarwithin and SAINT DIDACUS: saintdidacus.bandcamp.com .. #chefjoshkemble ================== #foodandmusicislifeyes ============= #thepunkchefpodcast =============== #thefamilycast =============== #punkchefpairings ============= #SRRSS share | rate | review | subscribe | support ==================== --- Send in a voice message: https://anchor.fm/familycast/message
Inspired by the classic 1920s Shudder Pulps, a mad scientist has captured a set of victims and forces them to play his hideous game! Warning: Mature themes and brutal violence- Seriously Three men, chained in a dungeon! Beautiful women in peril! An evil genius doctor! Villanous minions! Written and produced by Julie Hoverson Cast List Garth Jenkins - Chris Stockett Klaus Heinz - Lothar Tuppan Luigi Marconi - David Collins-Rivera Dr. Chnossos - Chris Stockett Grace - Risa Torres Nathalia - Tanja Milojevic Amelie - Julie Hoverson Susanne - Sara Falconer Helga and Oda - Julie Hoverson Mongrel Henchmen - Danar Hoverson & Reynaud LeBoeuf With thanks to The Vault of Evil - where I encountered the dreaded Shudder Pulps!!! Music by Conspiracy (via Jamendo) Editing and Sound: Julie Hoverson Cover Design: Brett Coulstock "What kind of a place is it? Why it's a dank dungeon room, sometime in the 1920s, can't you tell?" **************************************************************************** TROPHY CASE Cast: Garth Jenkins, American athlete 25 Klaus Heinz, Prussian pilot 27 Luigi Marconi, Italian strong man 30 Dr. Chnossos - wheelchair nutjob 60 Amelie, French girl 20 Nathalia, Russian girl 20 Grace, British girl 20 Susanne, American girl 20 Helga, German girl 20 Oda, Swedish girl 20 MONGREL HENCHMEN [any age] OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Why, it's a dank dungeon room, in the early 1920s, can't you tell? ROOM WITH BOX, TEASER MUSIC SOUND DOOR SLAMS GARTH See if there's something to bar the door with! AMELIE I can't see - it's too dim in 'ere! SOUND [outside] YELLS! THUMPING ON DOOR GARTH [grunts, holding door shut] ODA They are right behind us! NATHALIA We should kill them. Then they will never catch us. GARTH We gotta try and stay ahead of them. GRACE There's a box over here! GARTH Can you move it in front of the door? GRACE Help me, someone! ODA [plaintive] Is it heavy? GRACE It's big. Need to get it away from the wall. ODA [uncertain] I'll help. SOUND GRIND OF WOOD ON STONE GRACE and ODA [grunt, pushing] SOUND SWOOSH OF BLADE ODA [SCREAM, gurgle] GRACE [Scream of fear] SOUND BODY DROPS ODA [whimpers, expires] GRACE [covering mouth, trying to stop screaming] NATHALIA [excited, but not afraid] She is dead! GRACE [hiccuppy gasp, gets control] That blade just came out of the wall when we pushed the box! AMELIE [to Grace] You come with me. We will 'old the door and let monsieur look. [up to him] Je ne sais - eh - we do not even know your name! GARTH Garth. Garth Jenkins. AMELIE I am Amelie. [hinting] And this is--? GRACE [almost composed again, but still sniffling] Grace. I can't believe it. [starting to lose it again] How could something like that... happen..? AMELIE 'ere. Lean on the door with me. GARTH Well... Stay back, ladies. NATHALIA I can see perfectly well from here. GARTH Ok. She's dead, all right. That blade must have been on a tripwire of some kind. NATHALIA It cut her nearly in half. AMELIE What is this tripwire you speak of? GARTH A trap. He said there would be traps. I guess you need to know why we're here... MUSIC FLASHBACK DUNGEON SOUND CHAIN, SCUFFLE, ECHO, DRIP LUIGI [muttered, in pain] Mamma mia! GARTH Wowsers. My aching head. KLAUS [snort of indignation] SOUND CHAINS RATTLE LUIGI Hey now! This is an outrage! Who are you to do this-a to me! GARTH Do what? I can't see a thing. What's someone doing? KLAUS [calm, superior] Someone has locked us all in chains. CHNOSSOS [over intercom] Yes. [evil chuckle] You are all my prisoners. GARTH Wowsers! LUIGI It is an outrage! CHNOSSOS Yes, yes. I am outrageous. GARTH [to doc] You should let us go. The American government won't like this one bit. No sir. LUIGI [to doc] You watch yourself, funny guy! You come-a let us out now, and maybe we don't-a kill you dreadful! KLAUS Shut up! [they do] I wish to hear what this man has to say. CHNOSSOS Very good. I said I am your captor, and this is true. GARTH Hey! LUIGI Outrage! CHNOSSOS I have brought you here to play my game. [evil chuckle] I thought that would silence you. I am Doctor Chnossos. Perhaps you have heard of me? [waits, no reply, then grumpy] Probably for the best. I am a secretive genius. [upbeat again] You see, I have it in mind to find the perfect male human specimen in the entire world, and have narrowed it down to you three. GARTH Specimen? I ain't no specimen! LUIGI Mamma mia! Look no further! I am the strongest man alive! No one can stand before me! KLAUS [musing] Fascinating. CHNOSSOS Through exhaustive research, I have narrowed it down to you. Garth Jenkins, All-American football star, Olympic runner, and gold medal swimmer. GARTH I can hold my breath for three minutes! CHNOSSOS Luigi Marconi, European strongman and champion wrestler. LUIGI I snap you like a twig! CHNOSSOS And Klaus Heinz, fencing master, ace pilot, and big game hunter. GARTH Really? LUIGI Pilot, like the Red Baron? KLAUS I see no point in denying it. CHNOSSOS The game is simple. See who makes it out of my little labyrinth alive. GARTH Wowsers! KLAUS Hmph. LUIGI Santa Maria! CHNOSSOS There is only one exit. Somewhere out there in my maze. And only one of you may leave. [ominous] Ever. GARTH You want us to... kill each other? LUIGI I'm not-a that kind of feller. KLAUS It could not be so simple. CHNOSSOS You are right. It is not that simple. I do not care who dies, only who escapes. Kill or do not kill - that is no concern of mine. GARTH Good. CHNOSSOS BUT... whichever ones are left inside will surely die, for I will seal the door the minute an escape is made. KLAUS Of course. LUIGI Dios mio! CHNOSSOS And, of course, my beloved maze - it is full of traps! MUSIC Box room AMELIE They 'ave stopped. At the door. NATHALIA Should we open the door and look? GARTH I don't think so. It could be a trap. GRACE [cold] If what you say is true, this entire place is a trap. I for one would rather die than fall into their hands, if they're anything like the fellows I saw [falters] before... before-- AMELIE oh! Moi aussi! GARTH Nobody's dying! NATHALIA [snort] GARTH Nobody else! SUSANNE [distant] [horrible screams!!! THEY GO ON A LONG TIME] AMELIE Mon dieu! NATHALIA We need weapons. GRACE I wish she would stop! GARTH Well, I've checked everything I can think of on this box. Looks like I can open it, though after what happened, I wish I had a good old pool cue or something to let me stay back. AMELIE We will stay by the door. GRACE Out of your way. SOUND SLOW CREAK OPEN BOX GARTH I just wish I knew what that crazy doctor wants with-- [breaks off in surprise] What the hay? NATHALIA What is it? GARTH The box is full of ... [a little worried] weapons. MUSIC FLASHBACK DUNGEON GARTH Why in blazes are you doing this? CHNOSSOS As I said, I must see who is the most perfect male. Since you each have your own strengths-- LUIGI Strength! That is what I have. CHNOSSOS --there is no direct comparison except through competition. To begin with, those chains-- SOUND CLANK, CLATTER AS CHAINS FALL AWAY CHNOSSOS --must come off. There is no contest in watching strong men starve to death. Speak amongst yourselves. I must go and prepare the next challenge. [evil laugh] SOUND NOISE TO INDICATE SPEAKING SYSTEM IS OFF GARTH You! Fellows! KLAUS Ja? LUIGI Donchoo come-a no closer! GARTH See here, we should work together. If there's danger here, cooperation will be the best thing for it. KLAUS [considering] But this voice - he said that only one can win. LUIGI And that one - its'a gonna be me, by all the saints! GARTH That's all fine and dandy, but right now we're just three fellers in a dark room. Let's at least stick together til we find a way out. Or some light. SOUND DOOR GRATES OPEN KLAUS I think you get both of your wishes. SOUND KLAUS WALKS GARTH Hey, not so fast! It could be a trap! KLAUS I think it is too early in the game for that. No. This is merely an opening move. I will make the first counter move. SOUND LUIGI GETS UP LUIGI I'm-a gonna wait and see what happens to that bosch before I step up. No sense a-both of us getting killed alla the same time, eh? GARTH It looks safe ...so far. MUSIC BOX ROOM NATHALIA Weapons? Guns? GARTH No, no guns. Hold on. SOUND STUFF BEING MOVED, JUST A LITTLE GARTH Huh. [almost a chuckle] A good old pool cue. Stay back! AMELIE Why? Should we not 'elp? GARTH I saw something move. I'm gonna see what I can... SOUND SOMETHING FLOPS ON THE FLOOR NATHALIA A whip! I'll take that. GARTH You know how to use it? NATHALIA I had a very unusual ... boyfriend. AMELIE 'Ow unusual? NATHALIA [laugh] Oh! Your face! He worked with the circus. Trained animals. GRACE I don't suppose there might be a riding crop in there? I'm a dab hand with close cuts. GARTH Stay back! SOUND THUMP ON THE DOOR AMELIE 'Elp me 'old the door! GRACE [grunt, she throws herself against the door] Find us something we can use - quickly! SOUND THUMP ON THE DOOR MUSIC dungeon CHNOSSOS Come in gentlemen. [evil chuckle] I can see that physical perfection is no guarantee of courage. LUIGI I ain't-a no coward - donchoo say that! KLAUS [from off] I think you had best come in here. GARTH Come on. LUIGI I'll a-go first. SOUND WALKING GARTH Holy moley! LUIGI Santa Maria! KLAUS Most charming, are they not? Sleeping peacefully in their night shifts. GARTH Look, here, you! It's all very well to challenge us fellows, but this-- CHNOSSOS The six ladies you see before you are the most beautiful women in the world. LUIGI You ain't a-kidding! CHNOSSOS You might recall a recent article about the loss, at sea, of the boat carrying the finalists in the world beauty pageant? GARTH Jumping jehosephat! KLAUS [aha] Of course! LUIGI That explains-a everything! CHNOSSOS It was all a ruse - the boat DID sink, but not until I had "relieved" it of its lovely cargo. GARTH And the rest of the passengers and crew? CHNOSSOS Unnecessary. They went down with the ship. Couldn't have anyone left behind to inform the authorities of my presence, could I? KLAUS What is the matter with the girls? Why do they not awaken? CHNOSSOS Oh, it's been much easier to keep them drugged until now. They should be coming to any minute. Before they do, I should tell you the rest of the rules of the game. LUIGI Game? This ain't-a no game! GARTH Shh. Let him talk. CHNOSSOS No one escapes without a woman. I need two perfect specimens - a male and a female. KLAUS You sound like you plan to start a master race. CHNOSSOS I leave that to others. Each of you must choose one of the women for your companion. LUIGI What do we -uh- do with the girl? CHNOSSOS [juicy] Anything you like. But you must keep her alive until you find the exit. KLAUS Do you have to keep the same woman? CHNOSSOS Any woman will do. That's all the same to me. MUSIC BOX ROOM SOUND THUMP ON DOOR! GRACE They're going to get through any second SOUND WHIP CRACK NATHALIA [vicious, excited] Let them. GARTH Here's a knife, and - oh! SOUND THUMP OF KNIFE INTO BOX GARTH Got it! SOUND THUMP ON DOOR GRACE [gasp, strain] Got WHAT? GARTH Something spidery. Probably poisonous - that's why I'm taking this kinda slow! SOUND SPIKE COMES CRUNCHING THROUGH DOOR AMELIA [gaspy scream] Be more quick! NATHALIA Let it open. GARTH All right. On three, both of you, move over there, quick! I don't want to lose nobody else. SOUND THUMP, CRASH! MUSIC dungeon GARTH What about the others? CHNOSSOS What? GARTH The other girls. There's six of them and only three of us. What happens to the others? CHNOSSOS [nasty wicked] Don't worry. They won't be alone for long. [evil chuckle] You think I run this place single-handed? I have a horde of ..."men" just waiting to [insinuating] make the ladies' acquaintance. GARTH You fiend! KLAUS Very clever. LUIGI You put this into our hands? You make-a this all our fault! CHNOSSOS [taunting] Your fault? Why, no! Think of it this way - you each get to save one of these ladies from their fate! GARTH A fate worse than death! CHNOSSOS Just because those left behind are.... mmm... doomed. GARTH Well, we won't leave any, will we? [beat] Will we? KLAUS It will make it very difficult to succeed, herding a flock of women through a maze. LUIGI I like-a the ladies, but they can be a little hard to manage. SOUND GIRLS BEGIN TO WAKEN GARTH You heels. [up, to doc] Hey! What if we don't leave any of 'em behind? What about that? CHNOSSOS You can make that choice if you want. And of course, should any of them die in the traps in this maze-- GARTH Die? CHNOSSOS --and I assure you gentlemen, the traps are very very deadly! You might do well to take more than one, rather like a spare tire - since no one will make it out without a distaff partner. KLAUS Nein. GARTH No, Six. KLAUS [exasperated sigh, then "duh"] No. I will burden myself with only one. Easier to watch over. AMELIE [waking, very French] Oh la la! Ou et la? LUIGI But how do you propose to choose who gets a-which a-one? GARTH We should make up our minds now - before they all wake up and start a ruckus. NATHALIE [russian-sounding mutter] KLAUS I have already decided. I will have this blonde one. SUSANNE [waking up] Oh!! GARTH Why's that? KLAUS Simple. She is the smallest. Easiest to carry, should something happen. You, girl. SUSANNE [gasp, American] What? Where am I? GARTH Hey, you should leave her to me. She's from the good old U-S of A! KLAUS Too late. Come with me, girl. SUSANNE I don't want to-- KLAUS [threatening] Do not argue with me. This is a matter of life and death! CHNOSSOS Too right you are. For in five minutes, that green door on the far wall will open and a few of my choice minions will be let loose in this room. And you know what will happen then... [evil chuckle] GARTH Holy cats! We better get a move on. LUIGI But where a-do-a we go? There's the dreadful green door, and the way-a we came in, and then--? SOUND GRATING OF STONE KLAUS How convenient. Three doorways open. Come girl. I will keep you alive. SOUND GRABS UP SUZANNE KLAUS And we will make our exit, stage left. SUSANNE But I don't understand! KLAUS I will tell you all you need to know. [commanding] Come! SOUND THEY LEAVE AMELIE And 'oo will tell us all we need to know? LUIGI French? Eh! I have always favored French girls. I'll take-a you. AMELIE [defiant] Take-a me where? I do not think so! LUIGI [getting mad] Don't argue a-with-a me! You won't-a getta better chance-a than this! GARTH You better go, lady. Bad things are gonna happen here. AMELIE Huh! And no bad tings will 'appen with thees fellow? Hah! LUIGI Atsa your bad-a luck, then. You-- HELGA Ja? LUIGI Do notta speak. Just come. SOUND HUSTLES HER OFF AMELIE Hmph. Adieu. MUSIC BOX ROOM SOUND MAN CHOKING GARTH Leave off! NATHALIA [with exertion] He would be doing worse to me, were our positions reversed! GARTH We already killed three of them! We should keep him alive, make him tell us how to get out of here! NATHALIA Very well. [lets up, then hissed] You! You will take us through the maze, or He will leave you to me again, and strangling you is NOT the most painful thing I can do with this whip. SOUND CREAK OF LEATHER MONGREL [gasping] GRACE Are we certain the others are dead? GARTH Best as I can be. AMELIA I want 'is spear. Anything to keep terrible things at arm's length. GRACE I guess that leaves me the knife, unless you want to dig further into that box. SOUND CREAK OF WOOD GRACE The box! It's tipping forward! GARTH Dang it! [to the captive] YOU! Where do we go from here? MONGREL [gibbers in his language] GARTH Don't tell me he don't speak no English! AMELIA If he does not speak, then he is no use! NATHALIA Da! Then he is mine! MONGREL No! No! GRACE There's an opening under the box - and the darkness! It's moving! AMELIA Spiders! NATHALIA Bah! A whip is useless against such as those - we must leave here! MUSIC DUNGEON GARTH Gosh. I can't leave any of you girls here alone. That wouldn't be right. AMELIE We can look after ourselves. NATHALIA Speak for your own self! I want him to look after me. ODA Someone tell us, please, what it is that is going on? GRACE Yes. Can't you fill us in? GARTH Not here, not now. We gotta get moving - bad things are coming. GRACE Bad things? Could you be a bit more vague? AMELIE [troubled] That voice over the intercom - it said that. I think he is sincere. GARTH We'll get a move on, and I can tell you as we go. ODA You are taking her with you? GARTH Darnitall, I'm taking all o' y'all. MUSIC HALLWAY, KLAUS SUSANNE [distant, still screaming and gasping, and sobbing] KLAUS Verdammt. She must be behind the wall here, somewhere. [noise as he kicks the wall] GRACE [distant scream] KLAUS My apologies, miss America. But there remain other fish in the ocean. SOUND HE WALKS AWAY FROM SUSANNE'S SCREAM MUSIC FLAShBACK TO BOAT SOUND CALM OCEAN, DISTANT MUSIC SUSANNE Gee, this is swell! AMELIE You are recovered from your mal-de-mer? SUSANNE One hundred percent! Gosh, even seasick sounds so much nicer in French, don't it? AMELIE [laughs] ODA Oh, here is where you are! It is almost time for the curfew. AMELIE I don't think it is so dangereuse, to steal a few more minutes of this lovely ocean air! SOUND FEET APPROACH GRACE Ah, I'm not the only one with a mind to an evening constitutional? Makes one sleep quite soundly. SUSANNE Is that another boat out there? AMELIE [shrug] Eh. There are innumerable boats in the ocean. SOUND BELL SUSANNE Yeah. I swear it's coming right at us. ODA [a bit worried] Oh, come along, we must obey the rules! SOUND THEY WALK INSIDE, DOOR OPENS GRACE You'll forget all about strange boats once you get around some warm milk, and tuck up for the night. MUSIC HALLWAY, LUIGI HELGA I cannot move another step! LUIGI [threatening] Ahhh! You know what-a will happen to you if-a you don't! HELGA [stifled sob] LUIGI Open that door. HELGA My hand is still bleeding from the last door! LUIGI So. You still have one-a good hand. [growl] Open it. HELGA [sobbing breath] LUIGI [warning noise] HELGA [takes deep trepidacious breath, pushes door open] SOUND DISTANT EXPLOSION HELGA [gasp!] MUSIC FLASHBACK TO BOAT AMBIANCE BOAT SOUND EXPLOSION NOTE GIRLS HAVE BEEN DRUGGED, ARE GROGGY SUSANNE What? What's going on? SOUND STUMBLING TO DOOR SOUND HUGE CREAK, THINGS SLIDE SUSANNE What the - oh!! [stumbles, gasps for breath] ODA Why is the world sliding to the window? SUSANNE I'll try to [gasping breath] try to get to the door-- SOUND STAGGERING FEET ODA Don't leave me! I cannot swim! SUSANNE I'll just-- SOUND DOOR FLIES OPEN MONGREL [evil laughter] SUSANNE [screams] ODA What is it? Oh! [screams] MONGREL [evil laughter] MUSIC OUTSIDE BOX ROOM SOUND WHIP CRACK MONGREL [scream of agony] NATHALIA [ecstatic gasp, laugh!, sound of effort as she brings her arm back for another slice] SOUND CREAK OF LEATHER, CATCH HAND MONGREL [whimpering] GARTH [ugh as he stops her] Here, now, that's enough of that! NATHALIA Hmph. That one will be of no help! AMELIE We cannot merely stand 'ere in the corridor! Something will come! GRACE She's right. We should keep moving along. NATHALIA This one goes first. If he will not help us find the way, his only use is to find the traps before we do. SOUND CLUNK, BEHIND A DOOR GARTH Shh! There's something in that room up ahead! SOUND GRAPPLE MONGREL [whimper] NATHALIA Open the door, you beast! MONGREL [negatory noise] NATHALIA [intense whisper] You think I've hurt you already? You have felt nothing yet! GRACE Here, now - that's quite enough! NATHALIA Back off, limey! I have no wish to die! GARTH Ladies! AMELIE The only one 'oo wins, if we fight, is the monster 'oo put us 'ere! NATHALIA If this thing is not going to open the door, it certainly will not be me! GARTH [determined sigh] I'll open the door. You three, stand back. Keep an eye on him. NATHALIA [muttered] Teach your grandmother to suck eggs. SOUND DOORKNOB SLOWLY TURNS MUSIC HALLWAY, LUIGI SOUND ZIPPER HELGA [sobbing] LUIGI Get up. HELGA No. I will not. LUIGI You should be grateful I would even touch you - you sniveling thing. HELGA I have lost everything. My hand. My... dignity. And now this ... insult. LUIGI [nasty whisper] Think of it as a compliment. One last chance to feel like a woman. HELGA [hissed, angry] I might feel like a woman, if you felt anything like a man! LUIGI You bitch! SOUND SLAP HELGA [gasp] LUIGI I am your only chance to survive. Once we get out of here, you can go to hell! HELGA [fiery] You can go to hell right here! SOUND SHE RUNS OFF, LAUGHING HYSTERICALLY LUIGI What? SOUND TAKES A COUPLE OF STEPS, RUSTLE AS HIS PANTS FALL, HE TRIPS LUIGI [falling, ahhh! Oof!] HELGA [distant - laughter is cut off by a shrill scream, in turn cut off in mid-scream] SOUND HEAVY THUMP OF A BLADE, DISTANT LUIGI Biiiiitch! MUSIC HALLWAY, GARTH SOUND DOOR OPENS GARTH It's dark. AMELIE Do not go in. I'll light something off one of these flames. GRACE What will burn well? GARTH I'll open the door the rest of the way, see what I can see-- urk! SOUND SCUFFLE! AMELIE Garth? GRACE Oh god! NATHALIA Bring it out into the light! SOUND STRUGGLE STOPS KLAUS [from within] Step back, ladies. We are coming out. GARTH [half strangled] Why I oughtta....! KLAUS Shh! This knife says you are now the quiet one. [up] I suggest you ladies all move over there. Unless you want your hero to have a very close shave. GRACE Nathalia! Come here! NATHALIA [angry noise] SOUND CREAK OF LEATHER, HER ANGRY FOOTSTEPS KLAUS Danke shoen. Let us be Civilized about this. GRACE Go on then. GARTH Civilized? Urk! GRACE [low and intense] Do not anger the man with the knife! KLAUS The ever practical britisher. Hah! I find myself without a companion. GRACE Susanne? AMELIE [gasp] NATHALIE Fiend! KLAUS [cold, tinged with anger] She was snatched from behind me by one of the minions. I turned and saw her pulled through a door, which I could not open. GRACE So, being practical, what are you doing here? NATHALIA Is it not obvious? He needs a new woman. KLAUS Ja. [wry] Have I a volunteer? Or must I resort to threats? AMELIE You are not going to kill 'im? KLAUS Not if one of you comes with me. We will walk down the hall, and he will accompany us as far as the intersection there. AMELIE Why should we trust you? KLAUS You have my word as a Prussian. GRACE And the others? KLAUS [matter of fact] Wait here. He will come back for you. He is such an honorable schoolboy. Is it a deal, my fine fellow? GARTH [gasping a bit] Only if the ladies agree. GRACE One of us will have to-- NATHALIA I will go. AMELIE What, you want to go with 'im? NATHALIA Perhaps I am this tired of boy scouts. Should I take my pet along with me? SOUND KICKS MONGREL [Urk] SOUND FLOPPY FALL GRACE Goodness, I think he's... dead! MUSIC HALLWAY, LUIGI SOUND TRICKLING, DRIPPING NOISES LUIGI Dios mio! Such a mess. Stupid woman! SOUND DOOR OPENS, DISTANT LUIGI Too bad-a this blade is too big to take with me. I am-a left with the same club of wood. No more blades up above? [considering noise, scanning the ceiling] No. nothing else a-looks tricky. SOUND CAREFUL STEPPING OVER, FOOTSTEP IN STICKY PUDDLE LUIGI [ech! Disgusted noise] SOUND DISTANT FOOTSTEPS, BOOTS SOUND LUIGI WALKS QUIETLY OFF, STICKY FOOT MUSIC HALLWAY, LADIES AMELIE What if 'ee does not return? GRACE He can't get out without one of us. He must come back. AMELIE [odd tone] But... 'ee can only leave with one of us. GRACE We'll sort that all out when we get that far. AMELIE [musing] Oui. We will. MUSIC HALLWAY, KLAUS SOUND SHUFFLING FOOTSTEPS KLAUS There. Now, you must admit I have done you no more harm than I had to. GARTH [angry sigh] Yes. KLAUS And you swear you will count 20 before you move? GARTH Yes. NATHALIA [cold] I do not see why you should not kill him, eliminate the competition now. GARTH Nathalia! NATHALIA Garth, dear boy - you are adorable. But this is life and death, tovarisch. KLAUS [furious hiss] I have given my word, woman! NATHALIA [fierce, But backing down] Very well! GARTH You should get a move on. For all we know that eyetalian fellow is already on his way out the exit. MUSIC HALLWAY LUIGI MONGRELS WATCHING, ON THE LEFT, GENERAL CONVERSATION MONGREL [babbling] MONGREL2 [babbling, slightly higher voice] LUIGI [on right, whisper] Bastardos! SOUND ROCK SKIPS ACROSS FLOOR MONGRELS [gasp to a stop] SOUND WEAPONS COMING TO READY MONGRELS [shushing each other] LUIGI [whispered] Now for the bait. SOUND JUICY DRAG NOISE, FLOP LUIGI [whispered] Look at that a-shapely leg, boys. How can you resist? MONGRELS [murmur - excited - wolf whistle] LUIGI [high pitched gasp, mimicking a girl] SOUND STICKY FLOPPY NOISE, PULLS SEVERED LEG BACK MONGRELS [nasty chuckle] LUIGI Just a few... more... steps... MUSIC HALLWAY, GARTH SOUND WALKING, TAPPING AHEAD WITH A STICK GRACE How will we know the exit when we find it? GARTH I guess, from what he said, I assumed it would be obvious. AMELIE Do not pester 'im. 'ee is doing the best 'ee can! [to Garth, warm] I trust you, completemente! GARTH [a little uncertain] Well. They went thataway, so I figure we should try this direction. GRACE Perhaps he knew something? GARTH I don't think so. AMELIE Whichever way you wish to go is fine. I am right behind you, [sexy] always. GARTH Come on, then. SOUND THEY TAP AND WALK OFF MUSIC HALLWAY, KLAUS SOUND SCUFFLE, SWOOSH, THUMP, CREAK OF LEATHER KLAUS [heavy breathing] That was too close! NATHALIA My God! That would have cut me in half! KLAUS You look much better in one piece. NATHALIA If we do not escape-- [leaves it hanging] KLAUS This doctor says we will be sealed in here. Do not worry. I will kill you quickly. And then find a way to end myself as well. NATHALIA Before you do that, we must find a place where we can ...enjoy one last minute together. KLAUS If it was only a minute, I would call it an insult to both of us. NATHALIA [ecstatic deep breath] KLAUS [Deep breath] [clipped, cold] But for now - Let us try still to win, before we plan to celebrate defeat. MUSIC HALLWAY, LUIGI SOUND FIGHT! LUIGI [grunt] SOUND CRUNCH MONGREL [squeal, ends in gurgle, dies] LUIGI Hah! That's-a for you. SOUND BODY DROP SOUND SMACKS HANDS CLEAN SUSANNE [muffled gasp, behind wall] LUIGI Eh? SOUND SCUFFLE SUSANNE [sob] LUIGI Where are a-you? SUSANNE Who - who is it? LUIGI [low chuckle, then muttered, satisfied] It's-a someone who needs him a woman. MUSIC HALLWAY, KLAUS SOUND WALKING APPROACHES, STOPS NATHALIA Borje-moi! Another dead end! KLAUS [furious!] Gott in Himmel! [deep hissed breath, calming himself] Pah! At least going this direction, we know where the traps are. MUSIC HALLWAY, LUIGI SOUND DOOR GRINDS OPEN SUSANNA [hoarse shriek] No more! Please! LUIGI Come out of there. We need to move along! SUSANNA [whimper] You're not one of ...them? LUIGI I am one of-a me. And I need one of-a you. Come now, girl, or I will leave you to their mercies. SUSANNA Noo!!! LUIGI Come out! SUSANNA But I-- [whimpers, sniffles] They took my clothes! LUIGI You can-a walk naked, can't you? SUSANNA [cries] LUIGI Fine. I take-a you something from these-a dead fellows, eh? SUSANNA Just anything. Please. MUSIC HALLWAY, GARTH SOUND TAPPING, OFF TO THE LEFT GRACE I know what you're about! AMELIE Whatever do you mean? GRACE This helpless act, and agreeing with everything poor Garth says. He won't be fooled. AMELIE I am fooling no one. I truly agree with 'im. Is it so bad that I wish to survive? GRACE I shan't play this game. AMELIE She 'oo does not play cannot 'ope to win! GARTH [coming in] Seems clear up ahead. Come on. MUSIC HALLWAY, KLAUS SOUND WALKING KLAUS Shh! SOUND THEY STOP SOUND DISTANT DOOR OPENS KLAUS [whispered] stay close! SOUND QUIET STEPS KLAUS [whisper] This way. MUSIC HALLWAY, GARTH SOUND WALKING GARTH [whispered] Big open room ahead. Stay right here, and keep an eye out behind, got it? AMELIE [fervent] Absolutment! GRACE [clipped, a bit sour] Yes. SOUND HIS FOOTSTEPS, THEN A GRATING NOISE GARTH A gate! Quick! Come on! AMELIE It's coming down too fast! GRACE Slide! SOUND GRATING STOPS GARTH [grunts - effort - holding up the gate] Come... On! Quick! Get under! GRACE Go! SOUND DISTANT MUTTER OF MONGRELS AMELIE They are coming! GRACE Move your shapely posterior! GARTH [lots of effort] Quickly! AMELIE [breathing heavily] Oh! Oh! I am clear! GRACE My turn, I think. GARTH HURRRRRRY! GRACE Oh! Something's grabbed my foot! AMELIE [quiet] oh no. GRACE Help me! Amelie! Ahh! GARTH [straining] I can't hold it much longer! AMELIE [dithering] Oh... [decides] Oui. Give me your 'ands! SOUND HANDS SLAP TOGETHER BOTH WOMEN STRAIN GRACE I'm loose! Quick, Pull!! AMELIE Uuuh! SOUND RIPPING OF FABRIC GARTH It's slipping! SOUND CLANG! PORTCULLIS DROPS GRACE Good god - If my feet were a size larger, I'd be lost. Amelie. Thank you. AMELIE [upset] pas du tout. It was nothing. CHNOSSOS True - I fear your heroics were for nothing, mademoiselle. AMELIE [gasp] GARTH What are you talking about? CHNOSSOS You are too late. SOUND GRATING ACROSS THE ROOM, SCUFFLE AS KLAUS AND NATHALIA ENTER GARTH Too late? Too late for what? CHNOSSOS The Italian. He has found the exit. And even though his female was.... damaged goods... I never specified they had to make it out in pristine condition. KLAUS And now what is to happen? CHNOSSOS I have what I wanted. You are ...expendable. SOUND SPEAKING TUBE BEING CLOSED KLAUS That door - Is that the exit? Do you know? GARTH I guess I thought it was. SOUND DOORS OPENING, ALL AROUND SOUND FEET ENTER MONGRELS [many] [laughing evilly] KLAUS There must be dozens of them! GARTH Quick! Circle up! Face outward. NATHALIA No mercy! SOUND WHIP! GRACE Amelie, Come on! MUSIC THE WINNER SOUND MELLOW MUSIC PLAYS, CHAMPAGNE POURS LUIGI So. What-a is it that I win? SOUND MACHINE WHIRS, ENTERING CHNOSSOS [not on speakers] You are the perfect male specimen. LUIGI I coulda told you that from-a the beginning. CHNOSSOS You are lucky I was only looking for physical specimens. Morally, I fear you are ... flawed. LUIGI [shrug] You never asked for morals. You don't-a seem like the type. CHNOSSOS No. I have never been overburdened with morals. Scientists can't afford such luxuries. LUIGI [scoffing] Scientist? A dried up old-a walnut of a fellow like-a you? CHNOSSOS You should be more polite to your host. LUIGI I think-a we are past that. So? What do I win? CHNOSSOS Have some more champagne and I will tell you everything. MUSIC STILL IN THE MAZE BACK TO OUTER ROOM SOUND FIGHT HAS ENDED. HEAVY BREATHING ALL ROUND MONGREL [groan] KLAUS [grunt as he stabs the man] GARTH That looks like the last one moving. Everyone okay? GRACE I think Amelie is hurt. Her thigh. AMELIE It's just a scratch. GRACE Why don't you see if you can get the door open? I'll see to this. NATHALIA I will watch for any other ... enemies. KLAUS So, [wry, but with humor] my fellow loser, do we go and take our prizes? GARTH That sounds jake to me! Let's get that door open! MUSIC INSIDE DOC'S LAIR SOUND DOOR CRASHES OPEN CHNOSSOS [on speakertube] So, you have managed to escape! KLAUS Ja. CHNOSSOS You are too late! GARTH All we want to do is get the heck out of here, doc! You try and stop us, and we'll give you what for! NATHALIA We are not going to find and kill this beast? SOUND LIMPING UP BEHIND AMELIE [whimpers, gasps] GRACE We simply do not have that luxury. It is more important to get ourselves clear. [to Amelie] Come along. KLAUS [to doc] I doubt that there is one of us who would want any prize that came from the likes of you! GARTH [to doc] Just you stay out of our way! You hear? CHNOSSOS Go on. Leave. I have no need for any of you. MUSIC BOAT SOUND OCEAN SOUND CREAK OF BOAT SOUND FEET APPROACH GARTH All clear. And there's even some food in the galley. KLAUS Get the ladies on board. GARTH Are you thinking what I'm thinking? KLAUS That leaving this ... villain... to roam at large is somehow dishonorable? GARTH I just wanted to whup his fanny, but that sounds real reasonable. NATHALIA [breathless, worried] You're not going back in there? KLAUS Ja. And I am coming back out. [quiet, intense] You are fierce. That will give me the inspiration to return. NATHALIA [gasp] GARTH Hey. GRACE Yes? GARTH Is she... is she doing okay? GRACE [resigned] She'll survive. Thanks to you. Now go on. Make the world safe for all of us. GARTH Right. Come on, Klaus. MUSIC AMBIANCE DOC'S LAIR SOUND DOOR BROKEN IN SOUND JUICY PLOPPY CUTTING NOISES GARTH and KLAUS [react as they stumble in] CHNOSSOS No! Stay away! I am not finished! GARTH Holy Cow! KLAUS Mein Gott! CHNOSSOS You will not take away my perfect specimen! GARTH I don't want it. KLAUS But you, old man, must be stopped. CHNOSSOS Nooooo- Urk! MUSIC OUTSIDE SOUND TWO MEN WALK BACK TO THE BOAT SOUND BEHIND THEM THE PLACE BURN KLAUS Mein gott. That could have been either one of us. GARTH We can't tell none of them girls what we saw in there. KLAUS There is no reason they should need to know. GARTH Good. You and me, Klaus old buddy, are the only ones who will ever know what the winner of this damned game was gonna get. KLAUS ...Skinned and mounted as a trophy. END CREDITS
Last Time on Tidefall... The heroes left the fated hotel room with many plans. Firstly, they had to warn the city. They send Joe and Uriah to the civilian sector to warn them about the bomb in the far end of the city. Flip modified a radio to call into Major Rasmusson's frequency so that Salt could let him know more about what's going on. Eventually he was able to convince Rasmusson, so the military is going to get the civilians out. Secondly, they had to avoid a deadly assassin that was out to get them. Thirdly, they had to find and disarm a bomb. It was a lot. The crew decided to high tail it to find the bomb in the central industrial district of the city. On the way there, Hera was shocked when she ran into Nell, the catlike Mongrel from the Children of Yantis. Flip and Nell had.. Many awkward interactions. Old memories die hard. But Nell helped the group find the factory, and enlisted the help of a believer of the Church of Yantis. The group infiltrated the factory, broke a window, pretended to be a rich noble's daughter, and turned on alarms. Somehow, it worked and the group non-violently disarmed the workers. Raktas ran off as soon as he realized there was a bomb, he started chanting about the end being nigh and other doom and gloom. But the group eventually found a basement leading to the underbelly of the city with a little bit of help from the foreman. While Nell and most of the crew were moving factory pieces to get into the basement of the building, Hera was relaxing reading the private journal or musing of the factory foreman. Just as she was going downstairs to join the group, she felt metal touch her neck. A knife placed there by the assassin hunting them pressed slightly into her neck just as she heard “Your gonna stop right there and you're not going to say a word” What will happen in the city of Tidefall next? Find out now. Music credit to guilhermebernardes at pixabay.com
We've got a nice varied show this week. A little bit of something for everyone. Including things we love that you will certainly hate. We're nothing if not predictable. Intro Music: Bill Engvall- Here's Your Sign Submit music to demolistenpodcast@gmail.com. Become a patron at https://www.patreon.com/demolistenpodcast. Leave us a message at (260)222-8341 Queue: Mustard, Dare To Forgive, Puffer, BUBD, Expollutants, Mongrel, Lazer Boogie Suicide, Aftermath, Repentless, Yotzeret Sheydim https://yotzeretsheydim.bandcamp.com/ https://repentless666.bandcamp.com/ https://aftermathphx.bandcamp.com/ https://lazerboogiesuicide.bandcamp.com/ https://mongrelsd.bandcamp.com/releases
This week, Jim and Goodey are joined by former Ireland, Leinster and Leicester back row Shane Jennings to look ahead to his two former clubs facing off in the Heineken Champions Cup Quarter final this weekend. The lads predict the winners of all the Champions Cup Quarter Finals as well as running through last weekend's Premiership fixtures which saw a whopping 409 points scored across all 6 games. We discuss the constant battle that is the global season and Jim puts forward his argument for summer rugby. Learn more about your ad choices. Visit podcastchoices.com/adchoices
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