Podcasts about Neil Innes

WBCQ/The Planet airdate - 6/14/25 Welcome to Fluxedo Junction! Each episode we bring you the best music of all genres from throughout the world, and this week we'll be speaking with Yvonne Innes, a writer and acclaimed garden designer. She is best known for her landscape “From Life To Life - A Garden for George” - a floral tribute to her friend George Harrison. From 1962 until his untimely death in 2019 she shared her life with Neil Innes, the driving force behind the Bonzo Dog Band, collaborator with Monty Python and its individual members, co-creator of The Rutles, and an internationally beloved creator of comedic songs. Yvonne accompanied Neil throughout his career and previously documented his solo excursions with her popular tour diaries. Today we'll be speaking with her about her latest book - Dip My Brain in Joy: A Life With Neil Innes: The Official Biography.

Can you believe that for half a century student bars the length and breadth of the land have resounded to the excruciating cries of "Nii!"? Yes, the film the Spanish call 'The Knights of the Square Table and Their Crazy Followers' turns 50 and to mark the occasion here's a bonus episode with Tyler and writer, podcaster & performer Tom Salinsky in which they talk at length about the film. Tom thinks that Life of Brian has more to say but Monty Python and the Holy Grail is the most consistently funny of their films, with barely a moment left gagless, from the inspired opening titles to the demonic camp of Tim the Enchanter. They discuss highlights such as the cartoonish violence of the King Arthur vs Black Knight sequence; Brave Sir Robin and his minstrel Neil Innes; Gilliam the gatekeeper of the Bridge of Death (later rented out to William Friedkin for Sorcerer?); Dennis the mud-ridden firebrand decrying systems of government; Carole Cleveland as Zoot, Mistress of Castle Anthrax; the weakly insipid Prince Herbert and his overbearing dad; the witch trial; Brother Maynard and the Holy Hand Grenade of Antioch and, of course, Frank the TV historian who suffers a violent slaying.Tom also talks of his love for the LP and compares the film to the script book – whither Brian the Wild from the final cut? – and reveals that parts of the original script were later repurposed for the fourth series of Monty Python. He also touches on Spamalot and springing from that there's an interesting overview of the recent Dr Strangelove production starring Steve Coogan.Also: the coconuts for horses gag – A Show Called Fred got there first! So that ticks the box marked 'Goon Content'!Tom is co-host of Best Pick podcast: https://bestpickpod.com/

This time out we have a real treat from across the pond. Neil Innes may not be the most recognizable name in comedy, but without him the Monty Python movies would be much the poorer (and we wouldn't have a Bonzo Dog Doo Dah Band at all). Coming up as part of the British satire boom of the early 1960s, Neil was an artist and musician with a flair for the absurd. That certainly came to the fore in the Bonzos, where Neil often sang lead and wrote their biggest hit. He soon crossed paths with the Pythons who used his music in Monty Python and the Holy Grail (among others), and he later collaborated with Eric Idle on the faux-Beatles parody, The Rutles. An all-around good bloke, Neil remained a well-loved fixture in British comedy, including Bonzos and Rutles reunions, for the rest of his life. As always, find extra clips below and thanks for sharing our shows! Want more Neil? Neil was a key member of the dada-influenced rockers The Bonzo Dog Doo Dah Band. He wrote and sang lead on their biggest hit -- I'm The Urban Spaceman. https://youtu.be/olGXtohOs7c?si=C-yLWjWHi27hxE_u Monty Python and the Holy Grail is beloved by fans and the clever tunes by Neil are part of the reason why. Here Neil foretells the fate of his boss, the very very brave Sir Robin. https://youtu.be/ACajzIlzvH0?si=ZdJZ8X2TpQzpP1M George Harrison was a great patron of the Pythons and was always ready to take a piss out of his old band. This clip from Eric Idle's Rutland Weekend Television finds George in fine voice singing . . .what?https://youtu.be/zJFLiW10ZrE?si=MOI5msq9MPQUaHHp

Yvonne Innes – Dip my brain in joy: A life with Neil Innes – The Official Biography...with TRE's Hannah Murray

In 2019 we lost a Rutle, a Bonzo and a Python - these were all one man; the incredible Neil Innes. His wife Yvonne, who was with him since the early sixties, has now written a memoir of Neil's life and their time together - Dip My Brain In Joy: A Life With Neil Innes, which is available from 24th October 2024 from Nine Eight Books. In this chat, Yvonne talks about Neil's philosphy of life and language, his risk-taking and what it was like to be around art-schools in the sixties as a new wave of comedians and musicians started to change the world. She also discusses her own "pro good-things, anti bad-things" stance, her and Neil's relationship to finance and how these things can affect art and creativity. Thanks so much to Yvonne for making the time to chat to us! Enjoy. A celebration of the life of Neil Innes takes place in London on the 28th November and standing tickets are still available.

I'm joined for this bonus, mini episode by Yvonne Innes to discuss her biography of her husband, Neil Innes. In my view, Neil was one of the largest contributors to British culture of the last 50 years, and is beloved to all Beatle fans as co creator of The Rutles. Yvonne's book is full of humour and love and tells her husband's remarkable life story with all the insight you'd expect.

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson is joined by AI and digital technology expert, Suchi Srinivasan. With over 20 years of experience in the industry, Suchi is extremely sought after for her expertise and knowledge and is currently managing director and partner at Boston Consulting Group. Suchi sits at the helm of the artificial intelligence space where she is passionate about using technology to solve some of the world's most complex problems. Suchi tells Brenda about her personal career journey and how her own engineer father inspired the path she's on today. Together, they chat through their tech industry experiences and why we need more representation in the building of AI technology. Suchi gives listeners critical advice for familiarizing yourself with new AI technology and how she keeps an optimistic view for the future of emerging technologies. Brenda and Suchi also reminisce on their shared experiences as podcast hosts and the importance of sharing these stories. You can find Suchi co-hosting Boston Consulting Group's “In Her Ellement” Podcast, showcasing women at the vanguard of business, digital, and technology.  “Tech has to make our human existence better. It's not the other way around. And it's really important for us to remember that and bring that perspective into whatever our job is. Whether we're a designer, whether we're a software engineer, whether we're a business decision maker, it doesn't matter. But it's all in service of humanity.” For more, check out Sushi and Boston Consulting Group... On LinkedIn - /boston-consulting-group & /bcg-X On X - @BCG & @bcgx_ On Instagram - @bcg & @bcgx_ On Facebook - /BostonConsultingGroup And listen to Suchi's podcast, In Her Ellement --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

We all remember what Rob and Guy thought of Nuns on the Run. Perhaps their biggest disappointment so far on Britcom Goes to the Movies. So another Eric Idle vehicle with another questionable love interest age gap was enough to set alarm bells ringing. Could John Cleese and Rick Moranis help stem the flow of ill will, though?   One significant advantage of tackling 1993's Splitting Heirs was the opportunity to examine Rutland Weekend Television. Idle's post-Python sketch show, with more than a little help from musical maestro Neil Innes and pioneering an idea as maverick as a “music video” (it'll never catch on), has become a big comedy touchstone for many generations to follow, and let's not forget, gave the world The Rutles.   As well as Splitting Heirs and Rutland Weekend Television, we chat Saturday Night Live, SCTV, and plenty more. Guy with some work to do in the quiz stakes already after a 4-2 loss in episode one. Could he reduce the margin?   Splitting Heirs Trailer https://www.youtube.com/watch?v=bakWHKecYw0   Splitting Heirs – Not Really Asian https://www.youtube.com/watch?v=_UQ-oyvp-mk    Splitting Heirs – Behind The Scenes -Film 93 https://www.youtube.com/watch?v=ewwD4nYN9Ww   Rutland Weekend Television – S1 E1 https://www.youtube.com/watch?v=rGrjP8ltFgw   George Harrison on RWT https://www.youtube.com/watch?v=_ACyZIXkHq0   The Rutles https://www.youtube.com/watch?v=7RFxencNmZw   The Bonzo Dog Doo-Dah Band - I'm The Urban Spaceman https://www.youtube.com/watch?v=olGXtohOs7c

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson talks with multi-tasker extraordinaire Trishala Pillai. Outside of Trishala's day job as senior product manager of supply chain innovation and automation at Walmart, she also serves as a board member at AnitaB.org and a producer at the media company she founded called Jugaad Community. Together, Brenda and Trishala talk through how to bring creativity to your career and how to find new opportunities in emerging technologies. Their conversation is sure to get your creative juices flowing and Trishala offers helpful advice for anyone looking toward the next chapter of their career.  “A lot of the time, it's not that you don't have the skills to be impactful in a new role, it's that you don't know the story to tell around your experiences and your career so far. So, when I speak with folks who reach out to me for conversations, the second thing I tell them after orienting themselves and understanding what the landscape looks like is: connect the dots in your own experience, and not just your professional experiences, but also your personal experiences.” For more, check out Trishala and her work... On LinkedIn - /trishalapillai On Instagram - @_trishalapillai One YouTube -@_trishalapillai/videos --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

Devshi Mehrotra and Leslie Jones-Dove join host Brenda Darden Wilkerson on this inspiring episode of “B The Way Forward.” Devshi and Leslie are the CEO and CTO, respectively, and co-founders of JusticeText, an MIT and Google-backed startup that is building technology to better improve the criminal justice system. They talk Brenda through the mission of their company – to hold law enforcement accountable and ensure that low-income criminal defendants get their chance at an equal and fair trial. JusticeText started as a college capstone project and has now grown into a successful California-based startup. Devshi and Leslie explain how their program takes media files and evidence and creates transcriptions that help public defenders analyze data before trials. They share personal and emotional stories with Brenda about the positive impact that JusticeText has had on public defenders, their clients and families. Plus, they share business insights into how they started their company and what it's been like to fundraise, work with investors, and build their brand. Devshi and Leslie's passions to improve the criminal justice system shine through this episode and you will leave the conversation feeling motivated to pursue dreams that can make the world a better place. “I think there's no excuse in this day and age for our government systems to be relying on such inadequate technology systems. So, I think there's a lot for us to be wary of when it comes to facial recognition, gang databases, things like that, but I think we should also just focus on: how do we build tools for the people who are advocating for everyday people?” --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

Host Brenda Darden Wilkerson is joined by speaker, author, founder, and DEI advocate, Yai Vargas, in this episode of “B the Way Forward.” Yai's big belief that “women are the heart and soul of an organization” rings true in everything she does and stands for. Yai tells Brenda about her personal journey as a woman from the Dominican Republic who immigrated to the United States at an early age and realized quickly how important it was to connect with her Latin roots. After landing what she thought was her dream job, Yai opens up about her disappointment when noticing the gap of diversity in her workplace. She tells Brenda that executive roles need to be more representative of the US population – only about 5% of corporate board positions are held by Hispanics. This experience led Yai to make a professional career change, pivot entirely to the world of DEI, and build “The Latinista,” a national network for professional Latinas and women of color invested in skills development and career mobility. Yai is known as the “LinkedIn Networking Ninja” and together, Yai and Brenda discuss the importance of community and how to use your own network to bring people together.  “We all start from somewhere. And even though some corporations have been around for 150 years, it's our journey of figuring out how our business is evolving with the inclusion of what demographic is going to work with us, in our community.” For more, check out Yai and the Latanista ... On LinkedIn - /yaivargas On the Web - www.TheLatinista.com | www.YaiVargas.com --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson has a powerful conversation with Susie Jaramillo, an Emmy nominated director, artist, storyteller and entrepreneur who uses the power of media to introduce diverse cultures to children. Influenced by her Venezuelan roots, Susie noticed a lack of inclusive representation in storytelling for her two young kids. According to the US Census, Gen Alpha will be the most diverse generation in history, yet they remain severely underrepresented in the media. Susie hopes to change that as the Co-founder and CEO of Encantos, a children's entertainment company that tells purpose-driven stories inspired by cultures all over the world. Encantos features books, puzzles and games, and an app called Canticos, which allows children to learn both English and Spanish through vibrant storytelling and songs. As the first Latina CEO of a children's entertainment company, Susie shares how storytelling can inspire, teach and help us understand other cultures. Through her work, Susie is encouraged to unite families through culture, and draw together communities. “It's so rich. It's so fun. It's the spice of life. And so, I kind of have made it my mission to really just showcase how gorgeous all the different aspects of our culture are and to use that in media, and in children's media.” For more, check out Susie and her work on... Instagram - @sujaramillo & @canticosworld X - @sujaramillo & @canticosworld TikTok - @sujaramillo & @canticosworld LinkedIn - /susanjaramillo --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On this episode of “B The Way Forward,” you'll receive a master class in soft power strategies with Forbes Columnist and leadership expert, Penny Abeywardena. Penny introduces us to her new company, Soft Power Strategies, and tells host Brenda Darden Wilkerson why the use of soft power is beneficial on a variety of issues. As the former Commissioner for International Affairs of the city of New York, Penny talks about her experiences leading the agency and what it was like to serve the largest diplomatic corps in the world. Penny's successful career spans across philanthropy, non-profit, government, and more. She and Brenda talk about their personal journeys facing up against certain power dynamics and Penny offers advice on how to strategize and combat those situations. In this episode, you'll learn how to identify strategies of influence and persuasion when there is little or no perceived power. Plus, Brenda and Penny discuss the importance of registering to vote and how you can prepare to vote meaningfully in this election year.  “These are conversations we need to have with our friends, with our religious community, with whoever you feel you can talk to. But do not think that there's nothing you can do. There is a way to activate and it's up to us to help you get there. And I hope you keep these channels of information open so that you can see and align yourself with how you want to be the change you want to see.” For more, check out Penny and her work on... X - @PAbeywardena Instagram - @pabeywardena LinkedIn - /pennyabeywardena On the Web - pennyabeywardena.com | softpowerstrategies.com --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On this episode of “B The Way Forward,” Host Brenda Darden Wilkerson is joined by Beena Ammanath, an executive, author, advocate, AnitaB.org board member, and nonprofit founder, who aims to increase awareness on the use, risks, and benefits of artificial intelligence, all while promoting diversity in this niche tech space. Beena is the Executive Director at the Deloitte Global AI Institute, where she helps companies and businesses learn how to leverage AI in the most practical and safe ways possible. Through this conversation, Beena offers listeners insight on how to utilize AI in every aspect of business and in our own personal career paths. As a computer scientist by trade, there was nothing in Beena's education or curriculum about ethics in the AI space, which led her into forging her own unique path to incorporate them into her career. Beena penned Trustworthy AI, a book that bridges the gap for readers on ethics and AI, and Zero Latency Leadership, which looks at other new emerging technologies that are on the horizon. Through all of this work, she also became an advocate for women and minorities in the AI realm, knowing that in order for AI to be successful, it needs to have diverse voices at the table. Brenda and Beena discuss how more people can become “AI Fluent”, why diversity in technology is crucial, and how to raise your voice to make the best use of these technologies. “Diversity has so many different angles. It's the culture, the experience, the education, age, the geographic location you come from. There are so many nuances to diversity, and for your AI products to be robust, you have to factor in. Start with the largest demographic, but try to bring in as much diversity to your AI teams as you can, because it's only going to make your product better and make more profit.” For more, check out Been and Delloitte... On LinkedIn - /bammanath | /delloitte On the Web - https://beenammanath.com/ | Deloitte AI Institute - AI Insights --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

In this episode of “B The Way Forward,” host Brenda Darden Wilkerson is joined by Girls Who Code CEO, Tarika Barrett. Tarika took over the helm at Girls Who Code in 2021 and has been the driving force behind the nonprofit that aims to close the gender gap in technology careers by inspiring, educating and equipping students with computing skills to take on 21st century opportunities. Since Girls Who Code was launched in 2012, they have reached over 600,000 young people with their educational programming - and Tarika is continuing to expand that reach. A proud daughter of Jamaican immigrants, Tarika's mother instilled values of equality and positive change in her life. Since then, Tarika's career has been dedicated to addressing education inequities, in terms of race, gender, and socioeconomic status. Brenda and Tarika discuss the importance of diversity in the tech space and why giving equal representation inspires the next generation to see themselves in the tech industry, too. With women comprising only roughly 25 percent of computing roles, and Black and Latinx women just a little over 5 percent of that, Tarika and Girls Who Code are working to change those statistics. “When we see our women, our girls, our people of color seek out tech jobs, they become the creators and the change makers. They can advocate for the kinds of tech that keeps our needs and our safety and our interests top of mind.” For more, check out Tarika and her work... On LinkedIn - /tarikabarrett & /girlswhocode On X - @DrTarikaBarrett & @GirlsWhoCode On Instagram - @GirlsWhoCode --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

In this episode of “B The Way Forward,” host Brenda Darden Wilkerson speaks with Chelsey Glasson about pregnancy discrimination in the workplace and why your voice matters. Chelsey, author of, “Black Box: A Pregnancy Discrimination Memoir,” gives us an inside look at how companies may perpetuate harassment in the workplace, and offers tools and resources to navigate these scenarios. In this conversation, Chelsey explains the pregnancy discrimination that she faced at a large tech company and shares advice for people who may find themselves in similar situations. Now, Chelsey is on her healing journey and shares how her experience led her to become a writer, advocate and future attorney. Together, Brenda and Chelsey hope that sharing more of these stories will inspire others to speak out against these types of injustices.  “You have to do what's right for you in terms of healing. And it's okay to prioritize that. And for me, the right thing is to transition away from tech. But, because I went through this journey, because I'm a researcher and I love being in the space of innovation, I realize all of these opportunities within the legal system to better support people who have experienced workplace misconduct.” For more, check out Chelsey and her work... On LinkedIn - /chelsey-glasson Watch the Book Trailer for her memoir, Black Box, and find out more at blackboxthebook.com Read Chelsey's most recent Op-Ed on Pregnancy Discrimination at Fast Company. --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

This week's show, after a 1986 Chameleons check-in: brand new Fontaines D.C., The Smile, Redd Kross, Decemberists, Matt Hunter & the Dusty Fates, Art Bergmann, and (Arthur Lee &) Love, plus Neil Innes, Derrick Morgan, West Coast Pop Art Experimental Ba...

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson is joined by Linda Kamau, Founder & Executive Director of AkiraChix, a Kenya-based company dedicated to providing training, mentorship and outreach programs to increase the number of skilled women in technology. As a champion for women in tech, Linda hopes to bring more women to the center of the growing technology ecosystem in African communities and beyond. When women come together to participate in AkiraChix programs like CodeHive and CodeHiveX, they not only learn more STEM skills, but they also create a sisterhood and strong community. Linda tells Brenda that so far, AkiraChix has graduated 485 young women and 80% of them are employed and earning money. They also discuss the development of soft skills, barriers that women continue to face in Africa and why having hands-on experience is so important. Linda challenges more companies to focus on inclusion and invest in the talented pool of women in tech. This conversation will leave you feeling inspired and optimistic by the work Linda is doing across the world. “There's still some parts, even in our country, that don't advocate for girls' education. And so, pushing back on that and being able to show them that when you educate a young woman, our whole society changes. And so being able to do that really, really means that we can get more young women in tech.” For more, check out Linda and AkiraChix on... X - @lkamau | @akirachix Instagram - @lkamau | @akirachix Facebook - /AkiraChix LinkedIn - /linda-kamau-a5288125 | /akirachix --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson is joined by Mariana Carvalho, a computer scientist, author, career mentor, DEI advocate and so much more. Mariana is a great example of the success that comes from networking and finding community for women in tech – She's a Grace Hopper Celebration Scholar, a Systers Pass it On Award winner, an AnitaB.org scholarship reviewer and mentor. She's used her successful experiences to empower other women through sisterhood, self advocacy, and her career mentorship programs. As the Co-Founder of Brazilians in Tech, Mariana tells Brenda about her career journey into technology and how she found her footing in the corporate world. Brenda and Mariana also do a mini career mentor session, where listeners can gain insight on how best to approach the job market, network, interview, and more. Mariana, who was named the Mentor of the Year in 2023 by the WomenTech Network, is also an author and the Editor in Chief of Women in Technology Publication. Together, Brenda and Mariana share how their personal passions drive their careers and offer advice for listeners who might be looking to make an impactful change. “You feel that you are alone, but when you close your laptop, just know that you have your community behind you. They are going to be there for you. You might feel that you are alone, but you are not. You need to remember that every single day.” For more of Mariana and her work check out... LinkedIn - /mari  Instagram: @hellomariworld X - @hellomariworld Threads - @hellomariworld On the Web - hellomariworld.com --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson sits down with career coach and DEI professional, Aaron Fung, to talk about balancing your personal passions with your career goals. Aaron's career coaching business, CoachingAF, helps people find a career path that actually resonates with them. As someone who moved around jobs and industries in the past, Aaron hopes to help others feeling the same way he did – stuck or lost – to find their true passions. Brenda and Aaron open up about the valuable information they've both gleaned from trying work in different spaces that didn't suit their personal goals. Plus, Aaron shares some of his career coaching advice like the powerful questions he asks to get his clients thinking more deeply: “How did you get into your first job?” “What do you really want from work?” Aaron, who once thought he'd be working in financial planning forever, also talks about his latest role at startup company, Crew, where he focuses on coaching operations and business development. Brenda and Aaron also discuss how personal family experience impacts what they do in the workplace. Aaron was previously a diversity and inclusion manager at Pinterest, and he's passionate about bringing inclusivity into all the new work that he does. “If you can have some perspective to help people who are in a different identity segment, you are establishing your character as recognizing that there are differences in the ways people are perceived. And, we should do better to open the doors wider. So that more underrepresented founders can have that chance to get funded because their idea really could be world changing.” For more, check out Aaron... On LinkedIn - /aaronlfung, /coachingaf and /inclusionaf On Instagram - @goseetheworldfung/ On the Web - coachingaf.com and aaronfung.me ---- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On today's episode of “B The Way Forward” we're busting some common menopause myths with Dr. Mary Claire Haver. Host Brenda Darden Wilkerson sits down with Dr. Haver who not only is a board-certified OB/GYN, physician, and entrepreneur but she's also amassed over 3 million followers on her social media platforms. Dr. Haver uses her voice as a resource for women to better understand both perimenopause and menopause symptoms and solutions for improved health. She's also founder of the “Pause Life,” a comprehensive approach to menopause education and founder of “The Galveston Diet,” a nutrition program for women in menopause. Brenda and Dr. Haver talk about the shocking misconceptions and cliche symptoms – hot flashes, weight gain – that don't always complete the big picture for every woman. Their conversation hopes to bring attention to and normalize conversations around women's health. Plus, Dr. Haver opens up about all the wrong information she was once taught and why that inspired her to become a resource for women everywhere. Dr. Haver's second book, “The New Menopause,” is out now. “I'd go digging, digging, digging in the research and find, oh my gosh, there is a connection here and no one's talking about it. So, I start talking about it just so I can educate others so we stop being gaslit and feel so crazy with no explanation of how we went from healthy to suffering with no answers.” Find more of Dr. Haver and her work... On TikTok - @drmaryclaire On Instagram - @drmaryclaire & @the.galveston.diet On Facebook - /drmaryclaire On YouTube - /@maryclairehavermd8473 On LinkedIn - /the-pause-life --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson and guest Jhillika Kumar discuss her passion to empower the neurodivergent community. Jhillika's list of accolades started at a young age including the AnitaB.org Student of Vision Award, her inspiring Ted Talk and Forbes 30 Under 30 recognition. Jhillka is the CEO and founder of Mentra, an employment network committed to matching neurodivergent individuals with employers. From a young age, Jhillika was inspired to build an inclusive world and place for her non-speaking, autistic brother to thrive. Now, she's offering advice and guidance to communities of students and neurodivergent individuals and helping them find opportunities in the workforce. Jhillika's company has found great success so far with around 44,000 neurodivergent job seekers on their platform today and an investment from OpenAI co-founder and CEO Sam Altman. Jhillika and Brenda discuss why it's important for hiring managers to understand intersectionality and learn how people can have differences ranging from life experiences, cultures, gender identities, and more. Plus, Jhillika offers her advice for other young entrepreneurs looking to make a change in the world.  “Our company serves as Mentors to both job seekers, because we empower them through the journey to find a job, to navigate interviews and all the executive functioning involved in that complicated process, to mentoring the recruiters on how do you communicate with someone who's neurodivergent and thinks differently? How do you evaluate talent? How do you overcome the bias that you might have because someone behaves a certain different way or speaks differently?” For more of Jhillika and her work check out: LinkedIn - /jhillika Instagram - @jhillika X - @Jhillika Facebook - /jhillika --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

This week we dive into the story of the most famous Liverpudlian foursome of all time! No, not those guys--we're talking about Eric Idle and Neil Innes's Rutles.

This episode of “B The Way Forward,” explores how to take action and overcome bias with world renowned diversity, equity, and inclusion consultant, Vernā Myers. Vernā has spent over 25 years in DEI consulting, helping companies find value and focus on more inclusive environments. She tells Brenda about her early career journey – as a Harvard educated lawyer – and why she ultimately founded The Vernā Myers Company for building more inclusive and culturally competent work environments. Vernā also served as Netflix's first head of inclusion strategy where she was instrumental in leading initiatives that moved DEI to the forefront of the company. In this episode, Brenda and Vernā look back at civil rights leaders and the moments that led towards positive social change, and what lessons we can learn from them today. Plus, Vernā shares more about her podcast, Sundays With Vernā which features powerful conversations about bridging our divided society. This conversation offers insight into why we should all use reflection and compassion to play a role in making our world better.  “DEI is saying we need to create a place where people feel that they are expected, that they are reflected, and that they are respected. Like all of those things that were not happening because we created organizations to really fit around a certain, powerful status group.” Check out more of Verna and her work... On X - @VernaMyers On Instagram - @VernaMyers On LinkedIn - /Verna Myers On Facebook - /VernaMyers.SpeakerPage --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

In this late night episode we give our immediate reaction to the Scottish Leaders' debate on BBC Scotland.We also look back at a week which saw SNP Westminster leader Stephen Flynn receive rounds of applause in the 7 way UK equivalent particularly when he took on Farage and the great unspoken-Brexit .Meanwhile on Radio 4's Any Questions John Nicolson got exactly the same rousing response from the audience in Rutland( Yup it does exist in reality not just the fertile imaginations of Eric Idle and Neil Innes).You can listen to John herehttps://www.bbc.co.uk/programmes/m001zw62Just when you thought it couldn't get any worse for Rishi Sunak he decided to skip the international element of the D Day 80th anniversary commemorations and return home for an ITV interview and an election planning meeting. Is there a Labour plant in the Tory campaign team given the stupidity of that decision?Today also saw the launch of the Tory Party Election Manifesto. Over 70 pages worth but given the state of the polls and the crumbling campaign is it worth the paper it's written on? ★ Support this podcast ★

In today's digital age, there's been a massive shift in the way we're teaching and learning in the classroom. On this episode of “B The Way Forward,” Dr. Monica Burns, author of EdTech Essentials, joins host Brenda Darden Wilkerson to unpack the unique ways to use technology in education. Monica is an EdTech consultant and expert who started the online platform, Class Tech Tips. She helps students, teachers, administrators and parents alike learn how they can benefit from and integrate new digital tools in their education journeys. Monica talks with Brenda about what types of tools and features are assisting with student engagement, how to integrate technology in varying educational settings and tips for how to successfully adopt EdTech in the classroom. They also discuss equity in education and how EdTech can help provide a voice to all people in all communities such as through accessibility features within particular tools. Monica hopes that everyone walks away with the knowledge and inspiration to integrate EdTech in their respective educational settings.  “The biggest way to make an impact is to listen and take action on what you're hearing. Not what you wish you heard, or what you sort of heard, but what you're actually hearing from people. What they need, what their pain points are, what they're asking for without saying. What are they telling you?” For more of Dr. Burns and her work check out... Class Tech Tips on the web, X, Pinterest, and Instagram. Sign up for the Class Tech Tips Newsletter Listen to the Easy EdTech Podcast Connect with Dr. Burns on LinkedIn. --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson explores what it means to be more than your job description. Our guest, Liz Fong-Jones is the perfect example of a talented tech employee who engages in workplace activism for employee rights while also excelling in her day job as an engineer. Liz began a lot of her activism while she was a site reliability engineer at Google. As a trans woman, Liz discusses the importance of workplace inclusion and why she fights so hard for marginalized groups in the workplace. Liz offers listeners all sorts of helpful tips from finding success despite an untraditional education – Liz was a college dropout herself – to how to best garner support for your own petitions and activism at work. Liz is now Field CTO at the female-led software company Honeycomb.io.  “The fight is going to take various shapes over the next several years. But I think intersectionality is the most important thing that we can and should be doing. I think that means that we should reach out and build intersectional allyship, that we should think about people who sit at the intersections, who sit at those margins, right? If someone is a transgender person and they are a person of color, especially if they're black, that dramatically increases the likelihood that they are going to become the victim of violence that is transphobic. I think the number one power that we have right now is we need to think about protecting people's privacy.” For more on Liz and her work, check out... Linkedin - /efong Twitter - @honeycombio --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson is joined by Ruthe Farmer, activist and policymaker, who has trailblazed a path toward increasing diversity, building inclusion, and prioritizing gender equity in technology. In Ruthe's illustrious career, she has leveraged successful and current infrastructures to promote girls' and womens' participation in these fields. Ruthe continues to be a champion in this space - ushering in, and supporting, a new wave of women in technology. Ruthe's advocacy work led her to found “The Last Mile Education Fund”, a gap-fund organization that invests in individuals already committed to STEM careers, by supporting them when unconventional circumstances challenge them otherwise. Ruthe shares the true battles women face while in higher education today - and spoiler alert, most of the time it isn't in the classroom! The intimate stories of the lives touched by the Last Mile Education Fund help inform educational institutions, employers, and recruiters, about the daily challenges students are faced with before entering the professional workforce. With the average grant request being $956, it reveals how a little in someone's world can be so impactful in another's. Brenda and Ruthe's conversation offers a broader perspective on how we can encourage young technologists to continue on their successful paths, starting with empathy and understanding. “Just last week we got a donation from a grantee and she said, ‘I'm happy to be now a donor instead of a grantee, please pay it forward on my behalf,' and it really is a virtuous circle that is not only going to bring up the diversity of computing, but increase economic mobility for underrepresented people, but it's also incubating givers. And putting people into the ecosystem who are just the kind of people who are grateful and they want to pay it forward and pull the others up behind them.” For more about Ruthe and the work of The Last Mile Education Fund, check out... LinkedIn - /RutheF & /lastmilefund Facebook - /LastMileFund --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

This episode of “B The Way Forward” brings the ideas of intersectional inclusivity and visibility to the forefront. Host Brenda Darden Wilkerson speaks with disability rights advocate, Tiffany Yu, about moving disability inclusion forward and why finding community is so important. Did you know that there are an estimated one billion people with disabilities worldwide? This statistic drives Tiffany's important work, particularly as the CEO and Founder of her company, Diversability. In this episode, you'll hear some of Tiffany's own personal experiences, including where her story began at the age of 9 when she became disabled as a result of a car accident that took her father's life. Now, she's become a powerful voice and trailblazer for the disability community and is author of her new book, “The Anti-Ableist Manifesto: Smashing Stereotypes, Forging Change, and Building a Disability-Inclusive World.” Brenda and Tiffany discuss why inclusion needs to be intentional and how representation in books and movies is a powerful tool for change – they even talk about Barbie! Tiffany's powerful message will leave our listeners feeling inspired and confident to challenge the norms and make a change.  "One of the things we talk about in the disability community is we don't like being seen as inspiring just because we exist as disabled people. But, if I can inspire you to take action and change the trajectory of your career to fight for disability equity, I'm all about that type of inspiration." For more about Tiffany and her work, check out... Tiffany's Website - tiffanyyu.com Facebook - /imtiffanyyu X: @imtiffanyyu Instagram - @imtiffanyyu TikTok - @imtiffanyyu LinkedIn - /tiffanyayu Threads - @imtiffanyyu Clubhouse - @imtiffanyyu And for more about Diversability, check out... On the web - mydiversability.com Facebook - /diversability Twitter - @diversability Instagram - @diversability TikTok - @diversability LinkedIn - /diversabilitycommmunity --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson is joined by Jimmy Chen, founder and CEO at Propel, a tech company whose app was created to help low-income individuals and their families manage government benefits. Jimmy's work empowers vulnerable individuals, particularly those who rely on food stamps, to improve their financial health. Brenda and Jimmy discuss the biases in tech entrepreneurship, particularly around how founders and investors tend to build technology that solves problems from their personal experiences. Without diversity in tech entrepreneurship and funding common problems for minoritized people are often overlooked. We hear Jimmy's story and how he found a gap in technology and why he felt drawn to help solve meaningful financial problems that serve people using the safety net. Jimmy saw an opportunity: Around 40 million people in the U.S. who receive food stamp benefits on an EBT debit card have to constantly call a 1-800 number to find out their balance. So, his company Propel built the country's first mobile banking app for the EBT card. Jimmy talks to Brenda about what it means to create impact and how he's been working to really listen to the people his product is serving. Jimmy also opens up about being a male ally in the tech industry and the goals he has for Propel to continue building a product that reflects the demographics of the people they are serving. “I really think of respect as a core foundational design element to how we think about our relationship with people who use our products and what we are trying to do alongside them. I think it's part of the same conversation of, look, we're not building for people, we're building with people in many cases because we respect that they know what's best for themselves.” For more from Jimmy and Propel, check out... X -@jimmychen and @joinproviders Instagram - @providersapp Facebook - /ProvidersApp LinkedIn - /propel-inc, and /jimmychen1 --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson talks with Nate Shalev, whose inspiring social impact work emphasizes the importance of inclusion in the workplace. As both a trans and neurodivergent individual, Nate founded Revel Impact, a consultancy that focuses on creating workplaces where all people can thrive. Nate's work involves everything from building frameworks for more inclusive environments to recommending workplace policies for businesses and executives. Brenda and Nate discuss the best types of language to use for inclusivity, how to be an ally to your peers and why small changes can have a big impact. Nate, who was named a LinkedIn Top Voice, also explores the importance of storytelling and why they use social platforms like LinkedIn to open up and tell personal stories to a large audience.  “Often when I speak to companies they're talking about, ‘Well, how do we account for everyone? If everyone is so different and everyone has unique experiences, what does that mean?' And so, I think if you have this framework and you can practice that muscle of being intentional, of being able to create those structures around it, then you'll be able to approach each situation, even though each person is unique. If you already have that framework, that foundation, then you'll be much, much better set up for success.” For more of Nate and their work check out... LinkedIn - /nshalev --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

This episode of “B The Way Forward,” is all about advice as host Brenda Darden Wilkerson explores the many paths and entry points into the tech industry. Our guest, Hosanna Hali aka the Fairy Tech Mother, has been working to demystify the tech space by offering tips and tricks across her social media channels. As a young woman in tech who spent 5 years working at Microsoft, Hosanna leads by example and uses her voice to empower other young people looking to pursue careers in technology. This thoughtful conversation pushes us to think about the career paths we choose and encourages everyone to continue toward the goals they wish to pursue in tech. Brenda and Hosanna discuss the tricky feelings around imposter syndrome and why you belong in the tech space despite what external voices might be telling you. Plus, Hosanna offers unique advice to our listeners like how to stand out from the crowd, why it's important to understand your individual value and why your degree doesn't have to define you. She also explains why she founded her very own platform called “The Tech Cornr,” where she posts video and content to help others learn more about careers in tech.  "Yes, the degree that you have will make a real difference in some of the jobs that you apply for, but don't let that stop you. Your career doesn't start and end by your degree, it's just one part of it." For more of Hosanna Hali and her work check out... Instagram - @thetechcornr TikTok - @thetechcornr YouTube - @thetechcornr9187 --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

Eric Idle uses his return to hosting Saturday Night to turn the show into a telethon to "Save Great Britain" (complete with the Queen herself).The episode is VERY Idle-influenced.  There are no Coneheads or Samurai, but we do get a Sherry appearance, a lot of British-style comedy, and some interesting musical numbers from Neil Innes. Unfortunately, we also get a couple of performances from Alan Price.Thomas Sena from the SNL Hall of Fame and Pop Culture Five podcasts is back to help sort through it all!Subscribe today! And follow us on social media on X (Twitter), Instagram, and Facebook.

On this episode of “B The Way Forward,” host Brenda Darden Wilkerson takes listeners through a unique and mission-driven type of venture capitalism. Our guest Sunita Grote leads UNICEF's Venture Fund which provides seed funding to early-stage ventures in emerging markets. Through her work at UNICEF, Sunita builds a portfolio of emerging technologies that help children around the world. Brenda and Sunita talk about what types of technologies the Venture Fund is investing in from AI and machine learning to blockchain, cryptocurrency and drones. Sunita shows us how these investments drive impact for example: Education solutions that make it easier for children to consume math; A medical records platform that has helped boost child vaccination rates by over 8%; And even blockchain cash and voucher systems that improve the speed and transparency which cash assistance is delivered to families in need. They also talk about the importance of changing power dynamics by being thoughtful about which solutions are selected and investing in technology founded by women. Together, Brenda and Sunita dive into the importance of mission-driven venture funding and what we can look forward to from Sunita and UNICEF in the future.  “How we do things when it comes to technology and innovation, to me, is as important as the ‘what' we do. It's not really okay to compromise on the ‘how' for the sake of the next big technology solution. That's not really going to get us to changing some of those fundamental imbalances that we're seeing and those injustices that we're seeing.” To find out more about UNICEF's Office of Innovation and their work check out... LinkedIn - /unicef-innovation X - @UNICEFinnovate Instagram - @unicefinnovate --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

In this episode of B The Way Forward, host Brenda Darden Wilkerson talks with CEO of Black Girls Code, Cristina Jones about her work to solve the lack of representation of Black women in technology. Only 2% of the STEM workforce are Black women, and Cristina is hoping to change that. She tells our listeners how she plans to achieve the mission of Black Girls Code, which is to launch 1 million girls into technology by 2040. Her unique perspective as a former Hollywood executive makes her a powerful new force in the tech space, telling a more inclusive story that encourages black girls to join the tech industry. Brenda and Cristina dive into terminology and tech talk and why language in the industry is so important for young girls to feel empowered and welcome into the space. Cristina's breadth of advice is endless. You'll learn why it's crucial to know and articulate your value proposition and the strengths you have to offer in the workforce.  “The hardest notion to break is a preconceived notion, especially the ones that are made about yourself.” For more of Cristina Jones and her work check out... Instagram - @blackgirlscode LinkedIn - /Black-Girls-Code Facebook - /BlackGirlsCodeOrg X - @BlackGirlsCode TikTok - /@blackgirlscode YouTube - /BlackGirlsCode --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

Our guest on today's episode of “B The Way Forward” is dreaming of a black tech future that makes digital infrastructure more inclusive for everybody. Host Brenda Darden Wilkerson talks with Vice President of Policy at the Multicultural Media and Telecommunication Internet Council (MMTC) and creator of #BlackTechFutures Research Institute, Dr. Fallon Wilson, about ways to close the digital divide. Together, they address the disparities in Internet access across black communities and why Fallon is fighting for actionable change like getting computers in the hands of all school children and creating better access for people to do remote work at home. You'll hear some really shocking facts around who has Internet access – and who doesn't– while Brenda and Fallon talk through some major misconceptions around technology gaps. Plus, we learn why Fallon is sick and tired of the conversation around Artificial Intelligence and why she's working to humanize an index that measures disparities in cities.  “When we think about data science or data scientists, I always think about Ida B. Wells and her ability to develop a type of data set to talk about lynching and lynching of Black bodies, and what does that look like, and what are the policy implications for it? I think Black people have always, I think with every new type of tool to tell story, or a new type of technology to tell narrative, we have always been at the forefront of crafting our story and trying to show this is injustice.” For more of Dr. Fallon Wilson and her work check out... X - @SistahWilson | @mmtconline | @BlackChurchesDE Instagram - @mmtconline | @blackchurches4digitalequity Facebook - /mmtconline | /blackchurches4digitalequity Linkedin - /fallonwilson | /mmtconline --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

In this episode of "B The Way Forward," recorded live at Grace Hopper Celebration 2023, host Brenda Darden Wilkerson sits down with her friend and colleague, Bo Young Lee, a transformative and inspirational voice in Diversity, Equity and Inclusion. Bo is currently serving as President of Advisory and Interim Chief Impact Officer at AnitaB.org and previously served as Uber's first Chief Diversity, Equity, and Inclusion Officer. Brenda and Bo, both dedicated to empowering women and underrepresented voices, get down to the realities surrounding diversity and inclusion in the workplace and how we can break down the myths about what a diverse culture really means. Bo describes how her upbringing and education helped shape her journey in the DEI space. She quickly realized that she had to reach outside of the cookie-cutter processes for inclusion and explore how each person's own experiences and backgrounds impact the work that we all do. This eye-opening conversation will not only change the way you view and interact with others, but it'll challenge you to look within yourself and acknowledge and improve the way you respond to your own biases and assumptions. “You don't really create true diversity if you don't have inclusion first. Because if you have a very diverse organization but it's not very inclusive, you actually have just basically compliance. You have quotas. That kind of compliance, quota-oriented way to diversifying an organization, that's actually what breeds the backlash.”  --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

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

In this episode of “B The Way Forward,” host Brenda Darden Wilkerson is joined live, onstage by artificial intelligence expert Dr. Joy Buolamwini. There's a reason why she was named one of TIME's 100 Most Influential People in AI in 2023. Founder and Artist-in-Chief of the Algorithmic Justice League, Dr. Buolamwini questions the responsibility that comes with new technology and sounds the alarm about the implications for our future. Think about all the moments you are confronted with artificial intelligence at places like the airport or on your cell phones. Dr. Buolamwini, who recently authored “Unmasking AI: My Mission to Protect what is Human in a World of Machines, is an essential voice uncovering the existential risks that come with AI technology. She'll show you how real-world data meant for efficiency and convenience can end up being used against you and how her work at the Algorithmic Justice League encourages everyone to speak up if something feels wrong.  “You think about training new models on synthetic data because maybe we started resisting and we said, no more scraping our data. Then you get even more skewed data sets going into the next generation. And I'm using images as one example, but you can think of this with text, you can think of it with a voice and so forth. So I think it's really important that one, we don't set our current status quo as the target, higher aspirations, right. But also, knowing that the systems as they exist are making things worse.” For more of Dr. Dr. Buolamwini... Newsletter - poetofcode.substack.com  X - @jovialjoy LinkedIn - /buolamwini --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Arlan Hamilton for Arlan Was Here Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions Photo of Dr. Joy Buolamwini by Naima Green For more ways to be the way forward, visit AnitaB.org

Join host Brenda Darden Wilkerson for a “Game On” conversation with Kellee Santiago, a video game creative director, consultant and a builder of worlds. Kellee knows first-hand that games are more than entertainment – they are powerful engines for empathy. And in this episode, Kellee takes us through her remarkable journey from making indie games, at a time when women made up only 4-5% of the gaming workforce, to her successful work with industry giants like Google and Niantic. Together, Brenda and Kellee explore why games are such an important cornerstone of our culture and even our global conversation. This wide ranging discussion looks at the industry's evolution, ongoing challenges, and Kellee's approach to fostering inclusive and innovative game development. Plus, tune in for some myth-busting facts about gaming history, including the stories of some women who were actually at the forefront of building original games. So press play and learn the transformative power of gaming and how you can be part of creating empathetic, engaging worlds that resonate with diverse audiences. “The immersion into a different world and a different perspective, is just such a cool capacity of games that I would love to continue to see more of, and more people engaging with.” For more of Kellee Santiago check out... LinkedIn - /kelleesantiago/ --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Arlan Hamilton for Arlan Was Here Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

If you're not entirely sure what it takes to become an entrepreneur or how venture capital funds really work, you're not alone. Arlan Hamilton has an inspiring story to share about how she built her very own venture capital fund while she was homeless. One statistic changed Arlan's life: Less than 10% of venture funding goes to anyone who is not a straight white man in the U.S.  In this powerful conversation between host Brenda Darden Wilkerson and Arlan Hamilton, you'll learn the same lessons Arlan did about becoming a good investor and how she built a venture capital fund that invests in underrepresented startup founders. Together, Brenda and Arlan dive into the feelings of being on the outside of an industry, why representation is key, and how even Mark Cuban ended up investing in Arlan's startup.  “I was homeless for much of that beginning part of starting Backstage. And there were many, many days that I went hungry. But what I knew at the time was, there were a lot of things outside of my control everyday. And days went by very slowly back then. But one thing that people could not take from me, you couldn't take from me, no matter what happened, no matter what my bank account said, was information and knowledge that I had.” For more of Arlan Hamilton check out... Instagram: @arlanwashere  Linkedin: /arlanhamilton --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Arlan Hamilton for Arlan Was Here Executive Produced by Brenda Darden Wilkerson for AnitaB.org   Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

Did you know that a meager 4% of pharma R&D targets women's health? Or that there are no published statistics on PMS-related work absences? These startling realities take center stage as host Brenda Darden-Wilkerson chats with FemTech pioneer Dr. Brittany Barreto, host of "The FemTech Focus Podcast.” Together, they define what FemTech actually means and how it impacts all of our lives. They dig deep into FemTech's overlooked goldmine and unpack its vital, often life-or-death implications. In a conversation full of incredible insights, urgency, and opportunity — Dr. Barreto delivers a powerful wake-up call about the price of avoiding those ‘uncomfortable' conversations about women's health and bodies and offers practical ways to be part of the coming FemTech revolution. “This is really critical because, on the most extreme sense, women's lives are on the line. They're literally dying due to the lack of diagnostics or accurate treatments to help them.” For more of Dr. Barreto check out... Instagram - @drbrittanybarreto & @femtechfocus X - @DrBrittB, @FemTech_Focus & @FHInsights LinkedIn - @Brittany Barreto, Ph.D., @FemTech Focus & @FemHealth Insights On the Web - drbrittanybarreto.com --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Arlan Hamilton for Arlan Was Here Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

Ok, this is an ironic first for SUNNY SONGS: an emo number about death. WTF? I can't really explain why, when I set about devising a list of songs that make me feel good, this one popped into my head. Maybe it's the unflinching devotion expressed by composer Ben Gibbard. It's calm, simple, stoic, resolute. “When your soul embarks I will follow you into the dark,” he proclaims. No questions, no hesitation. His love is eternal, and conquers the fear of unending night. We'll hold hands, he assures his love. I can remember when I first heard it, riding in the backseat of a car on a roadtrip. It wasn't loud, and took me by surprise, gobsmacking me, and causing me to well up instantaneously.  I wanted to know who that singer was, wondering who could have rendered this perfect piece. I had heard about the band from Bellingham, WA, with the unusual name - Death Cab For Cutie, but I had never actually heard them. The name derives, I discovered, from a song title written by the British Bonzo Dog Band humorists, Vivian Stanshall and Neil Innes. Things just got curiouser and curiouser. In the lyric Ben tells us that he was taught in Catholic school that “Fear is the heart of love,” and he is clearly doing his utmost here to countermand that dogma. Recorded solo, on a single mic during a session break, I Will Follow You Into the Dark may have failed to chart on the Billboard Top 100, but it went double platinum, was nominated for a Grammy in 2007, and has been featured in many many tv shows and films, proving that, sometimes, quieter is better.

In this episode of "B The Way Forward," recorded live at Grace Hopper Celebration 2023, host Brenda Darden Wilkerson talks with creative dynamo Janelle Monáe, exploring the intersection between art and technology. Janelle delves into her journey as a multi-hyphenate actress, musician, author, and activist and her poignant roles in films like “Moonlight”, “Glass Onion”, and “Hidden Figures”. And they discuss how art serves as a powerful tool for change, illuminating and amplifying the narratives of women, especially women of color, in tech. As Janelle reflects on forging her identity through her craft, she also shares some pearls of wisdom for those eager to find their own voice. “Erasure of identities is just dangerous. It's just so dangerous to omit the truth. And we just need more truth tellers. And more people in the position of power fighting back against that... Using your power and your influence to combat ignorance is really going to be one of the ways forward.” X -@JanelleMonae Instagram - @janellemonae Facebook - /janellemonae YouTube - @janellemonae On the web - jmonae.com --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine Executive Produced by Arlan Hamilton for Arlan Was Here  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

Join host Brenda Darden Wilkerson as she chats with Bridget Todd, the powerhouse behind the hit podcast "There are No Girls on the Internet" and a leading voice in the fight for digital inclusion. Together, they dissect the biases in tech and explore the industry's encroachment on our power and privacy in even the most intimate parts of our lives. Then, they go beyond the problems and dive into the paradigm shift needed if we are to change the status quo. Bridget pushes us all to reject the notion that tech is too complicated for most folks to understand or that its founders and leaders are too powerful to challenge. She isn't having it, and neither are we.  “I think that we need to get to a place where tech leaders understand that even if I'm not an engineer, even if I'm not like a techie, I still am an expert in my experience. I use this technology every day and this technology uses me every day… I am the expert of my experience and I am allowed to take up space and say that these people have tricked us into thinking that they are smarter than us.” For more of Bridget Todd check out… The Are No Girls on the Internet Unbossed Creative On X On Instagram --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- Our guests contribute to this podcast in their personal capacity. The views expressed in this interview are their own and do not necessarily represent the views of Anita Borg Institute for Women and Technology or its employees (“AnitaB.org”). AnitaB.org is not responsible for and does not verify the accuracy of the information provided in the podcast series. The primary purpose of this podcast is to educate and inform. This podcast series does not constitute legal or other professional advice or services. --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine Executive Produced by Arlan Hamilton for Arlan Was Here  Executive Produced by Brenda Darden Wilkerson for AnitaB.org Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

Tech shapes almost every aspect of our daily lives. And yet the tech we use has been controlled by a select few for far too long. Host Brenda Darden Wilkerson, President and CEO of AnitaB.org, challenges this disparity head-on. Yes, there are problems in tech, but this is a show about solutions. Dive deep, beyond the doom and gloom tech headlines, into deep, thoughtful dialogues with the pioneers and change-makers reshaping the space. Each episode of B The Way Forward is a call to action. Immerse yourself in stories of hope, learn about leaders driving change, and arm yourself with tools to be part of that change.  Let's reclaim our digital agency, redefine tech, and be the way forward to a future where those who create tech truly mirror the faces of those who use it. --- At AnitaB.org, we envision a future where the people who imagine and build technology mirror the people and societies for whom they build it. Find out more about how we support women, non-binary individuals, and other underrepresented groups in computing, as well as the organizations that employ them and the academic institutions training the next generations. --- Connect with AnitaB.org Instagram - @anitab_org Facebook - /anitab.0rg LinkedIn - /anitab-org On the web - anitab.org  --- B The Way Forward Is… Produced by Dominique Ferrari and Paige Hymson Sound design and editing by Neil Innes and Ryan Hammond  Mixing and mastering by Julian Kwasneski  Associate Producer is Faith Krogulecki Executive Produced by Dominique Ferrari, Stacey Book, and Avi Glijansky for Riveter Studios and Frequency Machine  Executive Produced by Arlan Hamilton for Arlan Was Here Executive Produced by Brenda Darden Wilkerson for AnitaB.org   Podcast Marketing from Lauren Passell and Arielle Nissenblatt with Riveter Studios and Tink Media in partnership with Carolyn Schneller and Coley Bouschet at AnitaB.org Photo of Brenda Darden Wilkerson by Mandisa Media Productions For more ways to be the way forward, visit AnitaB.org

In this episode, we talk about weirdos you meet at KOA's on the Great American Adventure and romantic gestures gone very wrong in Bolivia.  All told by the talented hosts, Neil Innes and Andres Bartos of Passport Podcast. Passport PodcastCERCA app Support the show

Grumpy Old German women, traumatic book signings, a tribute to Neil Innes, the world's oldest living creature, Rick's next job, and a celebrity story from a waitress in Chicago. [Ep295]

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript A few episodes back, we took a look at the Who's early records, and in passing we talked about the Ivy League, the studio group who sang backing vocals on their first single under that name. In this bonus episode, we're going to look at one of the biggest hits any of the members of the Ivy League were involved in -- a record that became a massive hit, won a Grammy, and changed the career direction of one of the most important comedy bands in Britain. We're going to look at "Winchester Cathedral" by the New Vaudeville Band: [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] In his book Revolution in the Head, Ian MacDonald makes the point that the quintessential line in British psychedelia is from George Harrison's "It's All Too Much", where Harrison sings "Show me that I'm everywhere, and get me home for tea". Whereas American psychedelia is often angry and rebellious -- understandably, since it was often being made by people who were scared of being drafted to fight in a senseless war, and who were living through a time of great instability more generally -- British psychedelia was tinged with nostalgia, both for childhood and for a lost past of the Empire that had now ended. Now, we're going to get into that in much, much, greater detail when we look at the records the Beatles, the Kinks, the Who and others made in this period, but suffice to say that *one* of the several streams of thought that shaped the youth culture of Britain in the 1960s was a nationalistic one, partly in reaction to a perceived dominance by American culture and a belief that there were things about British culture that deserved celebrating too. And part and parcel of that was a celebration of the popular culture of the 1920s and thirties, the height of Britain's influence in the world. This nationalism, incidentally, was *not* necessarily an entirely regressive or reactionary thing, though it certainly had those elements -- there was a strong progressive element to it, and we'll be unpacking the tensions in it in future episodes. For the moment, just take it that we're not talking about the sort of flag-waving xenophobia that has tainted much of modern politics, but something more complicated. This complex relationship with the past had been evident as early as the very early 1960s, with acts like the Alberts and the Temperance Seven reviving 1920s novelty songs in what would now be considered a postmodern style: [Excerpt: The Temperance Seven, "You're Driving Me Crazy "] That had temporarily gone into abeyance with the rise of the Beatles and the bands that followed in their wake, making guitar music inspired by American Black musicians the new popular thing in British culture. But that stream of the culture was definitely there, and it was only a matter of time before music business professionals would notice it again and start to try to capitalise on it. And Geoff Stephens did just that. Stephens was an odd character, who had entered the music business at a relatively late age. Until the age of thirty he worked in a variety of jobs, including as a teacher and an air traffic controller, but he was also involved in amateur theatrics, putting on revues with friends for which he co-wrote songs and sketches. He then went on to write satirical sketches for radio comedy, writing for a programme hosted by Basil Boothroyd, the editor of Punch, and started submitting songs to Denmark Street publishers. Through his submissions, he got a job as a song plugger with a publishing company, and from there moved into writing songs professionally himself. His first hit, co-written as many of his songs were with Les Reed, was "Tell Me When", the debut single for the Applejacks, which made the top ten: [Excerpt: The Applejacks, "Tell Me When"] Many hits as a writer and producer soon followed, including writing "The Crying Game" for Dave Berry: [Excerpt: Dave Berry, "The Crying Game"] And signing Donovan and co-producing his first two albums and earliest hit singles: [Excerpt: Donovan, "Catch the Wind"] Stephens had been making hits for a couple of years when he conceived the novelty record "Winchester Cathedral", which he recorded with John Carter of the Ivy League on lead vocals, imitating the style of Rudy Vallee, one of the most popular singers of the 1920s, who sang through a megaphone -- he became popular before electronic amplification was a big thing. The record was made by session players, and released under the name "The New Vaudeville Band": [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] The record immediately began to sell. It became a massive, massive, worldwide hit, selling three million copies and inspiring a cover version by Rudy Vallee himself: [Excerpt: Rudy Vallee, "Winchester Cathedral"] Oddly, this wasn't the last time in the sixties that a major hit would be inspired by the sound of Rudy Vallee... But Stephens had a problem. People wanted the New Vaudeville Band to tour, and he didn't actually have a touring act. So he turned to the next best thing. The Bonzo Dog Doo-Dah Band were a band of dadaist comedy performers who had a wonderful stage act, which among other things involved their lead singer Vivian Stanshall wearing a gold lame Elvis suit, their drummer Sam Spoons playing spoons and washboard, and comedy moments like band members holding up speech bubbles, so for example when someone took a solo, one of the other members might hold up a cardboard speech bubble saying "Wow! I'm really expressing myself!" Their repertoire largely consisted of novelty tunes -- some from the fifties, but mostly songs they'd learned from old 78s from the 1920s, like their first single: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises for the Talkies"] As Bonzos guitarist Neil Innes always told the story, Geoff Stephens was friends with the band's trumpet player Bob Kerr, and called him up asking if the Bonzo Dog  Doo-Dah Band wanted to be the touring New Vaudeville Band. Kerr was excited -- his band would get to be proper pop stars! But when he went to talk to the rest of the group, they were dismissive. They were conceptual artists and creative people, and didn't want to be a manufactured pop band. Bob Kerr, on the other hand, thought that being paid vastly more money to do exactly the same stuff he was doing for next to nothing sounded like a great idea, and quit the band. The next thing the rest of his bandmates knew, they were watching him on Top of the Pops, performing with a band with a spoons player, a lead singer who wore a gold lame suit, and band members holding up cardboard speech bubbles. Kerr had taken the group's entire act, and they had to reinvent themselves, turning from 1920s pastiche to modern rock music -- and the chances are very good that we'll be following them up in the future. But of course, as well as an act, the new group needed a singer, and for that Stephens turned to Alan Klein. Now, this is not the Allen Klein who we've mentioned in the main podcast, and who will be coming up again in future episodes. This Alan Klein was someone who had been on the margins of the music industry as a writer and performer for some time. He'd made records with Joe Meek: [Excerpt: Alan Klein, "Striped Purple Shirt"] and he'd co-written the musical What A Crazy World, which had been made into a film which featured his songs being sung by Joe Brown, Marty Wilde, Freddie and the Dreamers, and...Harry H Corbett: [Excerpt: Harry H Corbett: "Things We Never Had"] He'd also made a single solo album, "Well, At Least it's British", which took a satirical look at British life in the 1960s that was hugely influential on Britpop in the 1990s, though the record sold almost nothing at the time: [Excerpt: Alan Klein, "Twentieth-Century Englishman"] With Klein as the new lead singer, the New Vaudeville Band were a real band. And indeed, they had three more top forty hits in the UK, though their most successful song after "Winchester Cathedral" was a song that Stephens and Les Reed wrote for them which wasn't a hit for them: [Excerpt: The New Vaudeville Band, "There's a Kind of Hush"] That *did*, though, become a big hit for Herman's Hermits: [Excerpt: Herman's Hermits, "There's a Kind of Hush"] The New Vaudeville Band were shortlived -- they only had a handful of hits, and Bob Kerr soon left the group after falling out with their manager, Peter Grant -- another figure who we'll definitely be hearing a lot more from in future episodes of the main podcast. Kerr formed Bob Kerr's Whoopee Band with Sam Spoons and Vernon Dudley Bohay-Nowell, two other former members of the Bonzo Dog Doo Dah Band, and they had a quietly successful career doing the same act that the early Bonzos had -- all three men also joined in Bonzo Dog Doo Dah Band reunion tours in 2006 and 2016. A revived version of the New Vaudeville Band, featuring only the drummer from the touring lineup, performed in the 70s and 80s to little success. But the group's biggest legacy remained their first hit, which actually won the Grammy for Best Contemporary (Rock & Roll) Recording in 1967, beating out a shortlist of "Eleanor Rigby", "Monday Monday", "Cherish", "Good Vibrations", and "Last Train to Clarksville". You can decide for yourselves if "Winchester Cathedral" was, in hindsight, a better record than those. But whether it was or not, it was a fun record that made a lot of people happy. Geoff Stephens, its creator, is unlikely to feature further in this podcast. He wrote many more hit records, but they were almost exclusively for artists like Dana, Tom Jones, Wayne Newton, Ken Dodd, and Mary Hopkin, whose careers lie largely outside the scope of a history of rock music, however broadly defined. He had a long and successful career, but died last Christmas Eve, aged eighty-six, from pneumonia, having been weakened by an earlier bout of covid. So as we enter a second Covid Christmas, I'd just like to say I hope you're all vaccinated, boosted, and otherwise safe. I'm hoping to get one more episode and bonus out before Xmas Eve, and I hope to see you all still here in the New Year. Vo-de-o-do [Excerpt: The New Vaudeville Band, “Winchester Cathedral”]