Podcasts about Norwegian Wood

OLSC Finland -Podcast!Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.Vieraana Rasmus Junila!Arvosanat kaudesta 24/25:Käy antamassa arvosanat kaudesta.Tulokset käydään läpi kauden viimeisessä jaksossa.https://forms.gle/SqG6N361wevM5aET6Tässä jaksossa:Palataan lähtökuoppaan ja edetään aina mestaruusparaatiin!Yhdistys:Kauppa - ⁠⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠⁠Suositellut Pubit:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoAIKAJANA:00:00:00 - Syyskausi00:24:20 - Kevätkausi01:02:40 - Pokaali ja paraati

Dream Park by Larry Niven & Steven Barnes is Tom's pick this time around, a favorite from his high school days. What brought it back to mind? A parody of the Beatles' Norwegian Wood, of all things. (Yes, he still sings it.) This early blend of LARPing, sci-fi, and mystery takes us into a futuristic amusement park where the games are immersive, the stakes are high, and the lines between play and reality blur fast. Does it hold up? Join us and find out!TTYpodcast.comThumbingthroughyesterday.com

​Daily QuoteI cannot choose the best. The best chooses me. (Rabindranath Tagore)Poem of the DayThe Road Not Takenby Robert FrostBeauty of WordsNorwegian WoodHaruki Murakami

La Venganza de los Lunes, el Eterno Retorno de lo Terrible Alejandro Dolina, Patricio Barton, Gillespi Segmento Dispositivo • La guerra de la Oreja0:02:04 • "Orgullo Criollo" ♫ (Horacio Salgan/Ubaldo De Lío) Julio De Caro/Pedro Laurenz Segmento Humorístico • Cómo diseñar un jardín en el baño Segmento Humorístico • Cosas a tener en cuenta a la hora de consultar a una vidente Segmento Humorístico • Ayude a su hijo a triunfar en la escuela Sordo Gancé / Trío Sin Nombre • Presentación • "La Rueda Mágica" ♫ (Fito Páez) • "Madame Yvonne" ♫ (Enrique Cadícamo/Eduardo Pereyra) • "Norwegian Wood" ♫ (The Beatles) • "La Vieja Serenata" ♫ (Sandalio Gómez/Teófilo Ibáñez) • "Todo Un Palo" ♫ (Patricio Rey y sus Redonditos de Ricota) • "Insensatez" ♫ (Antônio Carlos Jobim/Vinícius de Moraes) • "Walternelson Man (Watermelon Man)" ♫ (Herbie Hancock) "...gracias porque, yo creo que entretenerse está bien; nos entretenemos los unos a los otros. Quizá nos entretenemos más nosotros que el público, y así como decía Macedonio Fernández, que los gauchos eran un entretenimiento de los caballos, a veces, el público es un entretenimiento del artista. Que viene, no solamente para hacer su número, y para cumplir con un pacto, sino para recibir al mismo tiempo, para sentir que el acto artístico se completa recién cuando hay alguien que lo escucha, lo disfruta, lo piensa y hasta lo recibe en beligerancia. Y muchas gracias por todo éso a ustedes."

La Venganza de los Lunes, el Eterno Retorno de lo Terrible Alejandro Dolina, Patricio Barton, Gillespi Segmento Dispositivo • La guerra de la Oreja0:01:56 • "Orgullo Criollo" ♫ (Horacio Salgan/Ubaldo De Lío) Julio De Caro/Pedro Laurenz Segmento Humorístico • Cómo diseñar un jardín en el baño0:21:35 Segmento Humorístico • Cosas a tener en cuenta a la hora de consultar a una vidente Segmento Humorístico • Ayude a su hijo a triunfar en la escuela Sordo Gancé / Trío Sin Nombre • Presentación • "La Rueda Mágica" ♫ (Fito Páez) • "Madame Yvonne" ♫ (Enrique Cadícamo/Eduardo Pereyra) • "Norwegian Wood" ♫ (The Beatles) • "La Vieja Serenata" ♫ (Sandalio Gómez/Teófilo Ibáñez) • "Todo Un Palo" ♫ (Patricio Rey y sus Redonditos de Ricota) • "Insensatez" ♫ (Antônio Carlos Jobim/Vinícius de Moraes) • "Walternelson Man (Watermelon Man)" ♫ (Herbie Hancock) "...gracias porque, yo creo que entretenerse está bien; nos entretenemos los unos a los otros. Quizá nos entretenemos más nosotros que el público, y así como decía Macedonio Fernández, que los gauchos eran un entretenimiento de los caballos, a veces, el público es un entretenimiento del artista. Que viene, no solamente para hacer su número, y para cumplir con un pacto, sino para recibir al mismo tiempo, para sentir que el acto artístico se completa recién cuando hay alguien que lo escucha, lo disfruta, lo piensa y hasta lo recibe en beligerancia. Y muchas gracias por todo éso a ustedes."

OLSC Finland -Podcast!Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.Vieraana Rasmus Junila!Tässä jaksossa:Buuas konsertti Trentille. Frimpong tilalle!? Arsenal tasuri. Artetan saavutukset. Joukkue lähti Ibizalle. Ym. rönsyilyä. Brighton ennakko. YNWA-Golf ja mainos Tampereelle!Yhdistys:Kauppa - ⁠⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠⁠Suositellut Pubit:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoMusic by KIEO!@kieomusicAIKAJANA:00:00:00 - BOO00:17:05 - Frimpong “Here we go!”00:24:20 - LFC 2-2 Arsenal01:06:10 - Brighton ennakko01:11:00 - YNWA-Golf

OLSC Finland -Podcast!Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.Tässä jaksossa:Krapulainen Liverpool Lontoossa. Arsenal saapuu Anfieldille tekemään kunniakujaa mestareille! Trent Alexander-Arnold jättää Liverpoolin kauden päätteeksi.Yhdistys:Kauppa - ⁠⁠⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠⁠⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠⁠Suositellut Pubit:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoMusic by KIEO!@kieomusicAIKAJANA:00:00:00 - Chelsea - LFC00:31:50 - Arsenal ennakko00:42:00 - TAA jättää Liverpoolin

If you grew up in the 1960s or ‘70s, it seemed like many of the songs on the radio were answering other songs on the radio.Roger Miller sang, “King of the Road,” and Jody Miller answered it with “Queen of the House.” Barry McGuire sang “Eve of Destruction,” only to be called out by a group named The Spokesmen with their "Dawn of Correction.” Merle Haggard sang of the “Okie from Muskogee” and drew a prompt reply from The Youngbloods' “Hippie from Olema.”Big NamesSome famous songsmiths also penned answer songs. In 1966, for instance, Bob Dylan's “4th Time Around” was a rather famous response to The Beatles' “Norwegian Wood” of the previous year. And Bob's first hero, Woody Guthrie, is said to have written his greatest song, “This Land Is Your Land,” in 1940 as an answer to Irving Berlin's “God Bless America.” (In fact, Woody originally called his composition "God Blessed America for Me.”)In 1959, one of Carole King's first songs was one she wrote as a reply to Annette Funicello's “Tall Paul.” It contained a classic line, “You can keep Tall Paul / I'll take Short Mort."Meat Loaf wrote “Two Out of Three Ain't Bad” in 1977 as an answer to Elvis Presley's 1956 hit “I Want You, I Need You, I Love You.”And some artists even recorded answers to their own songs. In 1963, for instance, Lesley Gore released “It's My Party,” followed by “Judy's Turn to Cry.” Both of the tunes appeared on Gore's debut album I'll Cry If I Want To.Country artists can get a bit edgy with their call and response. Loretta Lynn's 1967 release of “Don't Come Home a-Drinkin' (With Lovin' on Your Mind)” prompted a quick retort from Jay Lee Webb, called, "I Come Home A-Drinkin' (To a Worn-Out Wife Like You).”And some answer songs turned into multi-player comic discourses. For instance, in 1972, The Last Poets' "When the Revolution Comes” inspired Gil Scott-Heron to wax “The Revolution Will Not Be Televised,” which in turn led to Roy Clark's recording “The Lawrence Welk-Hee Haw Counter-Revolution Polka.”The Flood's FavMeanwhile, in the Floodisphere, the best-loved answer song comes from a pair of tunes written more than a hundred years ago.As we reported here earlier, W.C. Handy's 1915 classic “Yellow Dog Blues” — a melodic mainstay that reaches from the glory days of Bessie Smith and Louis Armstrong all the way to today's trad jazz standard bearers — was actually composed as an answer to Shelton Brooks' wonderful 1913 composition called, “I Wonder Where My Easy Rider's Gone.” In recent back-to-back weekly rehearsals, The Flood has revisited both tunes. First came the Brooks original two weeks ago, then, last week, the guys turned to Handy's dandy reply. In The Flood's estimation, “Yellow Dog Blues” is the best of the pair. There are a lot of train songs out there, but none of them takes its riders quite as far as this one. Come along to where “the Southern cross the Yellow Dog!”More, You Say?Finally, if blues is your bag and you want to extend your Friday foray into Floodery, tune in the Blues Channel on the band's free Radio Floodango music streaming service. Click here to give it a spin. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Time for a bit of Scandi fun this episode as we indulge in a bit of Norwegian Wood (missus). Does the song represent a genuinely new direction for The Beatles? Does it actually manage to quality as poetry? And are there any cover versions that do it justice? Plus we dip into the mailbox for a bit of commentary. You can contact us by email, we are beatlesstuffology@gmail.com, we're on twitter @beatles_ology, we are beatlesstuffology on Insta and you can find my blog at www.jgmcquarrie.scot and you can now read some of Andrew's writing at www.stuffology.co.uk  Please like, rate and review us on whatever pod-catcher you are using so that more people can find the show. Next episode we have… But… Until then…   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology Instagram: beatlesstuffology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology   Produced By: JG McQuarrie

OLSC Finland -Podcast!Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.Vieraana: Rasmus Junila!Tässä jaksossa:Juhlat ympäri Suomen. LFC - Tottenham jälkilöylyt. Juhlat kentällä. Chelsea ennakko, joka on ennemminkin Djurgården-Chelsea ennakko. Loppuun hieman puhetta Wolvesista ja Real Madridista.Yhdistys:Kauppa - ⁠⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠⁠Suositellut Pubit:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoMusic by KIEO!@kieomusicAIKAJANA:00:00:00 - Näin juhlittiin Suomessa00:09:00 - LFC 5-1 TOT00:44:40 - Juhlat kentällä00:44:35 - Chelsea

OLSC Finland -Podcast!Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.Tässä jaksossa:Muistikuvia tapaamisesta. Leicester voitto. Odotukset sunnuntaille.Yhdistys:Kauppa - ⁠⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠⁠Suositellut Pubit:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoMusic by KIEO!@kieomusicAIKAJANA:00:00:00 - Tapaaminen ja Jamie Vardy00:13:10 - Leicester peli00:48:40 - Tottenham ennakko

OLSC Finland -Podcast!Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.Vieraana Rasmus Junila!Tässä jaksossa:Mo Salah ja Virgil van Dijk solmivat 2 vuoden jatkosopimuksen. West Ham voitto. Arsenalin tilanne. Valioliiga yliarvostettu? Leicester ennakko.KEVÄTTAPAAMINEN!Yhdistyksen kevättapaaminen on pääsiäissunnuntaina 20.4. Turussa!Paikka: Holvi2 - Sauna- ja kokoustilat, Hämeenkatu 2, 20500 TurkuOvet: 15:00-23:00Tarjolla pientä purtavaa ja loistavaa seuraa!Omat juomat, pyyhkeet ja uikkarit mukaan!Yhdistys:Kauppa - ⁠⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠⁠Suositellut Pubit:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoMusic by KIEO!@kieomusicAIKAJANA:00:00:00 - Sopimusuutiset00:24:20 - West Ham00:59:30 - Arsenal01:05:20 - Valioliiga vs muu Eurooppa01:23:55 - Leicester

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Tässä jaksossa: Pre-season Endon kotikonnuilla. Malagasta farmijengi? Everton voitto. Fulham tappio. West Ham ennakkoa.KEVÄTTAPAAMINEN!Yhdistyksen kevättapaaminen on pääsiäissunnuntaina 20.4. Turussa!Paikka: Holvi2 - Sauna- ja kokoustilat, Hämeenkatu 2, 20500 TurkuOvet: 15:00-23:00Tarjolla pientä purtavaa ja loistavaa seuraa!Omat juomat, pyyhkeet ja uikkarit mukaan!Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Suositellut Pubit:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoMusic by KIEO! @kieomusicAIKAJANA:00:00:00 - Uutisia00:11:10 - Everton00:46:55 - Fulham01:25:30 - West Ham

James Yancys musik hade brutit mot ordningen med rytmer som fungerade som en form av omstörtande verksamhet. Lyssna på alla avsnitt i Sveriges Radio Play. Dilla fick tiden att bit för bit gå sönder med honom. Han förstod att något var fel januari 2002. Ett år innan vårt möte, och två år efter det revolutionerande Slum Villagealbumet ”Fantastic Volume 2”.Donuts är den amerikanska motsvarigheten till munkar. Men varför döpa ett vackert avsked till något av det ohälsosammaste som går att äta? Förmodligen handlade det om formen. Cirkeln som symbolen för oändlighet, evighet och odödlighet. I den avslutande delen djupdyker vi bland annat i albumet ”Donuts”, som var ljudet av Dillas dödskamp. Vibrerande, trasig, psykedelisk, spontan och besjälad. Men långt från Jay Dees varma neosoul. Det här var en rå och funky Dilla som vuxit fram under pseudonymen Dill Withers efter att han landat i Los Angeles. Mer geniala ideer och utkast än färdiga låtar. Skisser för en framtid som aldrig kom.I avsnittet möter Mats Nileskär även Que. D, T3, Illa J, Peanut Butter Wolf, Jazzy Jeff, Questlove, James Poyser, Musiq Soulchild, Bilal, Marsha Ambrosius (Floetry), Frank n Dank, Phife, Robert ”Kool” Bell (Kool & The Gang), Funky Rob, Roy Hargrove, Amp Fiddler, Pete Rock, Havoc (Mobb Deep), SA-RA Creative Partners, Marshall Allen (Sun Ra Arkestra), Flying Lotus, Iman Omari och Kanye West.

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Rasmus Junila!Tässä jaksossa: Huuhkajat, FIFA seurajoukkueiden MM-kisat, Trent Alexander-Arnoldin sopimusneuvottelut Real Madridiin. Everton ennakko.Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusicSuositellut Pubit:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoAIKAJANA:00:00:00 - Huuhkajat00:12:30 - FIFA Club World Cup00:23:00 - Trent Alexander-Arnold01:12:20 - Everton ennakko

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Juho Räsänen!Tässä jaksossa: Katsaus akatemiaan. Kuka on seuraava joka voi murtautua edustukseen?Akatemiaa seuraava Juho Räsänen avaa meille vähän akatemian maailmaa.Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusicSuositellut Pubit:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub Jaakko

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Tässä jaksossa: Carabao Cup tappio.Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusicSuositellut Pubit:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoAIKAJANA:00:00:00 - 1. Puoliaika00:26:00 - 2. Puoliaika

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Rasmus Junila!Tässä jaksossa: Ennakoidaan Newcastle peliä.LIIGA CUPIN KATSELUPAIKAT:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoYhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusic

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Rasmus Junila!Tässä jaksossa: Perataan UCL pudotus ja veikataan voittajaa.FINAALIN KATSELUPAIKAT:HELSINKI - All Star Sports, TURKU - Bar Into, TAMPERE - Pub Joseph's,VANTAA - Old Story, KUOPIO - Futari, JYVÄSKYLÄ - Matsi bar,VAASA - Office, KOUVOLA - Old Tom, LAHTI - Peluri, KOTKA, Pub JaakkoYhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusic

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Riku Savolainen ja Rasmus Junila!Tässä jaksossa: Tuoreet kuulumiset Anfieldiltä. PSG 2. osaottelun ennakko. Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusicAIKAJANA:00:00:00 - Soton 1.PA00:23:00 - Soton 2.PA00:52:00 - PSG ennakko.

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Rasmus Junila!KEVÄTTAPAAMINEN - Pääsiäinen Aurajoella!Yhdistyksen Kevättapaaminen on pääsiäissunnuntaina 20.4. Turussa!Kaikki Pool -kannattajat tervetulleita!Otteluna Leicester vs LFC!Tapahtuman ohjelma tarkentuu myöhemmin.Tässä jaksossa: PSG jälkihiki. Katsaus muihin UCL pareihin. Soton ennakko.Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusicAIKAJANA:00:00:00 - Kevättapaaminen00:05:00 - PSG osa100:25:00 - PSG osa200:45:00 - PSG osa301:09:30 - UCL katsaus.01:18:30 - Soton ennakko

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Arttu Sadeharju ja Rasmus Junila!Tässä jaksossa: Kuulumiset Newcastle pelistä. Onko mestaruus kuulutettu jo kirkossa? PSG 1. Osaottelun ennakko. Muut jatkoonmenijät? Mistä Liverpoolin £57mil tappiot tuli? ManUn taulous?Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusicAIKAJANA:00:00:00 - Newcastle 1.PA00:24:20 - Newcastle 2.PA00:37:23 - Helmikuun pelaaja?00:42:49 - Onko mestaruus varma?00:50:56 - PSG ennakko.01:00:25 - Jatkoonmenijät01:11:15 - £57mil tappiot01:22:40 - ManUn talous

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Billy Kokko!Tässä jaksossa: Kuuden pisteen viikonloppu. Newcastle ennakko. Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusicAIKAJANA:00:00:00 - PSG - Slotin pelikielto?00:08:00 - ManC Part.100:24:20 - ManC Part.200:38:20 - ManC Part.300:50:30 - ManC Part.401:06:50 - Newcastle ennakko

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Rasmus JunilaTässä jaksossa: Rönsyilyä. Aston Villa, mestaruustaisto, Man City ja seuraava vastustaja UCLssä? Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusicAIKAJANA:00:00:00 - A Villa 1.PA00:46:45 - A. Villa 2.PA01:12:40 - Mestaruustaisto01:20:40 - Man City ennakko01:41:00 - PSG vai Benfica?

OLSC Finland -Podcast!Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Rasmus JunilaTässä jaksossa:Houstina Nuoripave! Wolves pelin jälkilöylyt ja Villa ennakko.Yhdistys:Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO!@kieomusicAIKAJANA:00:00:00 - Wolves00:54:00 - Aston Villa

This week I discuss romanticizing aspects of life, Valentine's Day, Norwegian Wood by Murakami, forgiveness and much more. #LOUDITPodcast is hosted by Nnedinso. Tune in every Monday for some funny stories and girl talk to cheer up your Monday blues. From life experiences to wild stories and current media, no topic is off limits. Let's LOUD IT and talk some rubbish! Twitter: @Nneddy121 and YouTube: ItsNnedinso

Akureyrarklínikin er fyrst sinnar tegundar í heiminum sem rekin er af hinum opinbera en um er að ræða samstarfsverkefni Sjúkrahússins á Akureyri og Heilbrigðisstofnunar Norðurlands, sem þekkingar– og ráðgjafamiðstöð fyrir ME sjúkdóminn og eftirstöðvar Covid 19. Akureyrarklínikin samanstendur af þverfaglegu teymi lækna, sjúkraþjálfa, félagsráðgjafa, iðjuþjálfa og hjúkrunarfræðings. Teyminu er ætlað að sinna ME sjúklingum á landsvísu, bæði í staðarviðtölum en einnig fjarviðtölum. Bati getur verið mjög hægur og í sumum tilfellum lítill sem enginn. Það þarf frekari vitundarvakningu um eðli sjúkdómsins, meðferð og batahorfur. Ingunn Eir Eyjólfsdóttir og Lilja Sif Þórisdóttir, félagsráðgjafar, sögðu okkur meira frá í þættinum í dag. Georg Lúðvíksson, sérfræðingur í heimilisbókhaldi, kom til okkar í dag með það sem við köllum fjármálin á mannamáli. Í þetta sinn fræddi hann okkur efni sem er mörgum hugleikið, húsnæðislánin. Þetta eru yfirleitt stærstu lánin sem fólk tekur á ævinni og lánaumhverfi á Íslandi er talsvert flókið, því var áhugavert að fá útskýringar á mannamáli um það sem hafa ber í huga varðandi val á láni. Svo var það lesandi vikunnar, í þetta sinn var það Jón Knútur Ásmundsson, skrifstofumaður á Reyðarfirði, starfsmaður Austurbrúar, ljóðskáld og hundaeigandi. Hann sagði okkur frá því hvað hann hefur verið að lesa undanfarið og hvaða bækur og höfundar hafa haft mest áhrif á hann í gegnum tíðina. Jón talaði um eftirfarandi bækur og höfunda Fólkið í kjallaranum e. Auði Jónsdóttur Í skugga trjánna e. Guðrúnu Evu Mínervudóttur Norwegian Wood og Novelist as a Vocation e. Haruki Murakami On Writing e. Stephen King Aðlögun e. Þórdísi Gísladóttur. Innanríkið – Alexíus e. Braga Ólafsson. Teiknimyndabækur æsku hans, Svalur og Valur, Tinni og fleiri Bloggarar, blaðamenn og pistlahöfundar um aldamótin, til dæmis Karl Th. Birgisson, Illugi Jökulsson og Egill Helgason. Tónlist í þætti dagsins: Alltígóðulagi / Moses Hightower (Moses Hightower, texti Steingrímur Karl Teague og Andri Ólafsson) Money / Pink Floyd (Roger Waters) Borgarfjarðarminning / Stefán Helgi Stefánsson og Davíð Ólafsson (Óli H. Þórðarson, texti Böðvar Guðmundsson) UMSJÓN GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Rasmus JunilaTässä jaksossa: Vajaa parituntinen terapiaistunto.VERKKOKAUPASSA YSTÄVÄNPÄIVÄ TARJOUS!!!Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusicAIKAJANA:00:00:00 - Osa 100:27:00 - Osa 201:02:00 - Osa 3

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Tässä jaksossa: Carabao Cup finaaliin! Kuinka paljon harmittaa FA Cup exit? Moyesin Everton.VERKKOKAUPASSA YSTÄVÄNPÄIVÄ TARJOUS!!!Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusicAIKAJANA:00:00:00 - Tottenham täysin vastaantulija00:30:00 - Plymouth pettymys00:50:30 - Everton ennakot

OLSC Finland -Podcast!  Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.  Vieraana: Rasmus Junila Tässä jaksossa:  Kuka oli siirtoikkunan voittaja? Bournemouth jälkihiki. Cup ennakot (Hvyin nopeat). Kurkistus kulisseihin. Mitä me höpistään ennen ku aloitetaan purkittamaan jaksoja. Kuuntelu omalla vastuulla! Yhdistys:  Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠ Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠  Music by KIEO!  @kieomusic AIKAJANA: 00:00:00 - Siirtoikkuna 00:15:00 - Bournemouth 00:53:45 - CUP ennakot 01:02:40 - Behind The Scenes Shittiä

Advarsel! Denne sendingen inneholder sterk tematikk, blant annet selvmord.I denne utgaven av bokhylla snakker Karen og Erik om Norwegian Wood av Haruki Murakami. Ender disse to tekstbehandlerne opp med å anbefale boken, eller kategorisk avvise den?Følg med!

OLSC Finland -Podcast!  Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.  Vieraana: Jake Kainulainen Tässä jaksossa:  Mestarien liigan sarja pelattu. Miten tästä jatketaan? Bournemouth ennakko. Arsenal-ManC. Siirtoikkuna. Yhdistys:  Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠ Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠  Music by KIEO! @kieomusic AIKAJANA: 00:00:00 - PSV 3-2 LFC 00:42:10 - UCL kaavio 01:02:30 - Bournemouth 01:18:40 - Siirtoikkuna

OLSC Finland -Podcast!  Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.  Vieraana: Rasmus Junila Tässä jaksossa:  Ipswich jälkilöylyt. Junnuilla PSV:n vieraaksi. Miten UCL jatkuu? PSV ennakko. Lewis-Skelly ulosajo. Yhdistys:  Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠ Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠  Music by KIEO!  @kieomusic AIKAJANA: 00:00:00 - LFC 4-1 Ipswich 00:26:40 - Kokoonpano PSV peliin 00:38:50 - UCL pudotuspelit 00:46:30 - PSV ennakko 00:55:45 - Lewis-Skelly ulosajo

OLSC Finland -Podcast!  Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.  Vieraana: Rasmus Junila Tässä jaksossa:  Paluu mestarienliiga kentille. Ipswich ennakko. AFTERJOULU 2025 - LAUANTAI 25.1.2025 Muutaman vuoden paussin jälkeen AfterJoulu tekee paluun pääkaupunkiseudulle! Tällä kertaa paikkana on All Star Sports Bar & Grill,  Helsinki! Ohjelmassa tietovisa, tulosveikkaus ja tietysti LFC - Ipswich! Aikataulu: 15.00 - Tapahtuma alkaa! 15.30 - Tarjolla purtavaa! 15.45 - Kokoonpanon julkaisu! 16.00 - Tietovisa! 17.00 - LFC - Ipswich - Tulosveikkaus!! 19.30 - ManC - Chelsea (mahdollinen tulosveikkaus) Aikataulu ja ohjelma saattaa vielä muuttua! Tapahtuma on avoin KAIKILLE LFC-kannattajille! Yhdistys:  Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠ Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠  Music by KIEO!  @kieomusic AIKAJANA: 00:00:00 - Lille 00:41:30 - Ipswich

OLSC Finland -Podcast!  Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville.  Tässä jaksossa:  Brentford 0-2 LFC, Lille ennakko. Loppuun rönsyilyä. AFTERJOULU 2025 Muutaman vuoden paussin jälkeen AfterJoulu tekee paluun pääkaupunkiseudulle! Tällä kertaa paikkana on All Star Sports Bar & Grill,  Helsinki! Ohjelmassa tietovisa, tulosveikkaus ja tietysti LFC - Ipswich! Aikataulu: 15.00 - Tapahtuma alkaa! 15.30 - Tarjolla purtavaa! 15.45 - Kokoonpanon julkaisu! 16.00 - Tietovisa! 17.00 - LFC - Ipswich - Tulosveikkaus!! 19.30 - ManC - Chelsea (mahdollinen tulosveikkaus) Aikataulu ja ohjelma saattaa vielä muuttua! Tapahtuma on avoin KAIKILLE LFC-kannattajille! Yhdistys:  Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠ Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠  Music by KIEO!  @kieomusic AIKAJANA: 00:00:00 - Brentford 1.PA. 00:24:40 - Brentford 2.PA. 00:58:00 - Lille ennakko 01:18:00 - Sopimus hassuttelu

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Tässä jaksossa: Otetaanko nyt kaikki Salahista irti? Forest, menetetty 2 pistettä vai voitettu piste? Brentford ennakko. AFTERJOULU 2025 Muutaman vuoden paussin jälkeen AfterJoulu tekee paluun pääkaupunkiseudulle! Tällä kertaa paikkana on All Star Sports Bar & Grill, Helsinki! Ohjelmassa tietovisa, tulosveikkaus ja tietysti LFC - Ipswich! Aikataulu: 15.00 - Tapahtuma alkaa! 15.30 - Tarjolla purtavaa! 15.45 - Kokoonpanon julkaisu! 16.00 - Tietovisa! 17.00 - LFC - Ipswich - Tulosveikkaus!! 19.30 - ManC - Chelsea (mahdollinen tulosveikkaus) Aikataulu ja ohjelma saattaa vielä muuttua! Tapahtuma on avoin KAIKILLE LFC-kannattajille! Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠ Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusic AIKAJANA: 00:00:00 - Salahin viimeinen kausi? 00:22:00 - N. Forest 01:09:35 - Brentford

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Vieraana: Rasmus Junila Tässä jaksossa: Darwin Nunez Al Hilaliin? Moyesin paluu Goodisonille. FA ja Carabao Cup mittelöt. Forest revanssi. AFTERJOULU 2025 Muutaman vuoden paussin jälkeen AfterJoulu tekee paluun pääkaupunkiseudulle! Tällä kertaa paikkana on All Star Sports Bar & Grill, Helsinki! Ohjelmassa tietovisa, tulosveikkaus ja tietysti LFC - Ipswich! Aikataulu: 15.00 - Tapahtuma alkaa! 15.30 - Tarjolla purtavaa! 15.45 - Kokoonpanon julkaisu! 16.00 - Tietovisa! 17.00 - LFC - Ipswich - Tulosveikkaus!! 19.30 - ManC - Chelsea (mahdollinen tulosveikkaus) Aikataulu ja ohjelma saattaa vielä muuttua! Tapahtuma on avoin KAIKILLE LFC-kannattajille! Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠ Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusic AIKAJANA: 00:00:00 - Nunez ja Moyes 00:17:25 - Carabao Cup 00:47:10 - David Rayan rankkarit 00:49:50 - FA Cup 01:10:35 - Forest ennakko

**Disclaimer: First show of the new year, and yeah, I know, I blew it, but I own up to it! The integrity of the list remains!** The fabs sure loved writing songs about their relationships on vacation. As we discussed one of Paul's recently ("For No One"), now it's John's turn. John's ode to infidelity and arson turned into one of the most sublime sonic moments in their catalogue, as well as one of the most influential. George's now iconic sitar part influenced so many other bands of the time to start experimenting with Indian music (The Rolling Stones' "Paint It Black" maybe most famously), and marked the beginning of his and the band's bringing Eastern music to popular Western culture. It's a defining sound of the 60s, and this song may be well the defining song of the Rubber Soul album. Joining us this week is Beatles author and all around lovely person Sara Schmidt! She's the author Dear Beatle People: The Story of the Beatles North American Fan Club and Happiness is Seeing the Beatles: Beatlemania in St. Louis . She's also the brains behind meetthebeatlesforreal.com where she's been archiving Beatles photos and fan stories since 2007. While Apple and so many are telling the history of the band, this is the other side of the coin, the thing that made it work, the fans, and it's a fantastic archive of stories and interactions with the band. Check out the website and Sara's books at meetthebeatlesforreal.com, and if you have a story to share with her, send it over! What do you think about "Norwegian Wood (This Bird Has Flown)" at 78? Too high? Too low? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠find us now on Bluesky!⁠⁠⁠⁠⁠ Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

OLSC Finland -Podcast! Tirehtöörinä Krisu, Konossöörinä Jussi, Velhona Jouni ja Tietopankkina Ville. Tässä jaksossa: Miten huono Trent oli? Saiko kukaan puhtaita papereita? Kierrätyksiä Cupin peleihin? AFTERJOULU 2025 Muutaman vuoden paussin jälkeen AfterJoulu tekee paluun pääkaupunkiseudulle!Tällä kertaa paikkana on All Star Sports Bar & Grill, Helsinki! Ohjelmassa tietovisa, tulosveikkaus ja tietysti LFC - Ipswich! Aikataulu:15:00 - Tapahtuma alkaa!15:30 - Tarjolla pientä purtavaa!15:45 - Kokoonpanon julkaisu!16:00 - Tietovisa!17:00 - LFC - Ipswich - Tulosveikkaus!!19:30 - ManC - Chelsea (mahdollinen tulosveikkaus) Aikataulu ja ohjelma saattaa vielä muuttua! Tapahtuma on avoin KAIKILLE LFC-kannattajille! Yhdistys: Kauppa - ⁠⁠https://www.slfcky.painokauppa.fi/⁠ ⁠ Norwegian Wood app - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠norwegianwood.goodbarber.app⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Liittyminen - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠olscfinland.com/liittyminen⁠⁠ Music by KIEO! @kieomusic AIKAJANA: 00:00:00 - AFTER JOULU 2025 00:08:50 - LFC 2-2 ManU osa1 00:35:05 - LFC 2-2 ManU osa2 01:09:25 - Carabao Cup ja FA Cup

The book that put Murakami on the map in Japan is an intimate tale about youth, love, sex, and grief. So it's not surprise he settled on a Beatles song for his novel's title??Follow @overduepod on Instagram and BlueskyOur theme music was composed by Nick Lerangis.Advertise on OverdueSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's been three years since I restarted my kanji study, and unfortunately it's languished over the past year. I take a look at the recommendations I made last year to see if they still hold up and provide an alternate method of creating your own manual spaced-repetition system. Check out the newsletter for the details and the blog for a look at how much a draft of Norwegian Wood might have weighed. Feel free to reach out with any questions or 悩み事 to howtojapanese@gmail.com. You can also follow How to Japanese on Substack, Twitter, Instagram, TikTok, and Facebook.

The Burnout Society by: Byung-Chul Han Get Married: Why Americans Must Defy the Elites, Forge Strong Families, and Save Civilization by: Brad Wilcox The MANIAC by: Benjamín Labatut Heart of Europe: A History of the Holy Roman Empire by: Peter Wilson You Can't Screw This Up: Why Eating Takeout, Enjoying Dessert, and Taking the Stress out of Dieting Leads to Weight Loss That Lasts by: Adam Bornstein  Norwegian Wood by: Haruki Murakami He Who Fights with Monsters 2: A LitRPG Adventure by: Shirtaloon He Who Fights with Monsters 3: A LitRPG Adventure by: Shirtaloon

The last episode ended on the evening of December 3, 1965 when my father suffered a massive heart attack and died instantly during a nationally televised NBA game between the 76ers and the Boston Celtics. As I have mentioned previously, this podcast series examines the enormous evolution of consciousness that began to take place in the western world during the 1960s, as well as looking at what happened to me personally during those turbulent times, which led to my life-long commitment to the greater realization of human potential.    It also seeks to present you with some fundamental ideas that you might find useful as you grow through your own inner evolutions, which is something we all do, whether we're aware of it or not. That's just the way our intelligence works.   So, even though the events surrounding my father's death were extremely traumatic, this is not an autobiographical look back at them. Rather, I am going to describe some of the realizations I experienced that began to open a pathway to my own inner growth. Looking back, I can see that without having the slightest awareness of it, I had been living my life with two basic assumptions that I had been taking for granted. As naïve as they may sound, these assumptions were simple - everything was going to stay the same and I would live forever. Of course, I knew intellectually, as we all do, that that these ideas are ridiculous. In reality, everything here ends and everybody dies. But as we all must learn sooner or later, there is a vast difference between believing a theoretical concept of something and experiencing the actual reality of it. And that's especially true when it comes to death.   For me, the aspect of sudden death was a powerful and rather rude teacher. It felt like having to learn how to swim because the luxury cruise ship you had been traveling on suddenly sank. The next thing you know, you're in a freezing cold ocean and you notice a dark fin sticking out of the water that keeps circling around you. Of course, that's just a metaphor, but that's kind of what it felt like. But the death itself was also accompanied by an additional, mysterious factor. On top of the shock and grief, I had to ponder the series of cryptic omens that had preceded it that were particularly unnerving. As you may recall, along with several less intense events, I had experienced a jarring, recurring nightmare for three consecutive nights, followed by an incredibly vivid dream that my father had died. Then in the real world, the dream came true the following night, exactly the way I had dreamt it. In metaphysical terms, this is called a pre-cognitive dream, which is more of a prophecy than a premonition. So, under the surface, there was always this other element that I had to deal with, which was the uncanny experience that I had somehow foreseen the future. It had been incredibly strange and I had to ask myself – “How could that have happened? How could you have seen something in such detail the night before it happened? And, what does that say about time and the nature of life itself?” There was another deeply troubling aspect to the experience as well.  In real life, when I began living through the events of the dream, I knew exactly what was coming next and I wanted to change the events. But to my severe shock, I found that I had no control over anything whatsoever. The incredibly odd fact was that I had absolutely no volition. Nothing that I thought, felt, or decided made any difference at all. I was awake. This was real. But it was like I was walking through a movie that had already been made. I knew that nothing could be changed because somehow, I knew that the present had already happened in the past. It was all too overwhelming to even try to understand. Some years later, I came come across a profound quote from Einstein that seemed related. “The distinction between past, present and future is nothing but a stubbornly persistent illusion.” Of course, I found the idea fascinating, but in trying to grasp it, all I could come up was that my understanding of my life in the world was incomplete, and that there was a lot more that I needed to learn, to say the least.  It's like you're living your adult life learning your lessons and something unexpectedly alters your reality. Suddenly you feel like a preschooler enrolled in a babysitting club at an advanced university.  Everything had changed so fundamentally for me that I felt like I didn't know this world anymore. As boxer Mike Tyson once put it, “Everybody has a plan until they get punched in the face.” And believe me, it was quite a heavy punch for this 16-year-old kid to take. At the foundation of it all, the basic impermanence that underlies all of life had become abundantly clear to me. My father had been an incredibly powerful person, the central figure not just in our family, but in the entire world around him as well. And in less than five seconds, he was gone for good. Vanished without a trace. So, it quickly drove home the fundamental impermanence of life. Nothing here lasts. Everything ends. Which brings up some deeper questions. Why does this creation even exist in the first place? What are we doing here? What is the real purpose of my life, if there even is one?” Suffice it to say that I eventually put all these thoughts and questions aside and got on with living the new version of life that had been presented to me. And it picked up pretty quickly. After all, I was in the middle of my junior year in high school and we are blessed with a tremendous amount of resiliency at that age. As soon as I began to return to my normal school life, a nice little coincidence happened for me. You may remember from a previous episode that my father had made me promise that I would say the Kaddish prayer for him after he died. I made that vow on a Saturday and eight days later, I said the prayer for the first time at his graveside. Amazingly, I had completely forgotten about that promise until those first words came out of my mouth that day in the cemetery.  I started attending the synagogue near our house twice a day and I had to get into the routine of getting ready to go there every morning and night. A new Beatles album had just come out and I got into the habit of listening to it as I prepared to leave. Like all their other albums, its songs took up permanent residency in my mind almost immediately upon hearing them.  The album was called “Rubber Soul” and it was quite a departure for the band. Many years later, once the Beatles had become history and were being studied from a cultural perspective, this album came to be viewed a major turning point in their career. Listening to it was giving me quite an emotional boost and one day, I heard a deejay say that the release date for Rubber Soul had been December 3, 1965, which was the exact day that my father died.  Now, all my life, I've been one of those people who are always on the lookout for “signs.” It's hard to explain exactly why, but if you happen to be one of them, you understand. Anyway, for me, this information meant that somehow, everything was in synch. As insanely disruptive as the death had been, on some level, it all made sense and in some way the universe was still in good working order. I might very well have been grasping at straws, but who cares? The fact that the dates were identical made me feel a little better. And no matter how small, I needed all the “feel better” I could get. Importantly, from the larger standpoint of the evolution of the times, the group had a distinctively new sound. Later this would be understood to be the very beginnings of psychedelic music, and the songs were mainly written and recorded while the band was under the steady influence of marijuana. If you listen to the song “Girl” you can hear someone inhaling a joint, and George Harrison once commented that the album was “the first one where we were fully-fledged potheads.”  But the songs had a new level of depth to them as well. Remember that Bob Dylan had once told the Beatles that he liked their songs, but the trouble was that they weren't about anything. John Lennon said that he took that comment in on a profound level, and when you listen to him sing “Nowhere Man,” it certainly sounds like it. “He's a real nowhere man. Sitting in his nowhere land. Making all his nowhere plans for nobody.” Those words immediately got me. At the time, it sounded like he was talking about everyone, myself included. He continued, “Doesn't have a point of view. Knows not where he's going to. Isn't he a bit like you and me. He's as blind as he can be. Just sees what he wants to see…” In the present day, the song is looked at as an absolute classic and we take it for granted, but back then, it was truly incredible to hear these kind of ideas expressed in a Beatles song. In another cut, “Norwegian Wood,” George Harrison played the sitar for the first time ever in western music, which was truly a sign of things to come. And finally, there was the song, “The Word.” It's a song about love, but it's not a standard love song because it's actually about universal love, which is a theme the Beatles would expound upon seriously over the next few years. “Say the word and you'll be free. Say the word and be like me. Say the word I'm thinking of. Have you heard the word is love? Now that I know what I feel must be right. I'm here to show everybody the light. Give the word a chance to say that the word is just the way.” So, at the end of 1965, big changes were underway. The Beatles had evolved into a new level of musical genius and don't forget, they were the leading force of cultural change in the entire word, so the larger world of popular music was changing in an enormous way as well. And as difficult as it had been for me, I had gone through the first truly major change in my life, and one of the key parts of it had been the fact that I had gone through an experience that had defied science and logic. But something even bigger was waiting for me just around the next corner. Let's take that up in the coming episode, so as always, keep your eyes, mind and heart open, and let's get together in the next one.

March 11 approaching. Nothing Milo loved more than his brother, Max, Look at Linktree and enjoy some things that Milo loved, Reach out and talk about Milo to anyone and everyone, Please reach out to Max to share stories about Milo, Billy Bob Thornton always half sad, The loss is always with us, Everything we do is infused with and tainted by Milo's death, Milo's death reordered our DNA, Max believes he is newly introducing himself to people he has known for years, Suffering from PTSD, Max lost his best friend, his confidante, his security, Life and death as part of the  human experience, Haruki Murakami's "Norwegian Wood," Life and death exist together and not separately, Max applying to law school, Different people receiving good news now, Everything now received through a new lens, Max and Milo meeting for the first time, "Who's going to take care of Milo?", Max could be tough on Milo when they were very young, Max as Type A, Milo more laid back, Milo melting into my body as a newborn, Max learning what a sidekick he had in Milo, Max an extraordinary big brother, Max and Milo sharing a bed by choice, Playing games together, Mutually beneficial relationship, Music and movies and sports, Covid time together, Max and Milo growing closer during Covid, Max and Milo almost never fighting, Indicative of the way their personalities fit together, So beautiful, We knew how lucky we were in real time, Max earned the love of his brother, Please celebrate Milo on March 11 and on other days, Please be in touch with Max who also suffered a terrible loss   

Louise and Virginia thought it might be fun to do an episode on books that they feel a bit embarrassed to have never read (until now). There were a lot of books to choose from, but they discuss four in this conversation.    During this chat they also create an Ick Register for authors who use words that give the ick, so that readers can be warned in advance (kind of like a trigger warning, but more basic).    Books  The Remains of the Day by Kazuo Ishiguro  Norwegian Wood by Haruki Murakami, translated by Jay Rubin  Breakfast at Tiffany's by Truman Capote  Treasure Island by Robert Louis Stevenson     Television Shows  Scrublands - Stan  Boy Swallows Universe – Netflix    Podcasts  The Children of Rutherford County – Serial  The Queen's Reading Room

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

Crabb and Sales bowl up to the Llewellyn Hall in preposterous garb to farewell outgoing ANU vice chancellor Brian Schmidt, surely the most tolerant Nobel laureate in the history of human achievement. Fortunately this gives Crabb (working with her last remaining shred of vocal cord) an excuse to write the Twelve Days Of Schmidtmas instead of trying to make 2023 funny, a task the prospect of which made her want to lie down in a dark room for some time. Sales is rapt because Kate from Alone shows up. And make sure you listen to the end because somebody does a RAP. Listen now on Spotify, or wherever you get your podcasts.  (14.00) Karinya House | Support (29.20) Wham! Documentary | Trailer | Netflix (29.30) Past Lives | Trailer | Apple TV+ (31.26) Still: A Michael J Fox Movie | Trailer | Apple TV+ (32.30) Shayda | Trailer  (34.19) Succession Trailer | Binge  (34.40) The Sopranos | Trailer | Binge (35.13) Alone Australia | Trailer | SBS On Demand (35.25) Beckham | Trailer | Netflix (35.50) Untold Stories: The Race of The Century | Trailer | Netflix (39.09) Bay of Fires | Trailer | Apple TV+ (39.11) Deadloch | Trailer | Prime Video (39.12) Fisk | Trailer | ABC iview  (39.30) Cunk on Earth | Trailer | Netflix (40.18) The Albatross by Nina Wan | Booktopia (41.10) Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin | Booktopia (44.05) The Thursday Murder Club Series by Richard Osman | Booktopia (44.40) Norwegian Wood by Haruki Murakami | Booktopia (45.27) This Is Not A Book About Benedict Cumberbatch by Tabitha Carvan | Booktopia (46.45) Infidelity and Other Affairs by Kate Legge | Booktopia (47.55) Bright Shining by Julia Baird | Booktopia (48.44) What Just Happened?! by Marina Hyde | Booktopia (49.40) Friends, Lovers and the Big Terrible Thing by Matthew Perry | Booktopia (52.15) The Rest is Entertainment Podcast | Listen  (53.22) Squid Game | Trailer | Netflix (53.40) The Traitors | Trailer | Paramount+ (54.02) The Whistleblowers Podcast | Listen (55.11) Who Shat On The Floor At My Wedding Podcast | Listen (56.40) Lin-Manuel Miranda interview with Leigh Sales | Watch (1.02.50) The Darjeeling Express London | Website (1.03.28) RecipeTin Eats: Dinner by Nagi Maehashi | Booktopia (1.04.10) Cook by Karen Martini | Booktopia (1.07.30) A Year of Sundays by Belinda Jeffery | Booktopia (1.07.32) In Belinda's Kitchen by Belinda Jeffery | Booktopia (1.11.13) Strife | Trailer | Binge  (1.11.15) Squid Game, The Challenge | Trailer | Netflix (1.11.30) Tom Lake by Ann Patchett | Booktopia (1.11.38) The Year of the Locust by Terry Hayes | Booktopia (1.11.46) I Am Pilgrim by Terry Hayes | Booktopia (1.12.10) Erotic Vagrancy by Roger Lewis | Booktopia (1.13.40) Good Material by Dolly Alderton | Booktopia (1.15.10) Edenglassie by Melissa Lucashenko | Booktopia (1.16.10) Gauguin's World: TŌNA IHO, TŌNA AO Exhibition | National Gallery of Australia  Produced by DM PodcastsSee omnystudio.com/listener for privacy information.

A live show recorded at the Ubud Writers' Festival in Bali, where Sales has been reading Murakami by the pool and Crabb is indignant about a couple canoodling next to her on the plane. Listen now on Spotify, or wherever you get your podcasts.  (0.10) Ubud Writers & Readers Festival | Website (2.31) Frank Moorhouse: A Life, by Catharine Lumby | Booktopia (2.36) Wifedom: Mrs Orwell's Invisible Life by Anna Funder | Booktopia (3.04) A Mind of it's Own by Cordelia Fine | Booktopia  (4.51) The Love Boat | Apple TV+ (6.48) Daisy Jones & The Six by Taylor Jenkins Reid | Booktopia  (6.50) Something Bad is Going to Happen by Jessie Stephens | Booktopia (7.00) Norwegian Wood by Haruki Murakami | Booktopia (7.30) The Thursday Murder Club Series by Richard Osman | Booktopia (8.23) You Could Make This Place Beautiful by Maggie Smith | PREORDER Booktopia (8.30) Good Bones by Maggie Smith | Booktopia (14.00) Midnight's Children by Salman Rushdie | Booktopia (14.28) London Fields by Martin Amos | Booktopia (16.42) A Fraction of the Whole by Steve Toltz | Booktopia (20.15) The Grapes of Wrath by John Steinbeck | Booktopia (20.20) Sophie's Choice by William Styron | Booktopia  (21.23) Midnight in the Garden of Good and Evil by John Berendt | Booktopia (22.45) The Da Vinci Code by Dan Brown | Booktopia (24.04) The Roman Mysteries by Caroline Lawrence | Booktopia (24.14) Percy Jackson series by Rick Riordan | Booktopia (26.45) Lessons in Chemistry by Bonnie Garmus | Booktopia (27.50) The Child in Time by Ian McEwan | Booktopia (29.15) Dublin Murder Squad Series by Tana French | Booktopia (30.58) Sex Education | Netflix (31.15) Ozark | Netflix (31.55) The Thursday Murder Club Audiobook | Audible (32.10) 1984 by George Orwell Audiobook | Spotify  (32.36) Brideshead Revisited Audiobook | Audible (35.45) Any Ordinary Day by Leigh Sales | Booktopia (35.50) 30 Rock | Binge  (36.13) Harry Potter and the Philosopher's Stone Audiobook | Audible (38.26) Greenlights by Matthew McConaughey | Audible (38.29) The Storyteller by Dave Grohl Audiobook | Spotify (38.34) Blowing the Bloody Doors Off by Michael Caine Audiobook | Audible (30.27) The Woman in Me by Britney Spears | Audible (40.44) Putting the Rabbit in the Hat by Brian Cox Audiobook | Audible (41.55) A Court of Thorns and Roses by Sarah J. Maas | Booktopia (42.21) 50 Shades of Grey by E L James | Booktopia (42.45) Kay Scarpetta Series by Patricia Cornwell | Booktopia (45.30) Apple Tree Yard by Louise Doughty | Booktopia (48.54) To The Lighthouse by Virginia Woolf | Booktopia (50.36) Detainee 002 by Leigh Sales | Booktopia (54.27) Normal Gossip Podcast | Listen (58.19) Mayflies by Andrew O'Hagan | Booktopia (58.30) The Jaguar by Sarah Holland-Batt | BooktopiaSee omnystudio.com/listener for privacy information.

本期是《Backyard 后院》月刊的特别增刊。 能让刚出了一期的月刊就临时发行特别增刊，那必然是出现了大事件。 The Beatles在本月初发布了他们的最后一首单曲《Now and Then》，所以本期增刊就是我们对于这首单曲跨越时空的回应。 I know it's true It's all because of you 本期主播： 直立猿、贼贼、小马、于落 Shownotes: 01:57 有生之年赶上一回The Beatles发新歌 08:10 关于Beatles的第一次接触记忆 21:00 披头四、披头士、甲壳虫，大家更喜欢哪一个译名？ 22:40 最早的Beatles行货正版 28:06 滚石为什么没能在中国达到beatles的影响力？ 47:04 小时候喜欢的歌1: Norwegian Wood 47:27 从挪威的森林到村上春树，从婚外恋到印度西塔琴 61:13 小时候喜欢的歌2：You Never Give Me Your Money 62:30 从MOOG合成器到唱片封套阴谋论 77:05 小时候最喜欢的歌3：Happiness Is A Warm Gun 78:30 John Lennon 对于 Yoko Ono 的一种情欲投射？ 85:49 小时候喜欢的歌4:Julia 87:00 送给小野洋子的情歌 94:21 长大后喜欢的歌1：Octopus's Garden 95:49 大家最喜欢的Beatles成员是谁？ 103:54 长大后喜欢的歌2：Ob-La-Di, Ob-La-Da 104:45 许冠杰与印度超觉冥想 110:07 长大后喜欢的歌3：It's All Too Much 111:14 乔治哈里森和他的印度哥们姐们 118:35 长大后喜欢的歌4：When I'm Sixty-Four 120:01 等到老的那一天、布莱尔央视献唱、洞穴时期的Beatles 126:57 个人最喜爱01：Golden Slumbers 126:30 得到多少爱来源于你创造了多少爱 132:20 个人最喜爱02：Tomorrow Never Knows 134:00 Beatles的迷幻乐，成员们的老山东体验 138:50 个人最喜爱03：Please Mister Postman 140:00 老百姓乐队的视角关注百行百业 144:52 个人最喜爱04：Piggies 145:20 曼森家族扭曲解读当作杀戮指导思想 150:03 玩乐时光：「Record jacket junkie!」「周华健与披头士」「炸鱼锔豆薯条」「乔治哈里森活在物质世界」 157:16 感性和真挚的个人感想 Songlist: The Beatles - Now and Then The Beatles - Norwegian Wood The Beatles - You Never Give Me Your Money The Beatles - Happiness Is A Warm Gun The Beatles - Octopus's Garden The Beatles - Ob-La-Di, Ob-La-Da The Beatles - It's All Too Much The Beatles - When I'm Sixty-Four The Beatles - Golden Slumbers The Beatles - Tomorrow Never Knows The Beatles - Please Mister Postman The Beatles - Piggies The Beatles - A Day In The Life

F1 has returned to the Americas with a race dominated by talking in the braking zone, tyre strategies and the fact there are still bits of wood bolted to the bottom of the cars. Ollie and Terry are joined by special guest correspondent Dawn Janáček joins from Texas to step in for a Phill on holiday, obrigado moshi moshi. Learn more about your ad choices. Visit megaphone.fm/adchoices