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Since his last appearance on the Alnwick Castle Podcast a year ago, one of our favourite regular guests Bill Openshaw has released his first book! To The Call Of Bugles explores the full history of the Percy Tenantry Volunteers, the army based at the Castle and around the north east over 200 years ago to defend it from invasion by Napoleon.Bill joined our hosts Deborah and Daniel once again on this episode, alongside fellow PTV enthusiast Nick Lewis, to tell us some of his favourite stories from the book, new discoveries he has made, and to give us a preview of what visitors to Alnwick Castle might expect to see this year - regular appearances, demonstrations and performances by Percy Tenantry Volunteers reenactors, including Bill himself!Check our website alnwickcastle.com for full dates of all our PTV days in 2024.If you want more about the Percy Tenantry, we highly recommend picking up a copy of To The Call Of Bugles, available now from online retailers and the Alnwick Castle gift shops. Bring it on your visit and Bill might just sign it!You can also go back into our podcast archive and find episode 9, 'The Percy Tenantry Volunteers', or episode 32, 'The 2nd Duke of Northumberland' to learn more.
When young Jamie Lavis vanished from his family home, the community rallied in a search effort. Little did anyone, including the police, know that the man spearheading the search was, in fact, the perpetrator responsible for Jamie's fate. Join my Patreon community at patreon.com/britishmurders for exclusive perks, including early access to ad-free episodes, bonus content, exciting giveaways, and welcome goodies! Social Media: Facebook | British Murders with Stuart Blues Instagram | @britishmurders TikTok | @britishmurders X | @britishmurders Website: britishmurders.com You can view the video version of this episode at youtube.com/@britishmurders. Remember to subscribe and ring the notification bell to stay up-to-date with my latest releases. Do you have a case request? Please send it to contact@britishmurders.com or fill out a Contact Form at britishmurders.com/contact Intro music: David John Brady - 'Throw Down the Gauntlet' davidjohnbrady.com Disclaimer: The case discussed in this podcast episode is real and represents the worst day in many people's lives. I aim to cover such stories with a victim-focused approach, using information from publicly available sources. While I strive for accuracy, some details may vary depending on the sources used. I list the sources used in each episode on my website. Due to the nature of the content, listener discretion is advised. Thank you for your understanding and support. Learn more about your ad choices. Visit podcastchoices.com/adchoices
I help entrepreneurs and business professionals transform their businesses and their lives within 90 days by transforming their relationships. Dawnese Openshaw, is the mind behind "Relation-Shift." She helps entrepreneurs and business professionals transform their businesses and their lives within 90 days by transforming their relationships. At 14 years old Dawnese's wise father gave her a book to read which shaped her life and gave her a sense of purpose and desire to serve/teach. That book was Dale Carnegie's “How to Win Friends and Influence People.” Her father was probably trying to tell her something, but Dawnese was too proud to ask. From the time she turned 18, she was involved as a leader in youth camps, teaching, and empowering youth from across the globe. Dawnese taught middle and high school English and religious education, and coached competitive high school cheerleading in both Iowa and Massachusetts. Dawnese has over 20 years of experience involved in small businesses and non-profit organizations helping create and execute plans for growth. For the last six years, I have coached friends, family, and small business owners in personal and organizational growth. I have mentored mothers of adopted children struggling with emotional overwhelm to find more peace in their homes and in their lives.
Accountant Sam chose the path of downward mobility in moving onto Openshaw, one of the toughest estates in the land. With a heroin addict living on one side, and a brothel on the other, an extraordinary adventure began, which continues 23 years later. What a story and what a challenge! Check out www.joineden.org if you want to consider joining an Eden team or supporting the work.The Message do superb work, check out www.message.org.uk Sam mentioned ‘the forgotten people of Openshaw' on Youtube – what a picture it paints, and how wonderful things have changed now! Check out our episode with Message founder, Andy Hawthorne - it's one of the first we released. --- Support our Sanitary Pads Appeal at greatlakesoutreach.org/pads --- Weekly episode WhatsApp link: greatlakesoutreach.org/whatsapp | Weekly email notification: greatlakesoutreach.org/inspiredemail For more from Simon, visit: simonguillebaud.com --- Produced by Great Lakes Outreach - Transforming Burundi & Beyond: greatlakesoutreach.org
This series showcases the lives of people across Trafford that have served in our Armed Forces, their families and also those that have worked, or still work, across the emergency services. Working in partnership with Trafford Veterans CIC we listen to the amazing people in our communities that have seen and done astonishing things, faced some terrible struggles, but who have ultimately found comradery, support and comfort as part of the Trafford Veterans family.Bob Wright. An episode that covers a lot. Bob talks about growing up in Openshaw, joining the Royal Transport Corp at 15, serving in Germany, Denmark and Northern Ireland and how witnessing trauma has led to him actively helping young people and other veterans with PTSD.
Our reporter Tony Openshaw shares her top three songs, book and luxury item she would take to a desert island! What would you take? Tune in now.
Early experiences often shape our entire lives. The inspiring story of our guest - Jennifer Openshaw - shows what's possible to achieve when you choose to own your destiny. Being a child of divorce and watching her mother struggle as a single mom to make ends meet shaped Jennifer's entire career journey. Her first “real” job was working as a maid in a motel while her mother worked two full-time jobs as a waitress to support the family. At an early age, she decided to make it on her own and to make a big impact. Now as CEO of Girls With Impact, the nation's leading business education program for young women, she empowers women all around the world with the business and tech skills to become future leaders. Jennifer's story illustrates the power of vision, determination and tenacity in your pursuits. She achieved her ambitions by looking at how other people got to where they are and always surrounding herself with a community of next level peers. She has broken barriers and paved the way for others to follow. Visit gobeyondbarriers.com, where you will find show notes and links to all the resources in this episode, including the best way to get in touch with Jennifer. Highlights: [02:18] What shaped Jennifer's young life [04:19] Jennifer's young career choices [08:05] Pursuing passions or pursuing money [14:44] Looking for opportunities [15:57] Dealing with fear of rejection or failure [18:17] Lessons learned as an entrepreneur [24:09] Gen Z in the workforce and the benefit of failing [27:36] Ready for the “what if” [30:05] Women when it comes to finances [32:14] About Girls With Impact [34:56] Taking her mission to the next level [43:57] Companies attracting entrepreneurs and Gen Z [49:21] Lightning round questions Quotes: “Sometimes the way to move up is to move out.” – Jennifer Openshaw “I'm a believer in not taking a leap until you know what you're leaping to.” – Jennifer Openshaw “It shows people something when you're willing to raise your hand.” – Jennifer Openshaw Lightning Round Questions: What book has greatly influenced you? - “The Prophet” by Kahlil Gibran What is your favorite inspiring quote or saying? - "If there's a will there's a way.” And “The answer will reveal itself.” What is one word or moniker you would use to describe yourself? - What leapfrog move can take you to where you want to go? What is one change you've implemented that made your life better? - Being grateful every day. What power song would you want playing as you walk out onto a stage? - “Ain't No Mountain High Enough” by Diana Ross. About Jennifer Openshaw: Jennifer Openshaw – called “one of the most outspoken proponents for empowering women to control their financial lives” by CBS MarketWatch – is CEO of Girls With Impact, the nation's leading business education program for young women. Her expertise and national reputation as a financial innovator have made her a valuable ally in the media – from “Oprah,” “Dr. Phil” and “Today” to CNN, Fox and CNBC. At the age of 14, Jennifer took on her first “real” job as a maid in a motel while her mother worked two full-time jobs as a waitress to support the family. In 2000, Jennifer was named one of the Internet's 25 Rising Stars as a result of her work as CEO and founder of Women's Financial Network, a company created as a result of her experience in the industry and as the “Money Expert” for KCBS-TV. The company was acquired by Wall Street legend Muriel Siebert (NYSE: SIEB). Jen's financial industry experience includes senior roles at Bank of America, leading pension advisor Wilshire Associates, and BankOne (now JP Morgan Chase). She also headed the 60-year-old Financial Women's Association and, most recently, was Partner and Chief Marketing Officer at global consulting firm Mercer, where she led the When Women Thrive research platform. She started her career in the California State Treasurer's Office. Drawing from her experience in Silicon Valley, Wall Street and Main Street in tech, education, and the financial industry, Jennifer has been a fixture in the media. Her roles have included “Money Expert” for KCBS-TV, host of ABC Radio's Winning Advice, and columnist for Dow Jones' MarketWatch. She's the author of three books: The Socially Savvy Advisor (2015); The Millionaire Zone (Hyperion), based on research about the social networking strategies of the wealthy; and What's Your Net Worth? (Perseus), turned into a Public Television Show. Jennifer has been an advisor to Fortune 500 firms, including Microsoft, where she also served as national spokesperson. She writes regularly for Dow Jones, USA Today and as a LinkedIn Influencer. Jennifer holds an MBA in finance and BA from UCLA. She is a member of the New York Economic Club and was appointed by the California Governor to the Commission on California Government Efficiency. Links: Website: https://www.girlswithimpact.org/ LinkedIn URL: https://www.linkedin.com/in/jenopenshaw/ LinkedIn URL: https://www.linkedin.com/company/girlswithimpact/ Instagram: https://www.instagram.com/girlswithimpact/ Twitter: https://twitter.com/jopenshaw Twitter: https://twitter.com/GirlsWithImpact
Dr. Dan interviews CEO/Founder of Girls with Impact Jennifer Openshaw about the organization's work to provide leadership education for under-resourced young women. This interview is inspired by the recent celebrations for Women's History month and International Women's Day.Guest Jennifer Openshaw speaks to Dr. Dan about leadership and her organization's mission to train the next generation of female leaders, entrepreneurs, and innovators in order to drive equity, diversity, and economic growth. Dr. Dan explores how Jennifer's passion for advancing girls comes from her own life story: at the age of 14, she took on her first “real” job as a maid in a motel while her mother worked two full-time jobs as a waitress to support the family. Today, Jen has built five new organizations, authored three books, and provided financial tools to a half-million consumers.Jennifer's passion is contagious – this episode about Girls With Impact will empower future female leaders (and their parents).For more information and to get involved visit the Girls With Impact website: www.girlswithimpact.org.Email your parenting questions to Dr. Dan podcast@drdanpeters.com (we might answer on a future episode).Follow us @parentfootprintpodcast (Instagram, Facebook) and @drdanpeters (Twitter).Listen, follow, and leave us a review on Amazon Music, Apple Podcasts, Wondery, or wherever you like to listen!Don't forget, you can hear every episode one week early and ad-free by subscribing to Wondery+ in the @WonderyMedia App.For more information:www.exactlyrightmedia.com www.drdanpeters.comFor podcast merch:www.exactlyrightmedia.com/parent-footprint-shopSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Hugh Percy, 2nd Duke of Northumberland, was in charge of Alnwick Castle from 1787 until his death thirty years later. On this episode of the Alnwick Castle Podcast, hosts Daniel and Deborah speak to returning guests Bill Openshaw and Nick Lewis, both experts on the 2nd Duke, to find out all about him.Subjects covered include: Percy's early military career in the American Revolutionary War, and the friendships formed there with Native American leaders like Thayendanegea (referred to on the podcast by his Anglicised name Joseph Brant), and the freed former slave Bill Richmond; Percy's impact and legacy on Alnwick and Northumberland, from monuments built to him to his Percy Tenantry volunteer force; and his connections to everything from Portuguese military history to the Theatre Royal on Drury Lane in London.If you enjoyed hearing from Bill and Nick, we recommend going back into our podcast archive for Episode 9, all about the Percy Tenantry Volunteers.The 2nd Duke will also feature in an upcoming book by Bill, due to be released later this year.Did you enjoy the podcast? If so, we'd love to received any ratings or reviews you can leave - every positive one helps the podcast! You can also get in touch with us by emailing podcast@alnwickcastle.com or tweeting us @alnwickcastle.
Dawnese Openshaw is a CHANGE agent and a master transformational leadership coach and trainer. After 20 years of business and leadership coaching, in 2020, Dawnese began to focus on families with teens and tweens — supporting emotional regulation, communication, and improving relationships. She combines her passion for leadership and commitment with strengthening families as a family empowerment coach, primarily serving families with teens and tweens. Dawnese empowers families to heal individually and together, creating harmony in their lives and in their homes.
In "The Five Orange Pips," Sherlock Holmes is visited by a young man named John Openshaw, who tells him about a strange inheritance that his family has received. Openshaw's uncle, Elias, had recently died, and he had left a letter and a box containing five orange pips to his nephew. The letter warned that if anything happened to Elias or his son after his death, the recipient of the letter should open the box and send the pips to a mysterious society, the Ku Klux Klan. Author: Sir Arthur Conan Doyle Translated By: Abhipsha Chatterjee Produced by: 221B Harrison Road Language: Bengali Type : Story Format : Audio Story Genre : Crime Audio Edit : Subhojit (Phenoix Audio Verse) Poster Design : Sumitendra Background Music : Prattyay Characters : Sherlock Holmes - Sumitendra Dr. Watson - Prattyay John Openshaw - Sourav
Welcome to the Financial Institution Insights podcast. In this In the Spotlight series, hosts Susan Weber and Brooke Wells interview colleagues from BerryDunn's Financial Services Practice Group to explore their areas of expertise and interests. In this episode, we talk with Principal Lisa Openshaw about the many changes she has witnessed during her tenure and her passion for developing future leaders to help clients meet industry challenges.
The Saisiyat Indigenous people in Hsinchu and Miaoli counties have a famous story about magical “little people” or “dwarfs” called the Koko' ta'ay. The legend goes that tensions between the tribe and the “dwarfs” led to an incident that killed off the little people, and which called down a curse on the Saisiyat. While most dismissed these stories as a myth, new research seems to indicate that that there were, in fact, “Negrito” people, such as can still be found in small bands in the Philippines and elsewhere, on Taiwan at least 5000 years ago - which could see the history books rewritten and the Koko' ta'ay folklore recognized as being based on real experience!
Entrepreneurship is about more than just making money. …or at least it can be. Today, we resume our partnership with US Bank's Real Good podcast, a show that highlights business ventures for which profit isn't the first goal. In this episode of Real Good, get to know Jennifer Openshaw, founder and CEO of Girls With […] The post [Bonus Episode] From Real Good: The Business of Empowering Girls with Jennifer Openshaw appeared first on The $100 MBA.
Meta Talkz is Powered by IBH Media - If you are a tech company and you need media coverage go to ibhmedia.co Garrett Openshaw is the Co-founder at muunifi. muunifi is a social platform built for financial communities. Our app started with the question "how can we make it easier for newcomers to find people having success in markets?". Investing is like any skill, sport, subject, etc. anyone can learn it with enough practice. Our app levels the playing field and lowers the barrier to entry so anyone with a cellphone can start learning how to invest. Also, check out Meta Talkz for future and past guests.
Season Four of Real Good kicks off with Jennifer Openshaw, the founder and CEO of Girls With Impact. Jennifer's passion lies in helping girls as young as fourteen discover their potential for entrepreneurship through a ten-week ‘mini MBA.' In this episode, we'll learn more about these girls' bold initiatives, and discuss the importance of mentorship in empowering girls and women to believe in themselves and their ideas. But first things first, join friends and co-hosts Faith Salie and USB's own Greg Cunningham for a long-awaited reunion.
"Learn about the fascinating field of mucosal immunology, vaccine effectiveness, and the role of face-mask protection not from virus particles but “spiticles and snoticles”. Dr Peter Openshaw, ESWI Board Member and Professor of Experimental Medicine, Imperial College London, expertly guides us through what led to the unprecedented speed of COVID-19 vaccine development. From his experience of two pandemics, he offers a vision of future variants and how SARS-COV-2 is continuing to evolve.”This podcast is kindly sponsored by Viatris.
This episode of the Alnwick Castle Podcast takes us back in time a little over 200 years to the Napoleonic Wars, when the North East of England was defended by a small group of volunteer soldiers based at Alnwick Castle. Led by Hugh Percy, the 2nd Duke of Northumberland, the Percy Tenantry Volunteers made a big impact on the history of the castle and the local area. On this episode, host Daniel is joined by two experts on the PTV, Bill Openshaw and Nick Lewis, to discuss some of the stories from that time.You may notice a few pops, crackles and drops in the sound in this episode. Bill was joining us from Texas, and Nick from rural Northumberland, so our connections for remote recording were working harder than usual!If you enjoyed this podcast, please subscribe wherever you get your podcast, leave us a review or five-star rating, and share it with your friends. You can get in touch with us on Twitter @alnwickcastle or by emailing podcast@alnwickcastle.com.
Ep.151 Pt.2 Ripper suspects This week in part 2…. Suspects in the jack the ripper case… there's a ton…like pretty much everyone alive at the time of the murders…and maybe some that weren't…who knows. So here we frigging go! Montague John Druitt: Although there may not be any concrete, scientific evidence against him, the Jack, The Ripper murders in London's East End ended after Druitt's suicide convinced one London detective (Melville Leslie Macnaghten) that Druitt was, in fact, Jack The Ripper himself. Montague John Druitt, son of prominent local surgeon William Druitt, was a Dorset-born barrister. He also worked as an assistant schoolmaster in Blackheath, London, to supplement his income. Outside of work, his primary interest was cricket. He played alongside the likes of Francis Lacey, the first man knighted for services to cricket. His numerous accolades in the game include dismissing John Shuter for a duck. The England batsman was playing for Bexley Cricket Club at the time. On the recommendation of Charles Seymour and noted fielder Vernon Royle, Druitt was elected to the Marylebone Cricket Club (MCC) on May 26th, 1884. One of the minor matches for MCC was with England bowler William Attewell against Harrow School on June 10th, 1886. The MCC won by 57 runs. Montague John Druitt's decomposed body was found floating in the Thames near Chiswick on December 31st, 1888. He had a return train ticket to Hammersmith dated December 1st, a silver watch, a cheque for £50 and £16 in gold (equivalent to £5,600 and £1,800 today). He is believed to have committed suicide, a line of thought substantiated by the fact there were stones in his pockets. Possibly to keep his body submerged in the river. The cause of his suicide is said to be his dismissal from his post at the Blackheath boys' school. The reason for his release is unclear. However, one newspaper, quoting his brother William's inquest testimony, reported being dismissed because he "had got into serious trouble." Although, it did not specify any further. Several authors have suggested that Druitt may have been dismissed because he was a homosexual or a pederast. Another speculation is that the money found on his body would be used for payment to a blackmailer, or it could have simply been a final payment from the school. Another possibility involving his dismissal and eventual death is an underlying hereditary psychiatric illness. His mother had already attempted suicide once by taking an overdose of laudanum. She died in an asylum in Chiswick in 1890. In addition, both his Grandmother and eldest sister committed suicide, while his aunt also attempted suicide. A note written by Druitt and addressed to his brother William was found in Druitt's room in Blackheath. It read, "Since Friday I felt that I was going to be like mother, and the best thing for me was to die." The last of the canonical five murders had taken place shortly before Druitt's suicide. Following his death, there were no more ripper murders. In 1891, a member of parliament from West Dorchester, England, began saying that the Ripper was "the son of a surgeon" who had committed suicide on the night of the last murder. Assistant Chief Constable Sir Melville Macnaghten named Druitt as a suspect in the case. He did so in a private hand-written memorandum on February 23rd, 1894. Macnaghten highlighted the coincidence between Druitt's disappearance and death shortly after the last of the five murders. He also claimed to have unspecified "private information." One that left "little doubt" that Druitt's own family believed him to have been the murderer. The memorandum read: "I have always held strong opinions regarding him, and the more I think the matter over, the stronger do these opinions become. The truth, however, will never be known, and did indeed, at one time lie at the bottom of the Thames, if my conjections be correct!" Macnaghten was convinced that Montague John Druitt was the serial killer they had long been looking for. However, he incorrectly described the 31-year old barrister as a 41-year-old doctor and cited allegations that he "was sexually insane" without specifying the source or details of the allegations. Macnaghten did not join the force until 1889, after the murder of Kelly and the death of Druitt. He was also not involved in the investigation directly and is likely to have been misinformed. There is also the case of Druitt playing Cricket games far away from London during many of the murders. On September 1st, the day after the murder of Nichols, Druitt was in Dorset playing cricket. On the day of Chapman's murder, he played cricket in Blackheath. The day after the murders of Stride and Eddowes, he was in the West Country defending a client in a court case. Some writers such as Andrew Spallek and Tom Cullen have argued that Druitt had the time and opportunity to travel by train between London and his cricket and legal engagements. He could have even used his city chambers as a base from which to commit the murders. However, several others have dismissed the claim as "improbable." For instance, Druitt took 3 wickets in the match against the Christopherson brothers at Blackheath on September 8th, the day of the Chapman murder. He was on the field at 11.30 AM for the game and performed out of his skin. An event unlikely if he were walking the streets of London committing a murder at 5:30 AM. Most experts now believe that the killer was local to Whitechapel. On the other hand, Druitt lived miles away on the other side of the Thames in Kent. Even Inspector Frederick Abberline appeared to dismiss Druitt as a serious suspect because the only evidence against him was the coincidental timing of his suicide shortly after the last canonical murder. Aaron Kosminski: Aaron Kosminski was not a stable man. In 1891, he was sent to Colney Hatch Asylum. Psychiatric reports made during Kosminski's time there state that Kosminski heard auditory hallucinations that directed him to do things. Although some claim that Kosminski wasn't violent, there is a record of him threatening his own sister with a knife. The "canonical five" murders which wrapped up the sum of the Ripper's official kills, stopped soon after Kosminski was put into an asylum. Present-day doctors think Kosminski might have been a paranoid schizophrenic, but it sure is suspicious that his institutionalization fits the timeline of Jack the Ripper. Kosminski threatened his sister with a knife. Jack the Ripper is infamous for the violent way he murdered his female victims. This serial killer did things like slashing throats, removing organs, and severely disfiguring faces. The crimes he committed were grisly and suggested a severe hatred of women. Kosminski definitely fits the description of hating women. He was terrible at socializing with women, and according to Chief Constable Melville Macnaghten, he was known for his profound resentment of women. Macnaghten wrote, "This man became insane due to indulgence in solitary vices for many years. He had a great hatred of women, especially of the prostitute class, & had strong homicidal tendencies." Hating prostitutes and suspected as being capable of murder? Kosminski is looking better and better as the chief Jack the Ripper suspect. On the night of one of the murders, a woman named Elizabeth Long said she heard the man's voice who led Jack the Ripper victim, Annie Chapman, to her death. Long said she listened to the man ask Annie, "Will you?" as they were discussing their sex work arrangement. Long described the man's voice as having an accent. Kosminski, as a Polish Jew, had an accent. A clue left on a Goulston Street wall in London suggested that Jack the Ripper had a native language other than English as well. The person who wrote the message spelled the word "Juwes" instead of "Jews." The entire statement read, "The Juwes are the men that will not be blamed for nothing." It was never understood what was actually meant by it. What's more, Macnaghten wrote this about a suspect spotted fleeing on the night of Catherine Eddowes' murder: "This man in appearance strongly resembled the individual seen by the City P.C. near Mitre Square." Care to guess who "the individual seen by the City P.C." Macnaughten referred to was? That's right. He was talking about Aaron Kosminski! Although reports of Jack the Ripper's appearance, in general, were inconsistent, Kosminski fit the appearance of someone spotted at one of the crime scenes. Macnaghten's report has been discredited, though, so take this information as you will. In 2007, a man named Russel Edwards wanted to confirm the identity of Jack the Ripper so severely that he acquired the shawl of Jack the Ripper victim Catherine Eddowes. He had the shawl's DNA tested and confirmed that the genetic material on the shawl traced back to one of Kosminski's living relatives. Edwards had written a book entitled, Naming Jack the Ripper, thus having something to gain, so people didn't believe this analysis. That is until the DNA was studied by an unrelated peer-reviewed science journal. In 2019, The Journal of Forensic Sciences confirmed that the DNA did indeed match Aaron Kosminski. The results were apparently sketchy and not tested again until 2019 by Liverpool John Moores University and the University of Leeds. The DNA presented matched the descendants of Kosminski and Eddowes. Although, the shawl was never documented in police custody. Francis Craig: Born in 1837 in Acton, west London, Francis Spurzheim Craig was the son of a well-known Victorian social reformer. His father, ET Craig, was a writer and advocate of phrenology – interpreting personality types by feeling the shape of the head – a so-called "science" that was already falling out of fashion by the Ripper murders. However, the family moved into influential west London circles, counting William Morris, the socialist and founder of the Arts and Crafts movement, among their friends. Craig, like his father, was a journalist but not a successful one. Friends described him as sensitive yet stubborn. After a period in the United States from 1864 to 1866, Craig spent time in local newspapers but in the 1871 Census listed himself as a person of "No occupation." By 1875 he had been appointed editor of the Bucks Advertiser and Aylesbury News. Here, Craig's journalism career suffered an almost terminal blow when he was caught cribbing reports from The Daily Telegraph and was brutally exposed as a plagiarist by a rival publication. It is not known how he met Elizabeth Weston Davies – it may have been at William Morris' social gatherings – but they married on Christmas Eve 1884 in Hammersmith. Just a few months later – on May 19th, 1885 – she was seen entering a private hotel near their marital home in Argyll Square, King's Cross, with a "young man … at 10 o'clock at night". The book says it was a crushing blow for Craig, who had been unaware of his wife's involvement in prostitution. She left and went into hiding in the East End under the pseudonym Mary Jane Kelly. In The Real Mary Kelly, author Wynne Weston-Davies suggests Craig suffered from a mental illness, namely schizo-typal personality disorder. Craig followed her to Whitechapel, taking lodgings at 306 Mile End Road. He tried to locate the only woman he had ever loved, and as time passed, his love for her turned to hatred. Then, he plotted to murder her, disguising his involvement by killing a series of prostitutes beforehand, the book suggests. A few months after the murder of Elizabeth/Mary Jane, Craig left the East End and returned to west London as editor of the Indicator and West London News, a job he held until 1896. In 1903, while living in lodgings at Carthew Road, Hammersmith, Craig cut his throat with a razor, leaving his landlady a note which read: "I have suffered a deal of pain and agony." He did not die until four days later, Sunday, March 8th, 1903, and in an inquest, the coroner recorded a verdict of "Suicide whilst of unsound mind and when irresponsible for his actions." Dr. Weston-Davies plans to exhume Elizabeth/Mary Jane's body to carry out DNA analysis, which he believes will show the true identity of the Ripper's final victim and, therefore, prove Craig's motive for the murders. Carl Feigenbaum: Carl Feigenbaum was most certainly a convicted murderer. Indeed, he was convicted of and executed for the murder of Mrs. Juliana Hoffman, a 56-year-old widow who lived in two rooms above a shop at 544 East Sixth Street, New York, with her 16-year-old son, Michael. Feigenbaum told the Hoffman's that he had lost his job as a gardener and therefore had no money. However, he assured them that he had been promised a job as a florist and that, once he was paid, on Saturday, September 1st, 1894, he would be able to pay them the rent that he owed. The Hoffmans took him at his word, a trust that would prove fatal for Mrs. Hoffman. As a consequence of their having a lodger, who was given the rear of the two rooms, mother and son shared the front room, Juliana sleeping in the bed, and Michael occupying a couch at the foot of her bed. Shortly after midnight, in the early hours of September 1st, 1894, Michael was woken by a scream, and, looking across to his mother's bed, he saw their lodger leaning over her, brandishing a knife. Michael lunged at Feigenbaum, who turned around and came at him with the knife. Realizing he would be no match against an armed man, Michael escaped out of a window and began screaming for help. Looking through the window, Michael watched in horror as Feigenbaum stabbed his mother in the neck and then cut her throat, severing the jugular. Juliana made one final attempt to defend herself and advanced toward her attacker, but she collapsed and fell to the floor. Feigenbaum then returned to his room. H escaped out of the window, climbed down into the yard, and washed his hands at the pump. He then made his way out into an alleyway that led to the street. So, how did his name become linked to the Whitechapel murders of 1888? In a nutshell, he reputedly confessed to having been Jack the Ripper shortly before his execution. It is noticeable that the British press didn't pay much attention to the trial of Carl Feigenbaum - until, following his execution, one of his lawyers made an eleventh-hour confession public. Suddenly, articles about his confession began appearing in British newspapers, one of which was the following report, which appeared in Reynolds's Newspaper on Sunday, 3rd, May 1896:- "An impression, based on an eleventh-hour confession and other evidence, prevails that Carl Feigenbaum, who was executed at Sing Sing on Monday, the real murderer of the New York outcast, nick-named Shakespeare, is possibly Jack the Ripper, of Whitechapel notoriety. The proofs, however, are far from positive." A week later, on Sunday, May 10th, 1896, Lloyd's Weekly Newspaper published a more detailed account of the confession, which had been made to his lawyer, William Stamford Lawton:- "THE AMERICAN JACK THE RIPPER Carl Feigenbaum, who was executed in the electric chair at Sing Sing last week, is reported to have left a remarkable confession with his lawyer. The account of the lawyer reads:- "I have a statement to make, which may throw some light on the murder for which the man I represented was executed. Now that Feigenbaum is dead and nothing more can be done for him in this world, I want to say as his counsel that I am absolutely sure of his guilt in this case, and I feel morally certain that he is the man who committed many, if not all, of the Whitechapel murders. Here are my reasons, and on this statement, I pledge my honour. When Feigenbaum was in the Tombs awaiting trial, I saw him several times. The evidence in his case seemed so clear that I cast about for a theory of insanity. Certain actions denoted a decided mental weakness somewhere. When I asked him point blank, "Did you kill Mrs. Hoffman?", he made this reply:- "I have for years suffered from a singular-disease, which induces an all absorbing passion; this passion manifests itself in a desire to kill and mutilate the woman who falls in my way. At such times I am unable to control myself." On my next visit to the Tombs I asked him whether he had not been in London at various times during the whole period covered by the Whitechapel murders? "Yes, I was," he answered. I asked him whether he could not explain some of these cases: on the theory which he had suggested to me, and he simply looked at me in reply." The statement, which is a long one, proves conclusively that Feigenbaum was more or less insane, but the evidence of his identity with the notorious Whitechapel criminal is not satisfactory." Hmmm... Of course, many disagree with this and do not believe the confession. In truth, there is no compelling evidence to suggest that Lawton may have been lying about what his client had told him, and it might just have been that Feigenbaum may have thought that, in confessing to the Whitechapel murders, he would buy him a little extra time. Walter Sickert: The English Painter The name of Walter Sickert has been linked to the Jack the Ripper murders by several authors. However, his role in the killings has been said to have varied enormously over the years. According to some authors, he was an accomplice in the Whitechapel Murders, while others depicted him as knowing who was responsible for the crimes and duly informing them. But, according to the crime novelist Patricia Cornwell in her 2002 book "Portrait of a Killer - Jack the Ripper Case Closed," Sickert was, in fact, the man who carried out the crimes that became known as the Jack the Ripper Murders. According to Cornwell's theory, Walter Sickert had been made impotent by a series of painful childhood operations for a fistula of the penis. This impotence had scarred him emotionally and had left him with a pathological hatred of women, which, in time, led him to carry out the series of murders in the East End of London. Doubts were raised about her theory when it was pointed out that St Mark's Hospital, where the operations on the young Sickert were supposedly performed, specialized in rectal and not genital fistulas. Butts, not nuts. So what evidence is there to suggest that Sickert possessed a pathological hatred of women? Again, not shit, really. In "Portrait of a killer," Cornwell cites a series of Sickert's paintings inspired by the murder in 1908 of a Camden Town prostitute by Emily Dimmock. According to Patricia Cornwall's hypothesis, this series of pictures bears a striking resemblance to the post-mortem photographs of the victims of Jack the Ripper. Now there is little doubt that Sickert was fascinated by murder and finding different ways to depict the menace of the crime and the criminal. But, to cite this as evidence that he was actually a murderer - and, specifically, the murderer who carried out the Jack the Ripper killings - is hardly definitive proof. As you passengers more than likely know, when looking at a particular Jack the Ripper suspect or any murder suspect, you need to be able to link your suspect with the crime. You need to, for example, be able to place them at the scene of the crime, duh. Here again, the case against Sickert unravels slightly since evidence suggests that he may not even have been in England when the murders were committed. Many letters from several family members refer to him vacationing in France for a period corresponding to most of the Ripper murders. Although it's been suggested that he might have traveled to London to commit the murders and then returned to France, no evidence has been produced to indicate that he did so. Cornwall also contends that Sickert was responsible for writing most of the Jack the Ripper correspondence and frequently uses statements made in those letters to strengthen her case against him. Authorities on the case and the police at the time, nearly all, share the opinion that none of the letters - not even the Dear Boss missive that gave him his name - was the work of the killer. In addition, there is the problem that the style of the letters varies so significantly in grammatical structure, spelling, and hand-writing that it is almost impossible for a single author to have created all of them. In her quest to prove Sickert's guilt, Cornwall also funded DNA tests on numerous stamps and envelopes, which she believed that Sickert had licked and compared the DNA to that found on the Ripper letters. Interestingly, a possible match was found with the stamp on the Dr. Openshaw letter. Critics, however, have pointed out that the DNA comparisons focused on mitochondrial DNA, which could be shared by anything from between 1% and 10% of the population, so it was hardly unique to Sickert. The last characters are generally considered the top suspects in the car; however that hasn't stopped many others from being implicated. Including known serial killers and even royalty. H.H. Holmes: He is known as "America's First Serial Killer," but some believe America was not his only hunting ground. Jeff Mudgett, a lawyer and former Commander in the U.S. Naval Reserve, claims that his great-great-grandfather, H.H. Holmes, was DUN DUN, Jack the Ripper. Mudgett bases his assertions on the writings in two diaries he inherited from Holmes, which detail Holmes's participation in the murder and mutilation of numerous prostitutes in London. Mudgett also claims that the man who died in the public hanging on May 7th, 1896, was not Holmes, but rather a man that Holmes tricked into going to the gallows in his place. Travel documentation and witness accounts also lend themselves to the theory that Jack the Ripper and Holmes are the same. The biggest issue with Holmes and the Ripper being the same psychopathic man is that one was in Chicago and the other in London when international travel was not as easy as it is now. Back then, traveling between the U.K. and the U.S. was by boat, which could take about a month. However, with the Ripper killings ending in early 1889 and the first Holmes killing at the end of 1889, the timeline is entirely possible. It is recorded that a passenger by the name of H. Holmes traveled from the U.K. to the U.S. at that time. Holmes is a pretty popular last name, and H.H. Holmes' legal name was actually Herman Webster Mudgett, but it is possible. In addition, based on accounts and descriptions of Jack the Ripper, multiple sketch artists were able to come up with a drawing of Jack the Ripper, which looked eerily similar to H.H. Holmes. However, another account describes Jack the Ripper as having "brown eyes and brown hair," which could really be anyone. Experts deny that H.H. Holmes and Jack the Ripper are the same person because they had different motives. While Jack the Ripper typically went after poor women who were sex workers, H.H. Holmes was naturally after money. He was adept at moving accounts and signing life insurance over to his many aliases. In addition, he'd try to find people disconnected from family or else murder entire families and siblings to take inheritances. Of the deniers to the theory, Jeff Mudgett had this to say: "There are too many coincidences for this to be another bogus theory," "I know that the evidence is out there to prove my theory and I'm not going to give up until I find it." Except for those diaries he claims to have. He refuses to show anyone, even going as far as to not print pictures of them in his book. His excuse for this is that it's "technically evidence" and could be confiscated by law enforcement because there is no statute of limitations on murder. Prince Albert Victor: The guy with the dick jewelry name. Everyone loves a conspiracy theory, and there have been few better than the theory of Prince Albert Victor impregnating a "shop girl" named Annie Crook. Obviously, the royal family had Queen Victoria's physician Dr. Gull brutalize her at a mental institution until she forgot everything. She then left the illegitimate child with prostitute Mary Kelly, who blabbed about the relationship to her friends (also prostitutes). With this scandalous knowledge, they were quickly and quietly disposed of – in a series of killings so grisly and high profile that we're still talking about them over a century later. There is also talk of him contracting syphilis from his many days of frolicking in East End brothels, causing him to become "insane" and, naturally, a serial killer. Unfortunately, the story is spoiled by his being out of London during the murders. Oh, and the total lack of evidence for any of this. Lewis Carroll: Ya know, the Alice in Wonderland author. Even though more than 500 people have been accused as Ripper suspects at one time or another, the most outlandish must be Richard Wallace's theory in his 1996 book, "Jack the Ripper, Light-Hearted Friend." Wallace took passages from Carroll's children's books and derived garbage anagrams from them, changing and leaving out letters as they suited his bizarre purposes. Watch the documentary "Sons of Sam for more idiocy like this." People always seem to find a way to contort information to fit their agendas. But I digress. From The Nursery Alice, he took "So she wandered away, through the wood, carrying the ugly little thing with her. And a great job it was to keep hold of it, it wriggled about so. But at last she found out that the proper way was to keep tight hold of its left foot and its right ear" and turned it into "She wriggled about so! But at last Dodgson and Bayne found a way to keep hold of the fat little whore. I got a tight hold of her and slit her throat, left ear to right. It was tough, wet, disgusting, too. So weary of it, they threw up – Jack the Ripper". If that's proof, I don't know what isn't. Dr. Thomas Neill Cream: This doctor was hanged for an unrelated murder at Newgate Prison. His executioner, James Billington, swears Cream's last words were "I am Jack the …," Which is weird if your name is Thomas. It was taken by many as a confession to being Jack the Ripper, of course, but being cut off by his execution meant no one managed to quiz him on it. He was in prison at the time of the murders, and the notion that he was out killing prostitutes while a "lookalike" served his prison sentence for him is, to say the least, unlikely. Mary' Jill the Ripper' Pearcey: The only female suspect at the time, Mary Pearcey, was convicted of murdering her lover's wife, and some suspect her of being behind the Whitechapel killings as well – though the evidence is pretty much nonexistent. Sherlock creator Sir Arthur Conan Doyle speculated that a woman could have carried around blood-stained clothing without suspicion if she had pretended to be a midwife. DNA results found by an Australian scientist in 2006 suggested the Ripper "may have been a woman" – but only because they were inconclusive. Michael Ostrog: Much of Michael Ostrog's life is wreathed in shadow; clearly, this was a man who liked to keep his secrets close to his chest. Ostrog was born in Russia in approximately 1833. However, we know little of his life until he arrived in the U.K. in 1863. Unfortunately, it seems as though Michael Ostrog had already committed to a life of scams, robbery, and petty theft. In 1863, he was arrested and jailed for 10 months for trying to rob the University of Oxford. He was also using the alias of 'Max Grief,' a trend that would continue later on in his life. Michael Ostrog was not considered a Jack the Ripper suspect until his name was mentioned alongside several other notable Ripper suspects in a memorandum in 1894. Sir Melville Macnaghten was the Assistant Commissioner of the Metropolitan Police in London between 1903 and 1913, yet he also played a role in the Whitechapel Murders case. In this memorandum, he proposed Michael Ostrog as one of the most likely Jack the Ripper suspects (in his opinion) alongside Montague John Druitt and Aaron Kosminski. However, despite Macnaghten's belief in his guilt, it was never proven that Michael Ostrog committed any murders. Thefts, robberies, scams, and fraud – yes, but murders? The evidence remains inconclusive. Francis Tumblety: Born in 1833, Francis Tumblety's humble start in life is a mystery. Some sources say that he was born in Ireland, while others suggest he was born in Canada. Regardless, we know that he moved to Rochester, New York, with his family within his life's first decade or so. Tumblety moved around a lot during the 1850s and 1860s, staying in various places across the U.S. and Canada but never truly settling or finding a permanent home for himself. He posed as a doctor on his travels, claiming to have secret knowledge of mystical cures and medicines from India, but, likely, this was simply fabricated to drum up more business and interest in his services. He was arrested in Canada twice – once for performing illegal abortions, then again for a patient's sudden, suspicious death. In 1865, Tumblety lived in Missouri under the fake name of 'Dr Blackburn.' However, this backfired spectacularly when he was mistakenly taken for the real Dr. Blackburn, who was actually wanted by police in connection with the murder of Abraham Lincoln! As a result, Francis Tumblety was arrested once again. Dumbass. Sometime in the intervening years, Tumblety moved across the pond - possibly to escape further arrests - and was known to be living in London by the summer of 1888. He again posed as a doctor and peddled his fabricated trade to unsuspecting Londoners. The police began to investigate Tumblety in August of that year, possibly because he was a Jack the Ripper suspect and due to the nature of his business. Sadly, the files and notes from the Victorian investigation have been lost over the years. However, many Ripperologists have since weighed in to give their opinions. Interestingly, at the time, there had been rumors that an American doctor had approached the London Pathology Museum, reportedly in an attempt to purchase the uteruses of deceased women. Could this have been Francis Tumblety, or was it just a strange coincidence? An unusual request, for sure. However, a line of inquiry like this would have been taken extremely seriously by detectives at the height of Jack the Ripper's reign of terror. Eventually, Tumblety's luck ran out, and on November 7th, 1888, he was arrested in London. Although the arrest specifics are not known today, we see that he was arrested for "unnatural offences," which could have meant several different things. This could also have referred to homosexual relations or rape, as homosexuality was still illegal. He was released on bail, which crucially means that he was accessible and potentially able to have committed the horrific murder of Mary Jane Kelly on November 9th, 1888. The timeframe fits, and evidently, the police came to this conclusion, too, as Tumblety was subsequently rearrested on November 12th and held on suspicion of murdering Mary Jane Kelly. Released on bail once again on November 16th, Francis Tumblety took the opportunity to flee London. Instead, he headed to France before returning to the U.S. Tumblety then did a vanishing act and seemingly disappeared into the ether. The next few years were a mystery, and Tumblety did not surface again until 1893, five years later. He lived out the remainder of his life in his childhood home in Rochester, New York, where he died in 1903 as a wealthy man. The evidence certainly seems to point towards Tumblety's guilt, and indeed, the fact that he was arrested multiple times in connection with the Ripper murders suggests that he was undoubtedly one of the police's top Jack the Ripper suspects. Today, many of the details have been lost over the years. The original Scotland Yard files are missing, meaning that we don't know why Tumblety was charged – or what he was charged with in connection to the Whitechapel Murders. However, we can learn from the arrests that the evidence brought against Tumblety could not have been watertight. Otherwise, he would never have been released on bail. It seems there was still an element of doubt in the minds of the detectives. David Cohen: The theory put together, pinning the chilling Whitechapel murders on one David Cohen, claims that this name was actually the 'John Doe' identity given to him at the time. He was taken in when found stumbling through the streets of East End London in December of 1888, a few short months after the autumn of terror. However, it is claimed that Cohen's real name was Nathan Kaminsky, a Polish Jew that matched the description of the wanted man known as 'Leather Apron,' who would later form the pseudonym of Jack the Ripper. Cohen, born in 1865, was not actually named as a potential suspect in the Jack the Ripper case until Martin Fido's book 'The Crimes, Detection and Death of Jack the Ripper was published in 1987 – almost 100 years later. The book detailed Cohen's alleged erratic and violent behavior, making him a good fit for the killers' profile. As per an 1895 article by Sir Robert Anderson, who was the Assistant Commissioner CID at Scotland Yard at the time of the murders, it becomes apparent that the killer was identified by a witness. The witness, however, refused to come forward in an official capacity, leading Anderson to write, "the only person who had ever had a good view of the murderer unhesitatingly identified the suspect the instant he was confronted with him; but he refused to give evidence against him." Later, in his 1910 book 'The Lighter Side of My Official Life,' Anderson published a memoir hand-written by ex-Superintendent Donald S. Swanson, in which he named Aaron Kosminski as the suspect who matched the description of a Polish Jew. The passage reads: "The suspect had, at the Seaside Home where he had been sent by us with difficulty in order to subject him to identification, and he knew he was identified." "On suspect's return to his brother's house in Whitechapel he was watched by the police (City CID) by day & night. In time, the suspect with his hands tied behind his back, he was sent to Stephney Workhouse and then to Colney Hatch and died shortly afterwards - Kosminski was the suspect – DSS." Last one. Lastly, on our list is one I didn't know anything about. As I was going through the research Moody so eloquently and diligently accrued, I stumbled up one more suspect. There is little information about the suspect, but apparently, he was a traveling charioteer with accessibility to and from the White Chapel district during the murders. Unfortunately, his birthdate is unknown, making his age impossible to gauge. The only thing Scotland Yard has on file is a single word found near 2 of the victims and a noise heard by a handful of citizens who were close to the scene of the crimes. That word was "Candy," and that horrible, unsettling sound was that of a rattling wallet chain... Honestly, we could go on all day, but everything from here gets pretty convoluted. But, honestly, there's always a link if you stretch it far enough. https://www.jack-the-ripper.org/films.htm
Professor Peter Openshaw and Dr Felicity Liew discuss the use of inhaled corticosteroids in the early treatment of COVID and the involvement of the respiratory mucosa in response to viral infection.
The openshaw family started out in a forest in Europe (so legend tells us) to Parker Arizona to now Gilbert. We talk real estate, family goals and life with a comedy twist. I even add in a torturing moment between Ryan And I. We even get down to The bottom of the mystery “is Norco really horse town USA?!” As always we appreciate everyone's support by commenting, liking and sharing !!
Losing a child, a sibling, a parent, a loved one is one of the hardest things we have to go through in life. And a lot of times we may find ourselves not knowing how we can effectively support them. Today, we have Carol Openshaw and Kathryn Brooks, they both work at Roger Neilson House, a pediatric palliative care hospice in Ottawa. In their line of work, they have made it their mission to support grieving families, parents, grandparents, and the children in the last moments of their lives. Truly, these ladies are angels on earth. In this episode, Carol and Katt share with us how to support others in grief, how it's important to keep memories alive even when they're long gone, how to show concrete support even when not asked, and how to appreciate the life and the memory of our loved ones. Visit olgasway.com for full show notes. If you're ready to put an end to a bully that lives inside your mind, I want to invite you to my next Detoxified Five Day Workshop, where you will learn proven strategies to go from self critical to being self-confident for just $97! You get five days of live coaching calls with me, workbooks to go along with your lessons, and teachings that will literally transform your life. This workshop will break you free from the prison of your own thoughts. Our next workshop begins April 11th and you can join the waiting list today! Click here to sign up! Online courses with Olga: Anxiety Relief Mindfulness for Everyday Detox the Mind Coaching Opportunities: Reset Your Mindset Become the CEO of Your Life Discovery call with Olga
Episode 144 of A History of Rock Music in Five Hundred Songs looks at “Last Train to Clarksville" and the beginnings of the career of the Monkees, along with a short primer on the origins of the Vietnam War. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a seventeen-minute bonus episode available, on "These Boots Are Made For Walking" by Nancy Sinatra, which I mispronounce at the end of this episode as "These Boots Were Made For Walking", so no need to correct me here. 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/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, the only one of those that is still in print is More of the Monkees. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book last year, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters -- Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've obviously talked in this podcast about several of the biggest hits of 1966 already, but we haven't mentioned the biggest hit of the year, one of the strangest records ever to make number one in the US -- "The Ballad of the Green Berets" by Sgt Barry Sadler: [Excerpt: Barry Sadler, "The Ballad of the Green Berets"] Barry Sadler was an altogether odd man, and just as a brief warning his story, which will last a minute or so, involves gun violence. At the time he wrote and recorded that song, he was on active duty in the military -- he was a combat medic who'd been fighting in the Vietnam War when he'd got a wound that had meant he had to be shipped back to the USA, and while at Fort Bragg he decided to write and record a song about his experiences, with the help of Robin Moore, a right-wing author of military books, both fiction and nonfiction, who wrote the books on which the films The Green Berets and The French Connection were based. Sadler's record became one of those massive fluke hits, selling over nine million copies and getting him appearances on the Ed Sullivan Show, but other than one top thirty hit, he never had another hit single. Instead, he tried and failed to have a TV career, then became a writer of pulp fiction himself, writing a series of twenty-one novels about the centurion who thrust his spear into Jesus' side when Jesus was being crucified, and is thus cursed to be a soldier until the second coming. He moved to Nashville, Tennessee, where he lived until he shot Lee Emerson, a country songwriter who had written songs for Marty Robbins, in the head, killing him, in an argument over a woman. He was sentenced to thirty days in jail for this misdemeanour, of which he served twenty-eight. Later he moved to Guatemala City, where he was himself shot in the head. The nearest Army base to Nashville, where Sadler lived after his discharge, is Fort Campbell, in Clarksville: [Excerpt: The Monkees, "Last Train to Clarksville"] The Vietnam War was a long and complicated war, one which affected nearly everything we're going to see in the next year or so of this podcast, and we're going to talk about it a lot, so it's worth giving a little bit of background here. In doing so, I'm going to use quite a flippant tone, but I want to make it clear that I'm not mocking the very real horrors that people suffered in the wars I'm talking about -- it's just that to sum up multiple decades of unimaginable horrors in a few sentences requires glossing over so much that you have to either laugh or cry. The origin of the Vietnam War, as in so many things in twentieth century history, can be found in European colonialism. France had invaded much of Southeast Asia in the mid-to-late nineteenth century, and created a territory known as French Indo-China, which became part of the French colonial Empire. But in 1940 France was taken over by Germany, and Japan was at war with China. Germany and Japan were allies, and the Japanese were worried that French Indo-China would be used to import fuel and arms to China -- plus, they quite fancied the idea of having a Japanese empire. So Vichy France let Japan take control of French Indo-China. But of course the *reason* that France had been taken over by Germany was that pretty much the whole world was at war in 1940, and obviously the countries that were fighting Germany and Japan -- the bloc led by Britain, soon to be joined by America and Russia -- weren't very keen on the idea of Japan getting more territory. But they were also busy with the whole "fighting a world war" thing, so they did what governments in this situation always do -- they funded local guerilla insurgent fighters on the basis that "my enemy's enemy is my friend", something that has luckily never had any negative consequences whatsoever, except for occasionally. Those local guerilla fighters were an anti-imperialist popular front, the Việt Minh, led by Hồ Chí Minh, a revolutionary Communist. They were dedicated to overthrowing foreign imperialist occupiers and gaining independence for Vietnam, and Hồ Chí Minh further wanted to establish a Soviet-style Communist government in the newly-independent country. The Allies funded the Việt Minh in their fight against the Japanese occupiers until the end of the Second World War, at which point France was liberated from German occupation, Vietnam was liberated from Japanese occupation, and the French basically said "Hooray! We get our Empire back!", to which Hồ Chí Minh's response was, more or less, "what part of anti-imperialist Marxist dedicated to overthrowing foreign occupation of Vietnam did you not understand, exactly?" Obviously, the French weren't best pleased with this, and so began what was the first of a series of wars in the region. The First Indochina War lasted for years and ended in a negotiated peace of a sort. Of course, this led to the favoured tactic of the time, partition -- splitting a formerly-occupied country into two, at an arbitrary dividing line, a tactic which was notably successful in securing peace everywhere it was tried. Apart from Ireland, India, Korea, and a few other places, but surely it wouldn't be a problem in Vietnam, right? North Vietnam was controlled by the Communists, led by Hồ Chí Minh, and recognised by China and the USSR but not by the Western states. South Vietnam was nominally independent but led by the former puppet emperor who owed his position to France, soon replaced by a right-wing dictatorship. And both the right-wing dictatorship and the left-wing dictatorship were soon busily oppressing their own citizens and funding military opposition groups in the other country. This soon escalated into full-blown war, with the North backed by China and Russia and the South backed by America. This was one of a whole series of wars in small countries which were really proxy wars between the two major powers, the USA and the USSR, both of which were vying for control, but which couldn't confront each other directly because either country had enough nuclear weapons to destroy the whole world multiple times over. But the Vietnam War quickly became more than a small proxy war. The US started sending its own troops over, and more and more of them. The US had never ended the draft after World War II, and by the mid sixties significant numbers of young men were being called up and sent over to fight in a war that had by that point lasted a decade (depending on exactly when you count the war as starting from) between two countries they didn't care about, over things few of them understood, and at an exorbitant cost in lives. As you might imagine, this started to become unpopular among those likely to be drafted, and as the people most affected (other, of course, than the Vietnamese people, whose opinions on being bombed and shot at by foreigners supporting one of other of the dictators vying to rule over them nobody else was much interested in) were also of the generation who were the main audience for popular music, slowly this started to seep into the lyrics of songs -- a seepage which had already been prompted by the appearance in the folk and soul worlds of many songs against other horrors, like segregation. This started to hit the pop charts with songs like "The Universal Soldier" by Buffy Saint-Marie, which made the UK top five in a version by Donovan: [Excerpt: Donovan, "The Universal Soldier"] That charted in the lower regions of the US charts, and a cover version by Glen Campbell did slightly better: [Excerpt: Glen Campbell, "The Universal Soldier"] That was even though Campbell himself was a supporter of the war in Vietnam, and rather pro-military. Meanwhile, as we've seen a couple of times, Jan Berry of Jan and Dean recorded a pro-war answer song to that, "The Universal Coward": [Excerpt: Jan Berry, "The Universal Coward"] This, of course, was even though Berry was himself avoiding the draft. And I've not been able to find the credits for that track, but Glen Campbell regularly played guitar on Berry's sessions, so it's entirely possible that he played guitar on that record made by a coward, attacking his own record, which he disagreed with, for its cowardice. This is, of course, what happens when popular culture tries to engage with social and political issues -- pop culture is motivated by money, not ideological consistency, and so if there's money to be made from anti-war songs or from pro-war songs, someone will take that money. And so on October the ninth 1965, Billboard magazine ran a report: "Colpix Enters Protest Field HOLLYWOOD -Colpix has secured its first protest lyric disk, "The Willing Conscript,"as General Manager Bud Katzel initiates relationships with independent producers. The single features Lauren St. Davis. Katzel says the song was written during the Civil War, rewritten during World War I and most recently updated by Bob Krasnow and Sam Ashe. Screen Gems Music, the company's publishing wing, is tracing the song's history, Katzel said. Katzel's second single is "(You Got the Gamma Goochee" by an artist with that unusual stage name. The record is a Screen Gems production and was in the house when Katzel arrived one month ago. The executive said he was expressly looking for material for two contract artists, David Jones and Hoyt Axton. The company is also working on getting Axton a role in a television series, "Camp Runamuck." " To unpack this a little, Colpix was a record label, owned by Columbia Pictures, and we talked about that a little bit in the episode on "The Loco-Motion" -- the film and TV companies were getting into music, and Columbia had recently bought up Don Kirshner's Aldon publishing and Dimension Records as part of their strategy of tying in music with their TV shows. This is a company trying desperately to jump on a bandwagon -- Colpix at this time was not exactly having huge amounts of success with its records. Hoyt Axton, meanwhile, was a successful country singer and songwriter. We met his mother many episodes back -- Mae Axton was the writer of "Heartbreak Hotel". Axton himself is now best known as the dad in the 80s film Gremlins. David Jones will be coming up shortly. Bob Krasnow and Sam Ashe were record executives then at Kama Sutra records, but soon to move on -- we'll be hearing about Krasnow more in future episodes. Neither of them were songwriters, and while I have no real reason to disbelieve the claim that "The Willing Conscript" dates back to the Civil War, the earliest version *I* have been able to track down was its publication in issue 28 of Broadside Magazine in June 1963 -- nearly a hundred years after the American Civil War -- with the credit "by Tom Paxton" -- Paxton was a popular singer-songwriter of the time, and it certainly sounds like his writing. The first recording of it I know of was by Pete Seeger: [Excerpt: Pete Seeger, "The Willing Conscript"] But the odd thing is that by the time this was printed, the single had already been released the previous month, and it was not released under the name Lauren St Davis, or under the title "The Willing Conscript" -- there are precisely two differences between the song copyrighted as by Krasnow and Ashe and the one copyrighted two years earlier as by Paxton. One is that verses three and four are swapped round, the other is that it's now titled "The New Recruit". And presumably because they realised that the pseudonym "Lauren St. Davis" was trying just a bit too hard to sound cool and drug culture, they reverted to another stage name the performer had been using, Michael Blessing: [Excerpt: Michael Blessing, "The New Recruit"] Blessing's name was actually Michael Nesmith, and before we go any further, yes his mother, Bette Nesmith Graham, did invent the product that later became marketed in the US as Liquid Paper. At this time, though, that company wasn't anywhere near as successful as it later became, and was still a tiny company. I only mention it to forestall the ten thousand comments and tweets I would otherwise get asking why I didn't mention it. In Nesmith's autobiography, while he talks a lot about his mother, he barely mentions her business and says he was uninterested in it -- he talks far more about the love of art she instilled in him, as well as her interest in the deep questions of philosophy and religion, to which in her case and his they found answers in Christian Science, but both were interested in conversations about ideas, in a way that few other people in Nesmith's early environment were. Nesmith's mother was also responsible for his music career. He had spent two years in the Air Force in his late teens, and the year he got out, his mother and stepfather bought him a guitar for Christmas, after he was inspired by seeing Hoyt Axton performing live and thinking he could do that himself: [Excerpt: Hoyt Axton, "Greenback Dollar"] As he put it in his autobiography, "What did it matter that I couldn't play the guitar, couldn't sing very well, and didn't know any folk songs? I would be going to college and hanging out at the student union with pretty girls and singing folk songs. They would like me. I might even figure out a way to get a cool car." This is, of course, the thought process that pretty much every young man to pick up a guitar goes through, but Nesmith was more dedicated than most. He gave his first performance as a folk singer ten days after he first got a guitar, after practising the few chords in most folk songs for twelve hours a day every day in that time. He soon started performing as a folk singer, performing around Dallas both on his own and with his friend John London, performing the standard folk repertoire of Woody Guthrie and Lead Belly songs, things like "Pick a Bale of Cotton": [Excerpt: Michael Nesmith, "Pick a Bale of Cotton"] He also started writing his own songs, and put out a vanity record of one of them in 1963: [Excerpt: Mike Nesmith, "Wanderin'"] London moved to California, and Nesmith soon followed, with his first wife Phyllis and their son Christian. There Nesmith and London had the good fortune to be neighbours with someone who was a business associate of Frankie Laine, and they were signed to Laine's management company as a folk duo. However, Nesmith's real love was rock and roll, especially the heavier R&B end of the genre -- he was particularly inspired by Bo Diddley, and would always credit seeing Diddley live as a teenager as being his biggest musical influence. Soon Nesmith and London had formed a folk-rock trio with their friend Bill Sleeper. As Mike & John & Bill, they put out a single, "How Can You Kiss Me?", written by Nesmith: [Excerpt: Mike & John & Bill, "How Can You Kiss Me?"] They also recorded more of Nesmith's songs, like "All the King's Horses": [Excerpt: Mike & John & Bill, "All the King's Horses"] But that was left unreleased, as Bill was drafted, and Nesmith and London soon found themselves in The Survivors, one of several big folk groups run by Randy Sparks, the founder of the New Christie Minstrels. Nesmith was also writing songs throughout 1964 and 1965, and a few of those songs would be recorded by other people in 1966, like "Different Drum", which was recorded by the bluegrass band The Greenbriar Boys: [Excerpt: The Greenbriar Boys, "Different Drum"] That would more successfully be recorded by the Stone Poneys later of course. And Nesmith's "Mary Mary" was also picked up by the Paul Butterfield Blues Band: [Excerpt: The Paul Butterfield Blues Band, "Mary Mary"] But while Nesmith had written these songs by late 1965, he wasn't able to record them himself. He was signed by Bob Krasnow, who insisted he change his name to Michael Blessing, and recorded two singles for Colpix -- "The New Recruit", which we heard earlier, and a version of Buffy Saint-Marie's "Until It's Time For You To Go", sung in a high tenor range very far from Nesmith's normal singing voice: [Excerpt: Michael Blessing, "Until It's Time For You To Go"] But to my mind by far the best thing Nesmith recorded in this period is the unissued third Michael Blessing single, where Nesmith seems to have been given a chance to make the record he really wanted to make. The B-side, a version of Allen Toussaint's swamp-rocker "Get Out of My Life, Woman", is merely a quite good version of the song, but the A-side, a version of his idol Bo Diddley's classic "Who Do You Love?" is utterly extraordinary, and it's astonishing that it was never released at the time: [Excerpt: Michael Blessing, "Who Do You Love?"] But the Michael Blessing records did no better than anything else Colpix were putting out. Indeed, the only record they got onto the hot one hundred at all in a three and a half year period was a single by one David Jones, which reached the heady heights of number ninety-eight: [Excerpt: David Jones, "What Are We Going to Do?"] Jones had been brought up in extreme poverty in Openshaw in Manchester, but had been encouraged by his mother, who died when he was fourteen, to go into acting. He'd had a few parts on local radio, and had appeared as a child actor on TV shows made in Manchester, like appearing in the long-running soap opera Coronation Street (still on today) as Ena Sharples' grandson Colin: [Excerpt: Coronation St https://www.youtube.com/watch?v=5FDEvOs1imc , 13:30] He also had small roles in Z-Cars and Bill Naughton's TV play "June Evening", and a larger role in Keith Waterhouse's radio play "There is a Happy Land". But when he left school, he decided he was going to become a jockey rather than an actor -- he was always athletic, he loved horses, and he was short -- I've seen his height variously cited as five foot three and five foot four. But it turned out that the owner of the stables in which he was training had showbusiness connections, and got him the audition that changed his life, for the part of the Artful Dodger in Lionel Bart's West End musical Oliver! We've encountered Lionel Bart before a couple of times, but if you don't remember him, he was the songwriter who co-wrote Tommy Steele's hits, and who wrote "Living Doll" for Cliff Richard. He also discovered both Steele and Marty Wilde, and was one of the major figures in early British rock and roll. But after the Tommy Steele records, he'd turned his attention to stage musicals, writing book, music, and lyrics for a string of hits, and more-or-less singlehandedly inventing the modern British stage musical form -- something Andrew Lloyd Webber, for example, always credits him with. Oliver!, based on Oliver Twist, was his biggest success, and they were looking for a new Artful Dodger. This was *the* best role for a teenage boy in the UK at the time -- later performers to take the role on the London stage include Steve Marriott and Phil Collins, both of whom we'll no doubt encounter in future episodes -- and Jones got the job, although they were a bit worried at first about his Manchester vowels. He assured them though that he could learn to do a Cockney accent, and they took him on. Jones not having a natural Cockney accent ended up doing him the biggest favour of his career. While he could put on a relatively convincing one, he articulated quite carefully because it wasn't his natural accent. And so when the North American version found in previews that their real Cockney Dodger wasn't being understood perfectly, the fake Cockney Jones was brought over to join the show on Broadway, and was there from opening night on. On February the ninth, 1964, Jones found himself, as part of the Broadway cast of Oliver!, on the Ed Sullivan Show: [Excerpt: Davy Jones and Georgia Brown, "I'd Do Anything"] That same night, there were some other British people, who got a little bit more attention than Jones did: [Excerpt: The Beatles, "I Want to Hold Your Hand (live on Ed Sullivan)"] Davy Jones wasn't a particular fan of pop music at that point, but he knew he liked what he saw, and he wanted some of the same reaction. Shortly after this, Jones was picked up for management by Ward Sylvester, of Columbia Pictures, who was going to groom Jones for stardom. Jones continued in Oliver! for a while, and also had a brief run in a touring version of Pickwick, another musical based on a Dickens novel, this time starring Harry Secombe, the British comedian and singer who had made his name with the Goon Show. Jones' first single, "Dream Girl", came out in early 1965: [Excerpt: Davy Jones, "Dream Girl"] It was unsuccessful, as was his one album, David Jones, which seemed to be aiming at the teen idol market, but failing miserably. The second single, "What Are We Going to Do?" did make the very lowest regions of the Hot One Hundred, but the rest of the album was mostly attempts to sound a bit like Herman's Hermits -- a band whose lead singer, coincidentally, also came from Manchester, had appeared in Coronation Street, and was performing with a fake Cockney accent. Herman's Hermits had had a massive US hit with the old music hall song "I'm Henry VIII I Am": [Excerpt: Herman's Hermits, "I'm Henry VIII I Am"] So of course Davy had his own old music-hall song, "Any Old Iron": [Excerpt: Davy Jones, "Any Old Iron"] Also, the Turtles had recently had a hit with a folk-rock version of Dylan's "It Ain't Me Babe", and Davy cut his own version of their arrangement, in the one concession to rock music on the album: [Excerpt: Davy Jones, "It Ain't Me Babe"] The album was, unsurprisingly, completely unsuccessful, but Ward Sylvester was not disheartened. He had the perfect job for a young British teen idol who could sing and act. The Monkees was the brainchild of two young TV producers, Bob Rafelson and Bert Schneider, who had come up with the idea of doing a TV show very loosely based on the Beatles' film A Hard Day's Night (though Rafelson would later claim that he'd had the idea many years before A Hard Day's Night and was inspired by his youth touring with folk bands -- Schneider always admitted the true inspiration though). This was not a particularly original idea -- there were a whole bunch of people trying to make TV shows based in some way around bands. Jan and Dean were working on a possible TV series, there was talk of a TV series starring The Who, there was a Beatles cartoon series, Hanna-Barbera were working on a cartoon series about a band called The Bats, and there was even another show proposed to Screen Gems, Columbia's TV department, titled Liverpool USA, which was meant to star Davy Jones, another British performer, and two American musicians, and to have songs provided by Don Kirshner's songwriters. That The Monkees, rather than these other series, was the one that made it to the TV (though obviously the Beatles cartoon series did too) is largely because Rafelson and Schneider's independent production company, Raybert, which they had started after leaving Screen Gems, was given two hundred and twenty-five thousand dollars to develop the series by their former colleague, Screen Gems' vice president in charge of programme development, the former child star Jackie Cooper. Of course, as well as being their former colleague, Cooper may have had some more incentive to give Bob Rafelson and Bert Schneider that money in that the head of Columbia Pictures, and thus Cooper's boss' boss, was one Abe Schneider. The original idea for the show was to use the Lovin' Spoonful, but as we heard last week they weren't too keen, and it was quickly decided instead that the production team would put together a group of performers. Davy Jones was immediately attached to the project, although Rafelson was uncomfortable with Jones, thinking he wasn't as rock and roll as Rafelson was hoping for -- he later conceded, though, that Jones was absolutely right for the group. As for everyone else, to start with Rafelson and Schneider placed an ad in a couple of the trade papers which read "Madness!! Auditions Folk and Roll Musicians-Singers for acting roles in new TV series. Running parts for 4 insane boys ages 17-21. Want spirited Ben Frank's types. Have courage to work. Must come down for interview" There were a couple of dogwhistles in there, to appeal to the hip crowd -- Ben Frank's was a twenty-four-hour restaurant on the Sunset Strip, where people including Frank Zappa and Jim Morrison used to hang out, and which was very much associated with the freak scene we've looked at in episodes on Zappa and the Byrds. Meanwhile "Must come down for interview" was meant to emphasise that you couldn't actually be high when you turned up -- but you were expected to be the kind of person who would at least at some points have been high. A lot of people answered that ad -- including Paul Williams, Harry Nilsson, Van Dyke Parks, and many more we'll be seeing along the way. But oddly, the only person actually signed up for the show because of that ad was Michael Nesmith -- who was already signed to Colpix Records anyway. According to Davy Jones, who was sitting in at the auditions, Schneider and Rafelson were deliberately trying to disorient the auditioners with provocative behaviour like just ignoring them, to see how they'd react. Nesmith was completely unfazed by this, and apparently walked in wearing a green wool hat and carrying a bag of laundry, saying that he needed to get this over with quickly so he could go and do his washing. John London, who came along to the audition as well, talked later about seeing Nesmith fill in a questionnaire that everyone had to fill in -- in a space asking about previous experience Nesmith just wrote "Life" and drew a big diagonal line across the rest of the page. That attitude certainly comes across in Nesmith's screen test: [Excerpt: Michael Nesmith screen test] Meanwhile, Rafelson and Schneider were also scouring the clubs for performers who might be useful, and put together a shortlist of people including Jerry Yester and Chip Douglas of the Modern Folk Quartet, Bill Chadwick, who was in the Survivors with Nesmith and London, and one Micky Braddock, whose agent they got in touch with and who was soon signed up. Braddock was the stage name of Micky Dolenz, who soon reverted to his birth surname, and it's the name by which he went in his first bout of fame. Dolenz was the son of two moderately successful Hollywood actors, George Dolenz and Janelle Johnson, and their connections had led to Dolenz, as Braddock, getting the lead role in the 1958 TV series Circus Boy, about a child named Corky who works in a circus looking after an elephant after his parents, the Flying Falcons, were killed in a trapeze accident. [Excerpt: Circus Boy, "I can't play a drum"] Oddly, one of the other people who had been considered for that role was Paul Williams, who was also considered for the Monkees but ultimately turned down, and would later write one of the Monkees' last singles. Dolenz had had a few minor TV appearances after that series had ended, including a recurring role on Peyton Place, but he had also started to get interested in music. He'd performed a bit as a folk duo with his sister Coco, and had also been the lead singer of a band called Micky and the One-Nighters, who later changed their name to the Missing Links, who'd played mostly covers of Little Richard and Chuck Berry songs and later British Invasion hits. He'd also recorded two tracks with Wrecking Crew backing, although neither track got released until after his later fame -- "Don't Do It": [Excerpt: Micky Dolenz, "Don't Do It"] and "Huff Puff": [Excerpt: Micky Dolenz, "Huff Puff"] Dolenz had a great singing voice, an irrepressible personality, and plenty of TV experience. He was obviously in. Rafelson and Schneider took quite a while whittling down the shortlist to the final four, and they *were* still considering people who'd applied through the ads. One they actually offered the role to was Stephen Stills, but he decided not to take the role. When he turned the role down, they asked if he knew anyone else who had a similar appearance to him, and as it happened he did. Steve Stills and Peter Tork had known of each other before they actually met on the streets of Greenwich Village -- the way they both told the story, on their first meeting they'd each approached the other and said "You must be the guy everyone says looks like me!" The two had become fast friends, and had played around the Greenwich Village folk scene together for a while, before going their separate ways -- Stills moving to California while Tork joined another of those big folk ensembles of the New Christie Minstrels type, this one called the Phoenix Singers. Tork had later moved to California himself, and reconnected with his old friend, and they had performed together for a while in a trio called the Buffalo Fish, with Tork playing various instruments, singing, and doing comedy bits. Oddly, while Tork was the member of the Monkees with the most experience as a musician, he was the only one who hadn't made a record when the TV show was put together. But he was by far the most skilled instrumentalist of the group -- as distinct from best musician, a distinction Tork was always scrupulous about making -- and could play guitar, bass, and keyboards, all to a high standard -- and I've also seen him in more recent years play French horn live. His great love, though, was the banjo, and you can hear how he must have sounded on the Greenwich Village folk scene in his solo spots on Monkees shows, where he would show off his banjo skills: [Excerpt: Peter Tork, "Cripple Creek"] Tork wouldn't get to use his instrumental skills much at first though, as most of the backing tracks for the group's records were going to be performed by other people. More impressive for the TV series producers was his gift for comedy, especially physical comedy -- having seen Tork perform live a few times, the only comparison I can make to his physical presence is to Harpo Marx, which is about as high a compliment as one can give. Indeed, Micky Dolenz has often pointed out that while there were intentional parallels to the Beatles in the casting of the group, the Marx Brothers are a far better parallel, and it's certainly easy to see Tork as Harpo, Dolenz as Chico, Nesmith as Groucho, and Jones as Zeppo. (This sounds like an insult to Jones, unless you're aware of how much the Marx Brothers films actually depended on Zeppo as the connective tissue between the more outrageous brothers and the more normal environment they were operating in, and how much the later films suffered for the lack of Zeppo). The new cast worked well together, even though there were obvious disagreements between them right from the start. Dolenz, at least at this point, seems to have been the gel that held the four together -- he had the experience of being a child star in common with Jones, he was a habitue of the Sunset Strip clubs where Nesmith and Tork had been hanging out, and he had personality traits in common with all of them. Notably, in later years, Dolenz would do duo tours with each of his three bandmates without the participation of the others. The others, though, didn't get on so well with each other. Jones and Tork seem to have got on OK, but they were very different people -- Jones was a showbiz entertainer, whose primary concern was that none of the other stars of the show be better looking than him, while Tork was later self-diagnosed as neurodivergent, a folkie proto-hippie who wanted to drift from town to town playing his banjo. Tork and Nesmith had similar backgrounds and attitudes in some respects -- and were united in their desire to have more musical input into the show than was originally intended -- but they were such different personalities in every aspect of their lives from their religious views to their politics to their taste in music they came into conflict. Nesmith would later say of Tork "I never liked Peter, he never liked me. So we had an uneasy truce between the two of us. As clear as I could tell, among his peers he was very well liked. But we rarely had a civil word to say to each other". Nesmith also didn't get on well with Jones, both of them seeming to view themselves as the natural leader of the group, with all the clashes that entails. The four Monkees were assigned instruments for their characters based not on instrumental skill, but on what suited their roles better. Jones was the teen idol character, so he was made the maraca-playing frontman who could dance without having to play an instrument, though Dolenz took far more of the lead vocals. Nesmith was made the guitarist, while Tork was put on bass, though Tork was by far the better guitarist of the two. And Dolenz was put on drums, even though he didn't play the drums -- Tork would always say later that if the roles had been allocated by actual playing ability, Jones would have been the drummer. Dolenz did, though, become a good drummer, if a rather idiosyncratic one. Tork would later say "Micky played the drums but Mike kept time, on that one record we all made, Headquarters. Mike was the timekeeper. I don't know that Micky relied on him but Mike had a much stronger sense of time. And Davy too, Davy has a much stronger sense of time. Micky played the drums like they were a musical instrument, as a colour. He played the drum colour.... as a band, there was a drummer and there was a timekeeper and they were different people." But at first, while the group were practising their instruments so they could mime convincingly on the TV and make personal appearances, they didn't need to play on their records. Indeed, on the initial pilot, they didn't even sing -- the recordings had been made before the cast had been finalised: [Excerpt: Boyce & Hart, "Monkees Theme (pilot version)"] The music was instead performed by two songwriters, Tommy Boyce and Bobby Hart, who would become hugely important in the Monkees project. Boyce and Hart were not the first choice for the project. Don Kirshner, the head of Screen Gems Music, had initially suggested Roger Atkins, a Brill Building songwriter working for his company, as the main songwriter for The Monkees. Atkins is best known for writing "It's My Life", a hit for the Animals: [Excerpt: The Animals, "It's My Life"] But Atkins didn't work out, though he would collaborate later on one song with Nesmith, and reading between the lines, it seems that there was some corporate infighting going on, though I've not seen it stated in so many words. There seems to have been a turf war between Don Kirshner, the head of Screen Gems' music publishing, who was based in the Brill Building, and Lester Sill, the West Coast executive we've seen so many times before, the mentor to Leiber and Stoller, Duane Eddy, and Phil Spector, who was now the head of Screen Gems music on the West Coast. It also seems to be the case that none of the top Brill Building songwriters were all that keen on being involved at this point -- writing songs for an unsold TV pilot wasn't exactly a plum gig. Sill ended up working closely with the TV people, and it seems to have been him who put forward Boyce and Hart, a songwriting team he was mentoring. Boyce and Hart had been working in the music industry for years, both together and separately, and had had some success, though they weren't one of the top-tier songwriting teams like Goffin and King. They'd both started as performers -- Boyce's first single, "Betty Jean", had come out in 1958: [Excerpt: Tommy Boyce, "Betty Jean"] And Hart's, "Love Whatcha Doin' to Me", under his birth name Robert Harshman, a year later: [Excerpt: Robert Harshman, "Love Whatcha Doin' to Me"] Boyce had been the first one to have real songwriting success, writing Fats Domino's top ten hit "Be My Guest" in 1959: [Excerpt: Fats Domino, "Be My Guest"] and cowriting two songs with singer Curtis Lee, both of which became singles produced by Phil Spector -- "Under the Moon of Love" and the top ten hit "Pretty Little Angel Eyes": [Excerpt: Curtis Lee, "Pretty Little Angel Eyes"] Boyce and Hart together, along with Wes Farrell, who had co-written "Twist and Shout" with Bert Berns, wrote "Lazy Elsie Molly" for Chubby Checker, and the number three hit "Come a Little Bit Closer" for Jay and the Americans: [Excerpt: Jay and the Americans, "Come a Little Bit Closer"] At this point they were both working in the Brill Building, but then Boyce moved to the West Coast, where he was paired with Steve Venet, the brother of Nik Venet, and they co-wrote and produced "Peaches and Cream" for the Ikettes: [Excerpt: The Ikettes, "Peaches and Cream"] Hart, meanwhile, was playing in the band of Teddy Randazzo, the accordion-playing singer who had appeared in The Girl Can't Help It, and with Randazzo and Bobby Weinstein he wrote "Hurts So Bad", which became a big hit for Little Anthony and the Imperials: [Excerpt: Little Anthony and the Imperials, "Hurts So Bad"] But Hart soon moved over to the West Coast, where he joined his old partner Boyce, who had been busy writing TV themes with Venet for shows like "Where the Action Is". Hart soon replaced Venet in the team, and the two soon wrote what would become undoubtedly their most famous piece of music ever, a theme tune that generations of TV viewers would grow to remember: [Excerpt: "Theme from Days of Our Lives"] Well, what did you *think* I meant? Yes, just as Davy Jones had starred in an early episode of Britain's longest-running soap opera, one that's still running today, so Boyce and Hart wrote the theme music for *America's* longest-running soap opera, which has been running every weekday since 1965, and has so far aired well in excess of fourteen thousand episodes. Meanwhile, Hart had started performing in a band called the Candy Store Prophets, with Larry Taylor -- who we last saw with the Gamblers, playing on "LSD-25" and "Moon Dawg" -- on bass, Gerry McGee on guitar, and Billy Lewis on drums. It was this band that Boyce and Hart used -- augmented by session guitarists Wayne Erwin and Louie Shelton and Wrecking Crew percussionist Gene Estes on tambourine, plus Boyce and session singer Ron Hicklin on backing vocals, to record first the demos and then the actual tracks that would become the Monkees hits. They had a couple of songs already that would be suitable for the pilot episode, but they needed something that would be usable as a theme song for the TV show. Boyce and Hart's usual working method was to write off another hit -- they'd try to replicate the hook or the feel or the basic sound of something that was already popular. In this case, they took inspiration from the song "Catch Us If You Can", the theme from the film that was the Dave Clark Five's attempt at their own A Hard Day's Night: [Excerpt: The Dave Clark Five, "Catch Us If You Can"] Boyce and Hart turned that idea into what would become the Monkees theme. We heard their performance of it earlier of course, but when the TV show finally came out, it was rerecorded with Dolenz singing: [Excerpt: The Monkees, "Monkees Theme"] For a while, Boyce and Hart hoped that they would get to perform all the music for the TV show, and there was even apparently some vague talk of them being cast in it, but it was quickly decided that they would just be songwriters. Originally, the intent was that they wouldn't even produce the records, that instead the production would be done by a name producer. Micky Most, the Animals' producer, was sounded out for the role but wasn't interested. Snuff Garrett was brought in, but quickly discovered he didn't get on with the group at all -- in particular, they were all annoyed at the idea that Davy would be the sole lead vocalist, and the tracks Garrett cut with Davy on lead and the Wrecking Crew backing were scrapped. Instead, it was decided that Boyce and Hart would produce most of the tracks, initially with the help of the more experienced Jack Keller, and that they would only work with one Monkee at a time to minimise disruption -- usually Micky and sometimes Davy. These records would be made the same way as the demos had been, by the same set of musicians, just with one of the Monkees taking the lead. Meanwhile, as Nesmith was seriously interested in writing and production, and Rafelson and Schneider wanted to encourage the cast members, he was also assigned to write and produce songs for the show. Unlike Boyce and Hart, Nesmith wanted to use his bandmates' talents -- partly as a way of winning them over, as it was already becoming clear that the show would involve several competing factions. Nesmith's songs were mostly country-rock tracks that weren't considered suitable as singles, but they would be used on the TV show and as album tracks, and on Nesmith's songs Dolenz and Tork would sing backing vocals, and Tork would join the Wrecking Crew as an extra guitarist -- though he was well aware that his part on records like "Sweet Young Thing" wasn't strictly necessary when Glen Campbell, James Burton, Al Casey and Mike Deasy were also playing guitar: [Excerpt: The Monkees, "Sweet Young Thing"] That track was written by Nesmith with Goffin and King, and there seems to have been some effort to pair Nesmith, early on, with more commercial songwriters, though this soon fell by the wayside and Nesmith was allowed to keep making his own idiosyncratic records off to the side while Boyce and Hart got on with making the more commercial records. This was not, incidentally, something that most of the stars of the show objected to or even thought was a problem at the time. Tork was rather upset that he wasn't getting to have much involvement with the direction of the music, as he'd thought he was being employed as a musician, but Dolenz and Jones were actors first and foremost, while Nesmith was happily making his own tracks. They'd all known going in that most of the music for the show would be created by other people -- there were going to be two songs every episode, and there was no way that four people could write and record that much material themselves while also performing in a half-hour comedy show every week. Assuming, of course, that the show even aired. Initial audience response to the pilot was tepid at best, and it looked for a while like the show wasn't going to be green-lit. But Rafelson and Schneider -- and director James Frawley who played a crucial role in developing the show -- recut the pilot, cutting out one character altogether -- a manager who acted as an adult supervisor -- and adding in excerpts of the audition tapes, showing the real characters of some of the actors. As three of the four were playing characters loosely based on themselves -- Peter's "dummy" character wasn't anything like he was in real life, but was like the comedy character he'd developed in his folk-club performances -- this helped draw the audience in. It also, though, contributed to some line-blurring that became a problem. The re-edited pilot was a success, and the series sold. Indeed, the new format for the series was a unique one that had never been done on TV before -- it was a sitcom about four young men living together, without any older adult supervision, getting into improbable adventures, and with one or two semi-improvised "romps", inspired by silent slapstick, over which played original songs. This became strangely influential in British sitcom when the series came out over here -- two of the most important sitcoms of the next couple of decades, The Goodies and The Young Ones, are very clearly influenced by the Monkees. And before the broadcast of the first episode, they were going to release a single to promote it. The song chosen as the first single was one Boyce and Hart had written, inspired by the Beatles. Specifically inspired by this: [Excerpt: The Beatles, "Paperback Writer"] Hart heard that tag on the radio, and thought that the Beatles were singing "take the last train". When he heard the song again the next day and realised that the song had nothing to do with trains, he and Boyce sat down and wrote their own song inspired by his mishearing. "Last Train to Clarksville" is structured very, very, similarly to "Paperback Writer" -- both of them stay on one chord, a G7, for an eight-bar verse before changing to C7 for a chorus line -- the word "writer" for the Beatles, the "no no no" (inspired by the Beatles "yeah yeah yeah") for the Monkees. To show how close the parallels are, I've sped up the vocals from the Beatles track slightly to match the tempo with a karaoke backing track version of "Last Train to Clarksville" I found, and put the two together: [Excerpt: "Paperback Clarksville"] Lyrically, there was one inspiration I will talk about in a minute, but I think I've identified another inspiration that nobody has ever mentioned. The classic country song "Night Train to Memphis", co-written by Owen Bradley, and made famous by Roy Acuff, has some slight melodic similarity to "Last Train to Clarksville", and parallels the lyrics fairly closely -- "take the night train to Memphis" against "take the last train to Clarksville", both towns in Tennessee, and "when you arrive at the station, I'll be right there to meet you I'll be right there to greet you, So don't turn down my invitation" is clearly close to "and I'll meet you at the station, you can be here by 4:30 'cos I've made your reservation": [Excerpt: Roy Acuff, "Night Train to Memphis"] Interestingly, in May 1966, the same month that "Paperback Writer" was released, and so presumably the time that Hart heard the song on the radio for the first time, Rick Nelson, the teen idol formerly known as Ricky Nelson, who had started his own career as a performer in a sitcom, had released an album called Bright Lights and Country Music. He'd had a bit of a career downslump and was changing musical direction, and recording country songs. The last track on that album was a version of "Night Train to Memphis": [Excerpt: Rick Nelson, "Night Train to Memphis"] Now, I've never seen either Boyce or Hart ever mention even hearing that song, it's pure speculation on my part that there's any connection there at all, but I thought the similarity worth mentioning. The idea of the lyric, though, was to make a very mild statement about the Vietnam War. Clarksville was, as mentioned earlier, the site of Fort Campbell, a military training base, and they crafted a story about a young soldier being shipped off to war, calling his girlfriend to come and see him for one last night. This is left more-or-less ambiguous -- this was a song being written for a TV show intended for children, after all -- but it's still very clear on the line "and I don't know if I'm ever coming home". Now, Boyce and Hart were songwriters first and foremost, and as producers they were quite hands-off and would let the musicians shape the arrangements. They knew they wanted a guitar riff in the style of the Beatles' recent singles, and Louie Shelton came up with one based around the G7 chord that forms the basis of the song, starting with an octave leap: Shelton's riff became the hook that drove the record, and engineer Dave Hassinger added the final touch, manually raising the volume on the hi-hat mic for a fraction of a second every bar, creating a drum sound like a hissing steam brake: [Excerpt: The Monkees, "Last Train to Clarksville"] Now all that was needed was to get the lead vocals down. But Micky Dolenz was tired, and hungry, and overworked -- both Dolenz and Jones in their separate autobiographies talk about how it was normal for them to only get three hours' sleep a night between working twelve hour days filming the series, three-hour recording sessions, and publicity commitments. He got the verses down fine, but he just couldn't sing the middle eight. Boyce and Hart had written a complicated, multisyllabic, patter bridge, and he just couldn't get his tongue around that many syllables when he was that tired. He eventually asked if he could just sing "do do do" instead of the words, and the producers agreed. Surprisingly, it worked: [Excerpt: The Monkees, "Last Train to Clarksville"] "Last Train to Clarksville" was released in advance of the TV series, on a new label, Colgems, set up especially for the Monkees to replace Colpix, with a better distribution deal, and it went to number one. The TV show started out with mediocre ratings, but soon that too became a hit. And so did the first album released from the TV series. And that album was where some of the problems really started. The album itself was fine -- ten tracks produced by Boyce and Hart with the Candy Store Prophets playing and either Micky or Davy singing, mostly songs Boyce and Hart wrote, with a couple of numbers by Goffin and King and other Kirshner staff songwriters, plus two songs produced by Nesmith with the Wrecking Crew, and with token participation from Tork and Dolenz. The problem was the back cover, which gave little potted descriptions of each of them, with their height, eye colour, and so on. And under three of them it said "plays guitar and sings", while under Dolenz it said "plays drums and sings". Now this was technically accurate -- they all did play those instruments. They just didn't play them on the record, which was clearly the impression the cover was intended to give. Nesmith in particular was incandescent. He believed that people watching the TV show understood that the group weren't really performing that music, any more than Adam West was really fighting crime or William Shatner travelling through space. But crediting them on the record was, he felt, crossing a line into something close to con artistry. To make matters worse, success was bringing more people trying to have a say. Where before, the Monkees had been an irrelevance, left to a couple of B-list producer-songwriters on the West Coast, now they were a guaranteed hit factory, and every songwriter working for Kirshner wanted to write and produce for them -- which made sense because of the sheer quantity of material they needed for the TV show, but it made for a bigger, less democratic, organisation -- one in which Kirshner was suddenly in far more control. Suddenly as well as Boyce and Hart with the Candy Store Prophets and Nesmith with the Wrecking Crew, both of whom had been operating without much oversight from Kirshner, there were a bunch of tracks being cut on the East Coast by songwriting and production teams like Goffin and King, and Neil Sedaka and Carole Bayer. On the second Monkees album, released only a few months after the first, there were nine producers credited -- as well as Boyce, Hart, Jack Keller, and Nesmith, there were now also Goffin, King, Sedaka, Bayer, and Jeff Barry, who as well as cutting tracks on the east coast was also flying over to the West Coast, cutting more tracks with the Wrecking Crew, and producing vocal sessions while there. As well as producing songs he'd written himself, Barry was also supervising songs written by other people. One of those was a new songwriter he'd recently discovered and been co-producing for Bang Records, Neil Diamond, who had just had a big hit of his own with "Cherry Cherry": [Excerpt: Neil Diamond, "Cherry Cherry"] Diamond was signed with Screen Gems, and had written a song which Barry thought would be perfect for the Monkees, an uptempo song called "I'm a Believer", which he'd demoed with the regular Bang musicians -- top East Coast session players like Al Gorgoni, the guitarist who'd played on "The Sound of Silence": [Excerpt: Neil Diamond, "I'm a Believer"] Barry had cut a backing track for the Monkees using those same musicians, including Diamond on acoustic guitar, and brought it over to LA. And that track would indirectly lead to the first big crisis for the group. Barry, unlike Boyce and Hart, was interested in working with the whole group, and played all of them the backing track. Nesmith's reaction was a blunt "I'm a producer too, and that ain't no hit". He liked the song -- he wanted to have a go at producing a track on it himself, as it happened -- but he didn't think the backing track worked. Barry, trying to lighten the mood, joked that it wasn't finished and you needed to imagine it with strings and horns. Unfortunately, Nesmith didn't get that he was joking, and started talking about how that might indeed make a difference -- at which point everyone laughed and Nesmith took it badly -- his relationship with Barry quickly soured. Nesmith was getting increasingly dissatisfied with the way his songs and his productions were being sidelined, and was generally getting unhappy, and Tork was wanting more musical input too. They'd been talking with Rafelson and Schneider, who'd agreed that the group were now good enough on their instruments that they could start recording some tracks by themselves, an idea which Kirshner loathed. But for now they were recording Neil Diamond's song to Jeff Barry's backing track. Given that Nesmith liked the song, and given that he had some slight vocal resemblance to Diamond, the group suggested that Nesmith be given the lead vocal, and Kirshner and Barry agreed, although Kirshner at least apparently always intended for Dolenz to sing lead, and was just trying to pacify Nesmith. In the studio, Kirshner kept criticising Nesmith's vocal, and telling him he was doing it wrong, until eventually he stormed out, and Kirshner got what he wanted -- another Monkees hit with Micky Dolenz on lead, though this time it did at least have Jones and Tork on backing vocals: [Excerpt: The Monkees, "I'm a Believer"] That was released on November 23rd, 1966, as their second single, and became their second number one. And in January 1967, the group's second album, More of the Monkees, was released. That too went to number one. There was only one problem. The group weren't even told about the album coming out beforehand -- they had to buy their own copies from a record shop to even see what tracks were on it. Nesmith had his two tracks, but even Boyce and Hart were only given two, with the rest of the album being made up of tracks from the Brill Building songwriters Kirshner preferred. Lots of great Nesmith and Boyce and Hart tracks were left off the album in favour of some astonishingly weak material, including the two worst tracks the group ever recorded, "The Day We Fall in Love" and "Laugh", and a novelty song they found embarrassing, "Your Auntie Grizelda", included to give Tork a vocal spot. Nesmith called it "probably the worst album in the history of the world", though in truth seven of the twelve tracks are really very strong, though some of the other material is pretty poor. The group were also annoyed by the packaging. The liner notes were by Don Kirshner, and read to the group at least like a celebration of Kirshner himself as the one person responsible for everything on the record. Even the photo was an embarrassment -- the group had taken a series of photos in clothes from the department store J. C. Penney as part of an advertising campaign, and the group thought the clothes were ridiculous, but one of those photos was the one chosen for the cover. Nesmith and Tork made a decision, which the other two agreed to with varying degrees of willingness. They'd been fine miming to other people's records when it was clearly just for a TV show. But if they were being promoted as a real band, and having to go on tour promoting albums credited to them, they were going to *be* a real band, and take some responsibility for the music that was being put out in their name. With the support of Rafelson and Schneider, they started making preparations to do just that. But Don Kirshner had other ideas, and told them so in no uncertain terms. As far as he was concerned, they were a bunch of ungrateful, spoiled, kids who were very happy cashing the ridiculously large cheques they were getting, but now wanted to kill the goose that laid the golden egg. They were going to keep doing what they were told. Things came to a head in a business meeting in January 1967, when Nesmith gave an ultimatum. Either the group got to start playing on their own records, or he was quitting. Herb Moelis, Kirshner's lawyer, told Nesmith that he should read his contract more carefully, at which point Nesmith got up, punched a hole in the wall of the hotel suite they were in, and told Moelis "That could have been your face". So as 1967 began, the group were at a turning point. Would they be able to cut the puppet strings, or would they have to keep living a lie? We'll find out in a few weeks' time...
Tobie Openshaw is a filmmaker, photographer, and advocate for Taiwan's next generation of visual storytellers. ICRT's Trevor Tortomasi chats with Tobie about his work with Taiwan's indigenous stories, his experience documenting the Sunflower Movement in 2014, and the hurdles that young filmmakers have to overcome in getting their work into the world. Join Tobie's group "Filmmaker Nights Taipei" for some valuable insight into filmmaking: https://www.facebook.com/groups/607185949394560 Thanks for listening!
Utah has been at the forefront of post-secondary education with some of the best universities in the nation, as well as an openness to high school kids going into the trades. Kellie Openshaw with YouScience talked with guest host Marty Carpenter about the changes we need to make so our kids are enter the workforce with the best chance of success and with opportunities to pursue their interests. See omnystudio.com/listener for privacy information.
Jennifer Ann Openshaw is a mother to two amazing daughters, a financial innovator and the founder and CEO of Girls with Impact, the nation's only live online mini MBA for young women, ages 12 to 18. Jennifer has worked in Bank of America's investment management group, as well as Wilshire Associates where she advocated to turn the Wilshire 5,000 Index, a barometer of the market, into a realtime index and spearheaded a partnership with CNBC. She has also served as the press secretary to California's state treasurer and responsible for 12 financing commissions and a 70 billion-plus dollar investment portfolio. She joins us on Parenting for the Future to discuss this life-changing program that equips girls with the entrepreneurship skills, confidence and business knowledge to set them apart and set them up for future success.
My guest today is Kirsty Openshaw & together we discuss the incredible work of England Women's Fire Service Rugby.Their journey of recruitmentThe culture of the teamHow the sport brings together and empowers womenAnd how they are preparing to do battle against BRITISH POLICE WOMENTheir upcoming fixture on November 24th 2021 promises to be an incredible start for the newly assembled team so to show your support, get involved or to learn more about the England Women's Fire Service Rugby just click HEREFollow the podcast onYoutubeFacebookInstagramTo learn more about the podcast or become a partner of the podcast Jump over to our website by clicking HEREA big thanks to the support of our partners for being part of the FFP familyWilliam Wood WatchesHAIX FootwearGet notified of each Podcast episode as soon as they come out by clicking HEREWe are proud to support The Firefighters Charity. Did you know the charity has its own App now called The MyFFC App and can be accessed on any smartphone by clicking HERE to help beneficiaries engage with the Charity and the support they are able to give.
On her weekend outing this week, Emma will be chatting to an actual Olympian! Chelsea Wolfe made history as the first ever trans person to be selected for Team US, and is about to head out to Tokyo to be an alternate for the BMX team. Plus Emma meets Amir and Aamir, hearing how they suffered family rejection but went on to fall in love and become the first same sex South Asian couple to get married in Bradford!And finally, she'll also hear from Tony Openshaw; a gay man who's spent the last 40 years fighting for the rights of LGBT people, asylum seekers and those with HIV. In the 80s, he knocked tennis balls filled with condoms into the grounds of Strangeways Prison! Please note, some of the topics discussed in this episode might be sensitive and/or triggering. For help and support with any LGBTQ+ issues you might be facing, you can contact Switchboard on 0300 330 0630. Alternatively, the Samaritans are available twenty-four hours a day on 116 123. Hosted on Acast. See acast.com/privacy for more information.
1998年，一位來自南非的紀錄片製作人來到台灣，從此認定台灣是他第二個家，他是Tobie Openshaw, 國際各大媒體在台灣積極合作的影像製作人，從BBC到National Geographic，甚至Discovery跟France24等，當台灣有重大新聞事件時，Tobie是他們信賴的夥伴；除此之外，因為成長於舊南非種族隔離制度下，他很積極地投身台灣原住民的相關議題，如氣候變遷造成的影響到南島語系的保存，他的信念可以由Albert Schweitzer的名言一與概括 'A man can only do what a man can do. But if he does that each day, he can sleep at night – and do it again the next day.' Excuse英國腔!很榮幸有機會訪談到見證台灣20多年的Tobie，他的驚奇台灣紀錄沒有最多，只有更多，趕快收聽！
What a fun episode this was. Some long time friends Austin and Steph were nice enough to join me this evening. 3 hour time difference from AZ to NC but they are great. They spent a good amount of time on the road as a "Full Time Family" and they shared some of their stories. One of my favorite lines was when Austin said "It seems like life for us really started, the day we pulled away from our old home". Powerful stuff and even more powerful was this families vision and drive to see one of their biggest dreams come true. From dream boards, and house purging, to amazing memories and awesome sunsets on the road. I think Steph's quote from one of their pictures on the road sums up the experience for me speaking of the kids, "If they only learn one thing from this beautiful adventure......Let it be to always stop and watch the sunset". Enjoy
As people return to working some of the time in offices, the economy bounces back from the pandemic, and the competition for talent intensifies, now is the time to think long and hard about the new generation entering the workforce - Generation Z. Different from the Millennials, many of whom are who are now moving into leadership roles, they are the drivers of much of the protest of the Summer of 2020, they are innovators and have high expectations of work and their employers. Jennifer Openshaw, CEO of Girls with Impact joins us to discuss their recent national research on Gen Z - what motivates them, their expectations of the workplace, how they will shape the world and their likely impact on your business. Going way beyond the wide generalizations often made about generations, you’ll hear some surprising and essential insights into Generation Z’s ideas about having an impact, activism, mental health, building confidence, teams, leadership, entrepreneurship, the office, and diversity and inclusion. You can find out more about Girls With Impact and the research on their website at www.girlswithimpact.org
In this episode Neil Callin chats with former Chairman of The Manx Operatic Society Nicola Openshaw about the A Night at the Musicals which has now been delayed until 2022 and her long and illustrious career on and off stage with The Manx Operatic Society.
Il professor Openshaw, esperto indagatore di misteri e spiritismo, viene contattato da un certo reverendo Luke Pringle in merito ad un misterioso libro che, se aperto e letto, farebbe sparire le persone.Li per li, il professore, non crede a questa storia. Ma si ricrederà immediatamente, quando il suo stesso collaboratore, Berridge, svanirà nel nulla.
From hotel maid to accomplished business woman, Jennifer Openshaw (@jopenshaw) is giving girls the power to make an impact and become entrepreneurs. Listen for more on her story and her work, and mark your calendar for International Women's Day on Monday, March 8th and Girls With Impact's International Women's Day Concert at 6pm ET/3pm PT. Tickets are available here, and more information can be found on GWI online. --- Support this podcast: https://anchor.fm/inpiazza/support
Almost a year ago, I had Dr. Peter Openshaw from Imperial College on to talk about what we knew about the novel coronavirus. I especially loved his takes on the virus, because he was one of the few people that actually gave me the answer "I don't know", which was true because no one knew anything! We now know a lot more about the virus, especially Dr. Peter Openshaw! This time, I have him on to talk about what we know about the variant, how it actually transmits, updates on the vaccine, how can we prevent and avoid the virus, and what would the world looks like post-coronavirus! Also, my new book Skip The Line is out! Make sure you get a copy wherever you get your new book! I write about all my podcasts! Check out the full post and learn what I learned at jamesaltucher.com/podcast. Thanks so much for listening! If you like this episode, please subscribe to “The James Altucher Show” and rate and review wherever you get your podcasts: Apple Podcasts Stitcher iHeart Radio Spotify Follow me on Social Media: YouTube Twitter Facebook Linkedin See omnystudio.com/listener for privacy information.
Il professor Openshaw, esperto indagatore di misteri e spiritismo, viene contattato da un certo reverendo Luke Pringle in merito ad un misterioso libro che, se aperto e letto, farebbe sparire le persone.Li per li, il professore, non crede a questa storia. Ma si ricrederà immediatamente, quando il suo stesso collaboratore, Berridge, svanirà nel nulla.
Michael Turton interviews Tobie Openshaw. Tobie is a filmmaker and well known in the foreign community in Taiwan. He's created many segments on BBC, Discovery, National Geographic, and more. He's known for his coverage of funeral pole dancers of Changhua County and his work covering the stories of Betelnut Girls in Taiwan. Tobie has worked on a whole slew of side projects, including the Red Room Association, Urban Nomad Film Festival, and his involvement with various indigenous groups in Taiwan. Note: Some audio problems were fixed in this episode.
I’ve worked more than fulltime, the last 7+ months, on research, activism, and community organization–after over 20 years of being quite apolitical. In fact, to me, this isn’t “political”–this is...
In 2020, I’m tuning my life to the frequency of contentment. Let’s talk about why humans are so perennially dissatisfied, and how to opt out of our cultural tendency toward...
The Creative Pivot - Actionable Inspiration for Starting a Business
This is episode 19 and we are nearing the end of season. My guest is Mollie Macarthy-Openshaw, the founder of Mood Swing Wines and Camp Midlife. Mollie is a coach, inspirational speaker, encourager of everyone she meets, and is making the most of her life. From a career as a nurse, raising kids, divorce, creating her own wine label, being the star of a reality show, taking on TikTok, taking midlife ladies back to camp, and hosting self-love retreats.I met Mollie, where everyone meets these days, on Instagram. I fell in love with her sense of humor and then saw her heart. I can't wait for you to be inspired by Mollie.https://www.moodswingwines.com/https://campmidlife.com/Instagram: @molliemopenshawFor more information on The Creative Pivot follow us on IG @thecreativepivot
My 24-year old older daughter, Emma, the “original” Green Smoothie Girl, and I talk about “Growing Up GreenSmoothieGirl!” We talk about divorce; Wife Swap; why she secretly doesn’t love green...
My 24-year old older daughter, Emma, the “original” Green Smoothie Girl, and I talk about “Growing Up GreenSmoothieGirl!” We talk about divorce; Wife Swap; why she secretly doesn’t love green...
Book of Mormon Evidence Podcast - Come Follow Me Supplemental Study
Rod Meldrum and Latter-Day MediaBook of Mormon Evidence Podcast - Come Follow Me Supplementary Study Lesson 33: Helaman 1-6 "The Rock of Our Redeemer"Hosted by Rod Meldrum - Author & International Speaker - The FIRM FoundationGuest in this episode: Pamela Romney Openshawwww.PromisesOfTheConstitution.comhttps://www.promisesoftheconstitution.comSpeaking Topics:Liberty: Can We Keep It?The Founding Fathers as MentorsGod and Government: He Cares!To book Pamela Romney Openshaw as a speaker for your group, call 801-373-0240 or email: openshawenterprises@gmail.comSupport the show (http://www.bookofmormonevidencestreaming.com)
Thanks for listening to Sound Bites: the bite sized podcast about all things snacks! In this episode our hosts eat unfortunate things so you don't have to. You're welcome. Peter cautiously chomps NONGSHIM Potato Snack that he found on a clearance rack in a grocery store. Meanwhile, Chille is still recovering from his run-in with an Openshaw's Ploughman's Lunch Snack Pack. The unsung heroes of this episode are Peter and Chille's resilient constitutions. Also, much love to Jacob's Cream Crackers. We
Book of Mormon Evidence Podcast - Come Follow Me Supplemental Study
Rod Meldrum and Latter-Day MediaBook of Mormon Evidence Podcast - Come Follow Me Supplementary Study Lesson 29: Alma 36-38 "Look to God and Live"Hosted by Rod Meldrum - Author & International Speaker - The FIRM FoundationGuest in this episode: Pamela Romney Openshawwww.PromisesOfTheConstitution.comhttps://www.promisesoftheconstitution.comSupport the show (http://www.bookofmormonevidencestreaming.com)
Welcome to Life's Milestones - the fortnightly podcast about birth and naming ceremonies, relationship and marriage, and death and funerals, hosted by Mark Adams, a Humanist Celebrant. Mark's guest on this episode is Lucy Openshaw. Lucy plays in the band Yesteryears, and is a wrestling ring announcer and campaigner for Mind, a mental health charity. Lucy shares some wonderful stories about her life's milestones including her perfect beach wedding, her frustration with dollies and dividing her nan's ashes into three equal parts!Host / Editor: Mark AdamsGuest: Lucy OpenshawTwitter: @LifesMilestonesWe Made This on Twitter: @wemadethispodwww.wemadethispod.com
Openshaw is one of the most deprived areas of the country, but Nicci describes it as paradise. Lizzie and Nicci share their stories of looking for hope and tackling loneliness in one of Manchester's forgotten places.
V. THE FIVE ORANGE PIPS When I glance over my notes and records of the Sherlock Holmescases between the years '82 and '90, I am faced by so many whichpresent strange and interesting features that it is no easymatter to know which to choose and which to leave. Some, however,have already gained publicity through the papers, and others havenot offered a field for those peculiar qualities which my friendpossessed in so high a degree, and which it is the object ofthese papers to illustrate. Some, too, have baffled hisanalytical skill, and would be, as narratives, beginnings withoutan ending, while others have been but partially cleared up, andhave their explanations founded rather upon conjecture andsurmise than on that absolute logical proof which was so dear tohim. There is, however, one of these last which was so remarkablein its details and so startling in its results that I am temptedto give some account of it in spite of the fact that there arepoints in connection with it which never have been, and probablynever will be, entirely cleared up.The year '87 furnished us with a long series of cases of greateror less interest, of which I retain the records. Among myheadings under this one twelve months I find an account of theadventure of the Paradol Chamber, of the Amateur MendicantSociety, who held a luxurious club in the lower vault of afurniture warehouse, of the facts connected with the loss of theBritish barque "Sophy Anderson", of the singular adventures of theGrice Patersons in the island of Uffa, and finally of theCamberwell poisoning case. In the latter, as may be remembered,Sherlock Holmes was able, by winding up the dead man's watch, toprove that it had been wound up two hours before, and thattherefore the deceased had gone to bed within that time--adeduction which was of the greatest importance in clearing up thecase. All these I may sketch out at some future date, but none ofthem present such singular features as the strange train ofcircumstances which I have now taken up my pen to describe.It was in the latter days of September, and the equinoctial galeshad set in with exceptional violence. All day the wind hadscreamed and the rain had beaten against the windows, so thateven here in the heart of great, hand-made London we were forcedto raise our minds for the instant from the routine of life andto recognise the presence of those great elemental forces whichshriek at mankind through the bars of his civilisation, likeuntamed beasts in a cage. As evening drew in, the storm grewhigher and louder, and the wind cried and sobbed like a child inthe chimney. Sherlock Holmes sat moodily at one side of thefireplace cross-indexing his records of crime, while I at theother was deep in one of Clark Russell's fine sea-stories untilthe howl of the gale from without seemed to blend with the text,and the splash of the rain to lengthen out into the long swash ofthe sea waves. My wife was on a visit to her mother's, and for afew days I was a dweller once more in my old quarters at BakerStreet."Why," said I, glancing up at my companion, "that was surely thebell. Who could come to-night? Some friend of yours, perhaps?""Except yourself I have none," he answered. "I do not encouragevisitors.""A client, then?""If so, it is a serious case. Nothing less would bring a man outon such a day and at such an hour. But I take it that it is morelikely to be some crony of the landlady's."Sherlock Holmes was wrong in his conjecture, however, for therecame a step in the passage and a tapping at the door. Hestretched out his long arm to turn the lamp away from himself andtowards the vacant chair upon which a newcomer must sit."Come in!" said he.The man who entered was young, some two-and-twenty at theoutside, well-groomed and trimly clad, with something ofrefinement and delicacy in his bearing. The streaming umbrellawhich he held in his hand, and his long shining waterproof toldof the fierce weather through which he had come. He looked abouthim anxiously in the glare of the lamp, and I could see that hisface was pale and his eyes heavy, like those of a man who isweighed down with some great anxiety."I owe you an apology," he said, raising his golden pince-nez tohis eyes. "I trust that I am not intruding. I fear that I havebrought some traces of the storm and rain into your snugchamber.""Give me your coat and umbrella," said Holmes. "They may resthere on the hook and will be dry presently. You have come up fromthe south-west, I see.""Yes, from Horsham.""That clay and chalk mixture which I see upon your toe caps isquite distinctive.""I have come for advice.""That is easily got.""And help.""That is not always so easy.""I have heard of you, Mr. Holmes. I heard from Major Prendergasthow you saved him in the Tankerville Club scandal.""Ah, of course. He was wrongfully accused of cheating at cards.""He said that you could solve anything.""He said too much.""That you are never beaten.""I have been beaten four times--three times by men, and once by awoman.""But what is that compared with the number of your successes?""It is true that I have been generally successful.""Then you may be so with me.""I beg that you will draw your chair up to the fire and favour mewith some details as to your case.""It is no ordinary one.""None of those which come to me are. I am the last court ofappeal.""And yet I question, sir, whether, in all your experience, youhave ever listened to a more mysterious and inexplicable chain ofevents than those which have happened in my own family.""You fill me with interest," said Holmes. "Pray give us theessential facts from the commencement, and I can afterwardsquestion you as to those details which seem to me to be mostimportant."The young man pulled his chair up and pushed his wet feet outtowards the blaze."My name," said he, "is John Openshaw, but my own affairs have,as far as I can understand, little to do with this awfulbusiness. It is a hereditary matter; so in order to give you anidea of the facts, I must go back to the commencement of theaffair."You must know that my grandfather had two sons--my uncle Eliasand my father Joseph. My father had a small factory at Coventry,which he enlarged at the time of the invention of bicycling. Hewas a patentee of the Openshaw unbreakable tire, and his businessmet with such success that he was able to sell it and to retireupon a handsome competence."My uncle Elias emigrated to America when he was a young man andbecame a planter in Florida, where he was reported to have donevery well. At the time of the war he fought in Jackson's army,and afterwards under Hood, where he rose to be a colonel. WhenLee laid down his arms my uncle returned to his plantation, wherehe remained for three or four years. About 1869 or 1870 he cameback to Europe and took a small estate in Sussex, near Horsham.He had made a very considerable fortune in the States, and hisreason for leaving them was his aversion to the negroes, and hisdislike of the Republican policy in extending the franchise tothem. He was a singular man, fierce and quick-tempered, veryfoul-mouthed when he was angry, and of a most retiringdisposition. During all the years that he lived at Horsham, Idoubt if ever he set foot in the town. He had a garden and two orthree fields round his house, and there he would take hisexercise, though very often for weeks on end he would never leavehis room. He drank a great deal of brandy and smoked veryheavily, but he would see no society and did not want anyfriends, not even his own brother."He didn't mind me; in fact, he took a fancy to me, for at thetime when he saw me first I was a youngster of twelve or so. Thiswould be in the year 1878, after he had been eight or nine yearsin England. He begged my father to let me live with him and hewas very kind to me in his way. When he was sober he used to befond of playing backgammon and draughts with me, and he wouldmake me his representative both with the servants and with thetradespeople, so that by the time that I was sixteen I was quitemaster of the house. I kept all the keys and could go where Iliked and do what I liked, so long as I did not disturb him inhis privacy. There was one singular exception, however, for hehad a single room, a lumber-room up among the attics, which wasinvariably locked, and which he would never permit either me oranyone else to enter. With a boy's curiosity I have peepedthrough the keyhole, but I was never able to see more than such acollection of old trunks and bundles as would be expected in sucha room."One day--it was in March, 1883--a letter with a foreign stamplay upon the table in front of the colonel's plate. It was not acommon thing for him to receive letters, for his bills were allpaid in ready money, and he had no friends of any sort. 'FromIndia!' said he as he took it up, 'Pondicherry postmark! What canthis be?' Opening it hurriedly, out there jumped five littledried orange pips, which pattered down upon his plate. I began tolaugh at this, but the laugh was struck from my lips at the sightof his face. His lip had fallen, his eyes were protruding, hisskin the colour of putty, and he glared at the envelope which hestill held in his trembling hand, 'K. K. K.!' he shrieked, andthen, 'My God, my God, my sins have overtaken me!'"'What is it, uncle?' I cried."'Death,' said he, and rising from the table he retired to hisroom, leaving me palpitating with horror. I took up the envelopeand saw scrawled in red ink upon the inner flap, just above thegum, the letter K three times repeated. There was nothing elsesave the five dried pips. What could be the reason of hisoverpowering terror? I left the breakfast-table, and as Iascended the stair I met him coming down with an old rusty key,which must have belonged to the attic, in one hand, and a smallbrass box, like a cashbox, in the other."'They may do what they like, but I'll checkmate them still,'said he with an oath. 'Tell Mary that I shall want a fire in myroom to-day, and send down to Fordham, the Horsham lawyer.'"I did as he ordered, and when the lawyer arrived I was asked tostep up to the room. The fire was burning brightly, and in thegrate there was a mass of black, fluffy ashes, as of burnedpaper, while the brass box stood open and empty beside it. As Iglanced at the box I noticed, with a start, that upon the lid wasprinted the treble K which I had read in the morning upon theenvelope."'I wish you, John,' said my uncle, 'to witness my will. I leavemy estate, with all its advantages and all its disadvantages, tomy brother, your father, whence it will, no doubt, descend toyou. If you can enjoy it in peace, well and good! If you find youcannot, take my advice, my boy, and leave it to your deadliestenemy. I am sorry to give you such a two-edged thing, but I can'tsay what turn things are going to take. Kindly sign the paperwhere Mr. Fordham shows you.'"I signed the paper as directed, and the lawyer took it away withhim. The singular incident made, as you may think, the deepestimpression upon me, and I pondered over it and turned it everyway in my mind without being able to make anything of it. Yet Icould not shake off the vague feeling of dread which it leftbehind, though the sensation grew less keen as the weeks passedand nothing happened to disturb the usual routine of our lives. Icould see a change in my uncle, however. He drank more than ever,and he was less inclined for any sort of society. Most of histime he would spend in his room, with the door locked upon theinside, but sometimes he would emerge in a sort of drunken frenzyand would burst out of the house and tear about the garden with arevolver in his hand, screaming out that he was afraid of no man,and that he was not to be cooped up, like a sheep in a pen, byman or devil. When these hot fits were over, however, he wouldrush tumultuously in at the door and lock and bar it behind him,like a man who can brazen it out no longer against the terrorwhich lies at the roots of his soul. At such times I have seenhis face, even on a cold day, glisten with moisture, as though itwere new raised from a basin."Well, to come to an end of the matter, Mr. Holmes, and not toabuse your patience, there came a night when he made one of thosedrunken sallies from which he never came back. We found him, whenwe went to search for him, face downward in a littlegreen-scummed pool, which lay at the foot of the garden. Therewas no sign of any violence, and the water was but two feet deep,so that the jury, having regard to his known eccentricity,brought in a verdict of 'suicide.' But I, who knew how he wincedfrom the very thought of death, had much ado to persuade myselfthat he had gone out of his way to meet it. The matter passed,however, and my father entered into possession of the estate, andof some 14,000 pounds, which lay to his credit at the bank.""One moment," Holmes interposed, "your statement is, I foresee,one of the most remarkable to which I have ever listened. Let mehave the date of the reception by your uncle of the letter, andthe date of his supposed suicide.""The letter arrived on March 10, 1883. His death was seven weekslater, upon the night of May 2nd.""Thank you. Pray proceed.""When my father took over the Horsham property, he, at myrequest, made a careful examination of the attic, which had beenalways locked up. We found the brass box there, although itscontents had been destroyed. On the inside of the cover was apaper label, with the initials of K. K. K. repeated upon it, and'Letters, memoranda, receipts, and a register' written beneath.These, we presume, indicated the nature of the papers which hadbeen destroyed by Colonel Openshaw. For the rest, there wasnothing of much importance in the attic save a great manyscattered papers and note-books bearing upon my uncle's life inAmerica. Some of them were of the war time and showed that he haddone his duty well and had borne the repute of a brave soldier.Others were of a date during the reconstruction of the Southernstates, and were mostly concerned with politics, for he hadevidently taken a strong part in opposing the carpet-bagpoliticians who had been sent down from the North."Well, it was the beginning of '84 when my father came to live atHorsham, and all went as well as possible with us until theJanuary of '85. On the fourth day after the new year I heard myfather give a sharp cry of surprise as we sat together at thebreakfast-table. There he was, sitting with a newly openedenvelope in one hand and five dried orange pips in theoutstretched palm of the other one. He had always laughed at whathe called my cock-and-bull story about the colonel, but he lookedvery scared and puzzled now that the same thing had come uponhimself."'Why, what on earth does this mean, John?' he stammered."My heart had turned to lead. 'It is K. K. K.,' said I."He looked inside the envelope. 'So it is,' he cried. 'Here arethe very letters. But what is this written above them?'"'Put the papers on the sundial,' I read, peeping over hisshoulder."'What papers? What sundial?' he asked."'The sundial in the garden. There is no other,' said I; 'but thepapers must be those that are destroyed.'"'Pooh!' said he, gripping hard at his courage. 'We are in acivilised land here, and we can't have tomfoolery of this kind.Where does the thing come from?'"'From Dundee,' I answered, glancing at the postmark."'Some preposterous practical joke,' said he. 'What have I to dowith sundials and papers? I shall take no notice of suchnonsense.'"'I should certainly speak to the police,' I said."'And be laughed at for my pains. Nothing of the sort.'"'Then let me do so?'"'No, I forbid you. I won't have a fuss made about suchnonsense.'"It was in vain to argue with him, for he was a very obstinateman. I went about, however, with a heart which was full offorebodings."On the third day after the coming of the letter my father wentfrom home to visit an old friend of his, Major Freebody, who isin command of one of the forts upon Portsdown Hill. I was gladthat he should go, for it seemed to me that he was farther fromdanger when he was away from home. In that, however, I was inerror. Upon the second day of his absence I received a telegramfrom the major, imploring me to come at once. My father hadfallen over one of the deep chalk-pits which abound in theneighbourhood, and was lying senseless, with a shattered skull. Ihurried to him, but he passed away without having ever recoveredhis consciousness. He had, as it appears, been returning fromFareham in the twilight, and as the country was unknown to him,and the chalk-pit unfenced, the jury had no hesitation inbringing in a verdict of 'death from accidental causes.'Carefully as I examined every fact connected with his death, Iwas unable to find anything which could suggest the idea ofmurder. There were no signs of violence, no footmarks, norobbery, no record of strangers having been seen upon the roads.And yet I need not tell you that my mind was far from at ease,and that I was well-nigh certain that some foul plot had beenwoven round him."In this sinister way I came into my inheritance. You will ask mewhy I did not dispose of it? I answer, because I was wellconvinced that our troubles were in some way dependent upon anincident in my uncle's life, and that the danger would be aspressing in one house as in another."It was in January, '85, that my poor father met his end, and twoyears and eight months have elapsed since then. During that timeI have lived happily at Horsham, and I had begun to hope thatthis curse had passed away from the family, and that it had endedwith the last generation. I had begun to take comfort too soon,however; yesterday morning the blow fell in the very shape inwhich it had come upon my father."The young man took from his waistcoat a crumpled envelope, andturning to the table he shook out upon it five little driedorange pips."This is the envelope," he continued. "The postmark isLondon--eastern division. Within are the very words which wereupon my father's last message: 'K. K. K.'; and then 'Put thepapers on the sundial.'""What have you done?" asked Holmes."Nothing.""Nothing?""To tell the truth"--he sank his face into his thin, whitehands--"I have felt helpless. I have felt like one of those poorrabbits when the snake is writhing towards it. I seem to be inthe grasp of some resistless, inexorable evil, which no foresightand no precautions can guard against.""Tut! tut!" cried Sherlock Holmes. "You must act, man, or you arelost. Nothing but energy can save you. This is no time fordespair.""I have seen the police.""Ah!""But they listened to my story with a smile. I am convinced thatthe inspector has formed the opinion that the letters are allpractical jokes, and that the deaths of my relations were reallyaccidents, as the jury stated, and were not to be connected withthe warnings."Holmes shook his clenched hands in the air. "Incredibleimbecility!" he cried."They have, however, allowed me a policeman, who may remain inthe house with me.""Has he come with you to-night?""No. His orders were to stay in the house."Again Holmes raved in the air."Why did you come to me," he cried, "and, above all, why did younot come at once?""I did not know. It was only to-day that I spoke to MajorPrendergast about my troubles and was advised by him to come toyou.""It is really two days since you had the letter. We should haveacted before this. You have no further evidence, I suppose, thanthat which you have placed before us--no suggestive detail whichmight help us?""There is one thing," said John Openshaw. He rummaged in his coatpocket, and, drawing out a piece of discoloured, blue-tintedpaper, he laid it out upon the table. "I have some remembrance,"said he, "that on the day when my uncle burned the papers Iobserved that the small, unburned margins which lay amid theashes were of this particular colour. I found this single sheetupon the floor of his room, and I am inclined to think that itmay be one of the papers which has, perhaps, fluttered out fromamong the others, and in that way has escaped destruction. Beyondthe mention of pips, I do not see that it helps us much. I thinkmyself that it is a page from some private diary. The writing isundoubtedly my uncle's."Holmes moved the lamp, and we both bent over the sheet of paper,which showed by its ragged edge that it had indeed been torn froma book. It was headed, "March, 1869," and beneath were thefollowing enigmatical notices:"4th. Hudson came. Same old platform."7th. Set the pips on McCauley, Paramore, and John Swain, of St. Augustine."9th. McCauley cleared."10th. John Swain cleared."12th. Visited Paramore. All well.""Thank you!" said Holmes, folding up the paper and returning itto our visitor. "And now you must on no account lose anotherinstant. We cannot spare time even to discuss what you have toldme. You must get home instantly and act.""What shall I do?""There is but one thing to do. It must be done at once. You mustput this piece of paper which you have shown us into the brassbox which you have described. You must also put in a note to saythat all the other papers were burned by your uncle, and thatthis is the only one which remains. You must assert that in suchwords as will carry conviction with them. Having done this, youmust at once put the box out upon the sundial, as directed. Doyou understand?""Entirely.""Do not think of revenge, or anything of the sort, at present. Ithink that we may gain that by means of the law; but we have ourweb to weave, while theirs is already woven. The firstconsideration is to remove the pressing danger which threatensyou. The second is to clear up the mystery and to punish theguilty parties.""I thank you," said the young man, rising and pulling on hisovercoat. "You have given me fresh life and hope. I shallcertainly do as you advise.""Do not lose an instant. And, above all, take care of yourself inthe meanwhile, for I do not think that there can be a doubt thatyou are threatened by a very real and imminent danger. How do yougo back?""By train from Waterloo.""It is not yet nine. The streets will be crowded, so I trust thatyou may be in safety. And yet you cannot guard yourself tooclosely.""I am armed.""That is well. To-morrow I shall set to work upon your case.""I shall see you at Horsham, then?""No, your secret lies in London. It is there that I shall seekit.""Then I shall call upon you in a day, or in two days, with newsas to the box and the papers. I shall take your advice in everyparticular." He shook hands with us and took his leave. Outsidethe wind still screamed and the rain splashed and patteredagainst the windows. This strange, wild story seemed to have cometo us from amid the mad elements--blown in upon us like a sheetof sea-weed in a gale--and now to have been reabsorbed by themonce more.Sherlock Holmes sat for some time in silence, with his head sunkforward and his eyes bent upon the red glow of the fire. Then helit his pipe, and leaning back in his chair he watched the bluesmoke-rings as they chased each other up to the ceiling."I think, Watson," he remarked at last, "that of all our cases wehave had none more fantastic than this.""Save, perhaps, the Sign of Four.""Well, yes. Save, perhaps, that. And yet this John Openshaw seemsto me to be walking amid even greater perils than did theSholtos.""But have you," I asked, "formed any definite conception as towhat these perils are?""There can be no question as to their nature," he answered."Then what are they? Who is this K. K. K., and why does he pursuethis unhappy family?"Sherlock Holmes closed his eyes and placed his elbows upon thearms of his chair, with his finger-tips together. "The idealreasoner," he remarked, "would, when he had once been shown asingle fact in all its bearings, deduce from it not only all thechain of events which led up to it but also all the results whichwould follow from it. As Cuvier could correctly describe a wholeanimal by the contemplation of a single bone, so the observer whohas thoroughly understood one link in a series of incidentsshould be able to accurately state all the other ones, bothbefore and after. We have not yet grasped the results which thereason alone can attain to. Problems may be solved in the studywhich have baffled all those who have sought a solution by theaid of their senses. To carry the art, however, to its highestpitch, it is necessary that the reasoner should be able toutilise all the facts which have come to his knowledge; and thisin itself implies, as you will readily see, a possession of allknowledge, which, even in these days of free education andencyclopaedias, is a somewhat rare accomplishment. It is not soimpossible, however, that a man should possess all knowledgewhich is likely to be useful to him in his work, and this I haveendeavoured in my case to do. If I remember rightly, you on oneoccasion, in the early days of our friendship, defined my limitsin a very precise fashion.""Yes," I answered, laughing. "It was a singular document.Philosophy, astronomy, and politics were marked at zero, Iremember. Botany variable, geology profound as regards themud-stains from any region within fifty miles of town, chemistryeccentric, anatomy unsystematic, sensational literature and crimerecords unique, violin-player, boxer, swordsman, lawyer, andself-poisoner by cocaine and tobacco. Those, I think, were themain points of my analysis."Holmes grinned at the last item. "Well," he said, "I say now, asI said then, that a man should keep his little brain-atticstocked with all the furniture that he is likely to use, and therest he can put away in the lumber-room of his library, where hecan get it if he wants it. Now, for such a case as the one whichhas been submitted to us to-night, we need certainly to musterall our resources. Kindly hand me down the letter K of the'American Encyclopaedia' which stands upon the shelf beside you.Thank you. Now let us consider the situation and see what may bededuced from it. In the first place, we may start with a strongpresumption that Colonel Openshaw had some very strong reason forleaving America. Men at his time of life do not change all theirhabits and exchange willingly the charming climate of Florida forthe lonely life of an English provincial town. His extreme loveof solitude in England suggests the idea that he was in fear ofsomeone or something, so we may assume as a working hypothesisthat it was fear of someone or something which drove him fromAmerica. As to what it was he feared, we can only deduce that byconsidering the formidable letters which were received by himselfand his successors. Did you remark the postmarks of thoseletters?""The first was from Pondicherry, the second from Dundee, and thethird from London.""From East London. What do you deduce from that?""They are all seaports. That the writer was on board of a ship.""Excellent. We have already a clue. There can be no doubt thatthe probability--the strong probability--is that the writer wason board of a ship. And now let us consider another point. In thecase of Pondicherry, seven weeks elapsed between the threat andits fulfilment, in Dundee it was only some three or four days.Does that suggest anything?""A greater distance to travel.""But the letter had also a greater distance to come.""Then I do not see the point.""There is at least a presumption that the vessel in which the manor men are is a sailing-ship. It looks as if they always sendtheir singular warning or token before them when starting upontheir mission. You see how quickly the deed followed the signwhen it came from Dundee. If they had come from Pondicherry in asteamer they would have arrived almost as soon as their letter.But, as a matter of fact, seven weeks elapsed. I think that thoseseven weeks represented the difference between the mail-boat whichbrought the letter and the sailing vessel which brought thewriter.""It is possible.""More than that. It is probable. And now you see the deadlyurgency of this new case, and why I urged young Openshaw tocaution. The blow has always fallen at the end of the time whichit would take the senders to travel the distance. But this onecomes from London, and therefore we cannot count upon delay.""Good God!" I cried. "What can it mean, this relentlesspersecution?""The papers which Openshaw carried are obviously of vitalimportance to the person or persons in the sailing-ship. I thinkthat it is quite clear that there must be more than one of them.A single man could not have carried out two deaths in such a wayas to deceive a coroner's jury. There must have been several init, and they must have been men of resource and determination.Their papers they mean to have, be the holder of them who it may.In this way you see K. K. K. ceases to be the initials of anindividual and becomes the badge of a society.""But of what society?""Have you never--" said Sherlock Holmes, bending forward andsinking his voice--"have you never heard of the Ku Klux Klan?""I never have."Holmes turned over the leaves of the book upon his knee. "Here itis," said he presently:"'Ku Klux Klan. A name derived from the fanciful resemblance tothe sound produced by cocking a rifle. This terrible secretsociety was formed by some ex-Confederate soldiers in theSouthern states after the Civil War, and it rapidly formed localbranches in different parts of the country, notably in Tennessee,Louisiana, the Carolinas, Georgia, and Florida. Its power wasused for political purposes, principally for the terrorising ofthe negro voters and the murdering and driving from the countryof those who were opposed to its views. Its outrages were usuallypreceded by a warning sent to the marked man in some fantasticbut generally recognised shape--a sprig of oak-leaves in someparts, melon seeds or orange pips in others. On receiving thisthe victim might either openly abjure his former ways, or mightfly from the country. If he braved the matter out, death wouldunfailingly come upon him, and usually in some strange andunforeseen manner. So perfect was the organisation of thesociety, and so systematic its methods, that there is hardly acase upon record where any man succeeded in braving it withimpunity, or in which any of its outrages were traced home to theperpetrators. For some years the organisation flourished in spiteof the efforts of the United States government and of the betterclasses of the community in the South. Eventually, in the year1869, the movement rather suddenly collapsed, although there havebeen sporadic outbreaks of the same sort since that date.'"You will observe," said Holmes, laying down the volume, "thatthe sudden breaking up of the society was coincident with thedisappearance of Openshaw from America with their papers. It maywell have been cause and effect. It is no wonder that he and hisfamily have some of the more implacable spirits upon their track.You can understand that this register and diary may implicatesome of the first men in the South, and that there may be manywho will not sleep easy at night until it is recovered.""Then the page we have seen--""Is such as we might expect. It ran, if I remember right, 'sentthe pips to A, B, and C'--that is, sent the society's warning tothem. Then there are successive entries that A and B cleared, orleft the country, and finally that C was visited, with, I fear, asinister result for C. Well, I think, Doctor, that we may letsome light into this dark place, and I believe that the onlychance young Openshaw has in the meantime is to do what I havetold him. There is nothing more to be said or to be doneto-night, so hand me over my violin and let us try to forget forhalf an hour the miserable weather and the still more miserableways of our fellow-men."It had cleared in the morning, and the sun was shining with asubdued brightness through the dim veil which hangs over thegreat city. Sherlock Holmes was already at breakfast when I camedown."You will excuse me for not waiting for you," said he; "I have, Iforesee, a very busy day before me in looking into this case ofyoung Openshaw's.""What steps will you take?" I asked."It will very much depend upon the results of my first inquiries.I may have to go down to Horsham, after all.""You will not go there first?""No, I shall commence with the City. Just ring the bell and themaid will bring up your coffee."As I waited, I lifted the unopened newspaper from the table andglanced my eye over it. It rested upon a heading which sent achill to my heart."Holmes," I cried, "you are too late.""Ah!" said he, laying down his cup, "I feared as much. How was itdone?" He spoke calmly, but I could see that he was deeply moved."My eye caught the name of Openshaw, and the heading 'TragedyNear Waterloo Bridge.' Here is the account:"Between nine and ten last night Police-Constable Cook, of the HDivision, on duty near Waterloo Bridge, heard a cry for help anda splash in the water. The night, however, was extremely dark andstormy, so that, in spite of the help of several passers-by, itwas quite impossible to effect a rescue. The alarm, however, wasgiven, and, by the aid of the water-police, the body waseventually recovered. It proved to be that of a young gentlemanwhose name, as it appears from an envelope which was found in hispocket, was John Openshaw, and whose residence is near Horsham.It is conjectured that he may have been hurrying down to catchthe last train from Waterloo Station, and that in his haste andthe extreme darkness he missed his path and walked over the edgeof one of the small landing-places for river steamboats. The bodyexhibited no traces of violence, and there can be no doubt thatthe deceased had been the victim of an unfortunate accident,which should have the effect of calling the attention of theauthorities to the condition of the riverside landing-stages."We sat in silence for some minutes, Holmes more depressed andshaken than I had ever seen him."That hurts my pride, Watson," he said at last. "It is a pettyfeeling, no doubt, but it hurts my pride. It becomes a personalmatter with me now, and, if God sends me health, I shall set myhand upon this gang. That he should come to me for help, and thatI should send him away to his death--!" He sprang from his chairand paced about the room in uncontrollable agitation, with aflush upon his sallow cheeks and a nervous clasping andunclasping of his long thin hands."They must be cunning devils," he exclaimed at last. "How couldthey have decoyed him down there? The Embankment is not on thedirect line to the station. The bridge, no doubt, was toocrowded, even on such a night, for their purpose. Well, Watson,we shall see who will win in the long run. I am going out now!""To the police?""No; I shall be my own police. When I have spun the web they maytake the flies, but not before."All day I was engaged in my professional work, and it was late inthe evening before I returned to Baker Street. Sherlock Holmeshad not come back yet. It was nearly ten o'clock before heentered, looking pale and worn. He walked up to the sideboard,and tearing a piece from the loaf he devoured it voraciously,washing it down with a long draught of water."You are hungry," I remarked."Starving. It had escaped my memory. I have had nothing sincebreakfast.""Nothing?""Not a bite. I had no time to think of it.""And how have you succeeded?""Well.""You have a clue?""I have them in the hollow of my hand. Young Openshaw shall notlong remain unavenged. Why, Watson, let us put their own devilishtrade-mark upon them. It is well thought of!""What do you mean?"He took an orange from the cupboard, and tearing it to pieces hesqueezed out the pips upon the table. Of these he took five andthrust them into an envelope. On the inside of the flap he wrote"S. H. for J. O." Then he sealed it and addressed it to "CaptainJames Calhoun, Barque 'Lone Star,' Savannah, Georgia.""That will await him when he enters port," said he, chuckling."It may give him a sleepless night. He will find it as sure aprecursor of his fate as Openshaw did before him.""And who is this Captain Calhoun?""The leader of the gang. I shall have the others, but he first.""How did you trace it, then?"He took a large sheet of paper from his pocket, all covered withdates and names."I have spent the whole day," said he, "over Lloyd's registersand files of the old papers, following the future career of everyvessel which touched at Pondicherry in January and February in'83. There were thirty-six ships of fair tonnage which werereported there during those months. Of these, one, the 'Lone Star,'instantly attracted my attention, since, although it was reportedas having cleared from London, the name is that which is given toone of the states of the Union.""Texas, I think.""I was not and am not sure which; but I knew that the ship musthave an American origin.""What then?""I searched the Dundee records, and when I found that the barque'Lone Star' was there in January, '85, my suspicion became acertainty. I then inquired as to the vessels which lay at presentin the port of London.""Yes?""The 'Lone Star' had arrived here last week. I went down to theAlbert Dock and found that she had been taken down the river bythe early tide this morning, homeward bound to Savannah. I wiredto Gravesend and learned that she had passed some time ago, andas the wind is easterly I have no doubt that she is now past theGoodwins and not very far from the Isle of Wight.""What will you do, then?""Oh, I have my hand upon him. He and the two mates, are as Ilearn, the only native-born Americans in the ship. The others areFinns and Germans. I know, also, that they were all three awayfrom the ship last night. I had it from the stevedore who hasbeen loading their cargo. By the time that their sailing-shipreaches Savannah the mail-boat will have carried this letter, andthe cable will have informed the police of Savannah that thesethree gentlemen are badly wanted here upon a charge of murder."There is ever a flaw, however, in the best laid of human plans,and the murderers of John Openshaw were never to receive theorange pips which would show them that another, as cunning and asresolute as themselves, was upon their track. Very long and verysevere were the equinoctial gales that year. We waited long fornews of the "Lone Star" of Savannah, but none ever reached us. Wedid at last hear that somewhere far out in the Atlantic ashattered stern-post of a boat was seen swinging in the troughof a wave, with the letters "L. S." carved upon it, and that isall which we shall ever know of the fate of the "Lone Star."
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