Podcast appearances and mentions of Paul Horn

www.iotusecase.com#IT-OT-Integration #IIoT-Konzept #SERVICE-Plattform-Architektur #MASCHINENBAUIn der 164. Episode des IoT Use Case Podcasts spricht Gastgeberin Ing. Madeleine Mickeleit mit André Hoettgen, Gruppenleiter Enterprise bei der Paul Horn GmbH, und Sarah Blomeier, IT-Salesmanagerin beim Integrationsspezialisten soffico, über skalierbare Digitalisierung in der Fertigung.Ausgezeichnet mit dem VDMA Award, setzt Paul Horn auf ein zukunftsweisendes IoT- und Servicekonzept. Im Zentrum steht die Middleware Orchestra von soffico, die IT- und OT-Systeme intelligent vernetzt.Die Folge gibt Einblicke in die technische Umsetzung gewachsener Systemlandschaften, den Aufbau standardisierter Architekturen sowie Use Cases wie die digitalisierte Werkzeug-Instandsetzung. Zudem geht es um Make-or-Buy-Entscheidungen und den Einsatz von KI für smarte Datenmappings.Podcast ZusammenfassungIn dieser Episode dreht sich alles um die Integration von IT- und OT-Daten in der Fertigungsindustrie – am Beispiel der Paul Horn GmbH, die für ihr innovatives IoT- und Servicekonzept mit dem VDMA Award ausgezeichnet wurde.Es wird aufgezeigt, wie es gelingt, gewachsene Systemlandschaften effizient zu vernetzen, Silos aufzubrechen und datenbasierte Entscheidungen möglich zu machen – ohne den gesamten Maschinenpark zu ersetzen.Ein zentraler Erfolgsfaktor ist die Middleware Orchestra von soffico, die als Datendrehscheibe fungiert. Sie verbindet IT-Systeme wie SAP oder CAD mit OT-Komponenten via OPC UA – und bildet so das Rückgrat einer modernen, serviceorientierten IT-Architektur.Die Folge liefert spannende Insights:Warum Konnektivität keine Einmallösung, sondern ein strategischer Asset istWie Paul Horn Standards setzt, um Skalierbarkeit sicherzustellenWie konkrete Use Cases (z. B. digitalisierte Werkzeug-Retouren im Service) zur Effizienzsteigerung beitragenWieso eine Make-or-Buy-Entscheidung zugunsten eines starken Partners oft nachhaltiger istUnd: Welche Rolle KI-gestützte Datenmappings in Zukunft spielen werdenEine Folge für alle, die Digitalisierung skalierbar und strategisch denken – mit Best Practices direkt aus der Fertigung.-----Relevante Folgenlinks:Madeleine (https://www.linkedin.com/in/madeleine-mickeleit/)Sarah (https://www.linkedin.com/in/sarahblomeier/)André (https://www.linkedin.com/in/ahoettgen/)soffico Website (https://soffico.de/)HORN Technologietage 2025 (https://www.horn-technologietage.de/)Community-Anmeldung (https://iotusecase.com/de/community/)Jetzt IoT Use Case auf LinkedIn folgen

"The field recording begins with a chant that sounds like the ones the Taj Mahal's mausoleum guards sing to demonstrate the Taj Mahal's acoustics. Its dome has been said to create up to 28 second of reverb. I'd heard this before because of Paul Horn's well known album Inside, which featured a singer — a friend of one of the mausoleum guards — singing in a similar style, along with Horn's flute sometimes accompanying him or in call and response.  "For my version, I couldn't work with natural reverb in that way, so instead I let the untreated field recording play off different types of treated and artificial sounds. I looped the chant and played along on guitar until I found some phrases that could form the core of the piece. Then I filled it out with synths and with pads made from resampled voice and guitar." Taj Mahal reimagined by John Savarese. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Paul previously served as the Chief Information Security Officer for an independent Broker-Dealer with billions of dollars in assets under management and thousands of Advisors spread across the United States as well as a major defense contractor providing logistical services. Paul has been a part of several FINRA and SEC Cybersecurity sweeps and examinations and maintains a deep understanding of the regulatory requirements associated with financial institutions as well as prioritizing risk remediation activities. With a sister company operating in the tax preparation space and a large majority of Advisors having a separate tax practice Paul has a deep understanding of the IRS requirements set forth in the Strategic Threat Assessment & Response (STAR) work group to help protect taxpayers and the integrity of the tax ecosystem. Paul helps educate advisors on security requirements that are present in both businesses by drafting policies and procedures that are closely aligned to meet both business needs. Paul was also a 2016, 2015, 2014 & 2013 EC-Council Certified Chief Information Security Officer of the Year Finalist and was presented with the Excellence in Finance Leaders Award in recognition of his contributions to the Finance Industry at the 2019 FiNext Conference.Paul holds a Master of Science in Management with a concentration in Information Systems Security and a Bachelor of Science in Business Administration in Information Technology from Colorado Technical University. Paul has also served on a variety of Advisory Boards for information security-related topics and has a deep dedication to the information security community by mentoring other security professionals. Paul honorably served in the United States Air Force as a Special Agent and has an extensive physical and information security background from his time spent as an Agent.In this episode, Eric and Paul Horn discuss:The critical first step toward securityThe threat of human error Non-negotiable security measures Basic cybersecurity “hygiene”Key Takeaways:Performing a comprehensive cybersecurity risk assessment is the critical first step for organizations of all sizes to identify and address vulnerabilities.Human error, such as clicking on phishing links, remains the biggest cybersecurity threat, underscoring the importance of regular security awareness training.Multi-factor authentication is a non-negotiable security measure, not only for regulatory compliance but also for obtaining cyber insurance coverage.Small and mid-sized businesses often overlook basic cybersecurity hygiene like device encryption, patch management, and use of supported software versions, which can leave them exposed to significant risks.“If you can't do the basics, you're not going to be able to do the advanced stuff, or it's very easy to walk right in (a trap) because you're not doing the basic stuff.” - Paul HornConnect with Paul Horn:Website: https://www.h2cyber.com/ LinkedIn: https://www.linkedin.com/in/paul-horn-4107861a/ Connect with Eric Dyson: Website: https://90northllc.com/Phone: 940-248-4800Email: contact@90northllc.com LinkedIn: https://www.linkedin.com/in/401kguy/ The information and content of this podcast is general in nature and is provided solely for educational and informational purposes. It is believed to be accurate and reliable as of the posting date but may be subject to changeIt is not intended to provide a specific recommendation for any type of product or service discussed in this presentation or to provide any warranties, investment advice, financial advice, tax, plan design or legal advice (unless otherwise specifically indicated). Please consult your own independent advisor as to any investment, tax, or legal statements made.The specific facts and circumstances of all qualified plans can vary and the information contained in this podcast may or may not apply to your individual circumstances.

Bossa nova con grabaciones de Stan Getz y Charlie Byrd ('Desafinado', 'O pato'), Antonio Carlos Jobim, Baden Powell y Herbie Mann ('Samba de uma nota só'), Paul Horn, Cal Tjader, Clare Fischer y Laurindo Almeida ('Se é tarde me perdoa'), Lalo Schifrin ('Silvia', 'Lalo´s bossa nova'), Herbie Mann y Baden Powell ('Consolação'), Ike Quebec ('Loie'), Sergio Mendes ('Tristeza de nós dois', 'Disa'), George Shearing ('Pensativa'), Paul Winter ('Insensatez'), Shorty Rogers, Bud Shank, Shelley Manne y Laurindo Almeida ('Chega de saudade'), Dave Brubeck ('Castilian blues'), Coleman Hawkins ('Um abraço no Bonfá), Luiz Bonfá ('Lamento no morro') y Herb Alpert & The Tijuana Brass ('Desafinado'). Escuchar audio

A gyermekvédelmi dolgozóknál azt is ellenőrizni fogják, mióta élnek együtt a párjukkal Telex     2024-06-21 04:49:01     Belföld Gyermekvédelem A jövőben a gyermekvédelmi dolgozóknak olyan nyilatkozatot kell kitölteniük, amiben a kifogástalan életvitelüket ellenőrzik. Olyan kérdéseket is meg kell válaszolniuk, hogy hova járnak szórakozni vagy milyen gazdasági érdekeltségeik vannak. Sziklai Tamás jogász szerint más szakmáknál is van hasonló kérdőív, de a vagyoni helyzet ellenőrzése nem rele Cser-Palkovics: Nem elég a háborúval foglalkozni 24.hu     2024-06-21 06:00:32     Belföld háború Fidesz Polgármester Interjú Fejér Székesfehérvár Tisza Cser-Palkovics András Ha valaki a semmiből érkezve pár hónap alatt 30 százalékot szerez egy választáson, érdemes tisztelettel nézni ezt az eredményt – mondja a Tisza Pártról a székesfehérvári polgármester, aki 33 százalékponttal jobb eredményt ért el a június 9-ei választáson, mint a Fidesz. Mi a siker titka? Interjú. Mutatjuk az otthonfelújítási program részleteit Azenpenzem     2024-06-21 06:03:00     Gazdaság Energia Pályázatok Lakásfelújítás Családi támogatás Otthonfelújítási támogatás Összegyűjtöttük az Otthonfelújítási Program részleteit a megjelent pályázat alapján. A vissza nem térítendő támogatásra és a kedvezményes kölcsönre az 1990. december 31-e előtt használatbavételi engedélyt kapott egy- és többlakásos családi házak lakói pályázhatnak, a pénzből legalább 30 százalékos energiamegtakarítást kell elérni. Maximum 6 millió Szerszám-technológiai ikon a Horntól autopro     2024-06-21 04:20:00     Cégvilág „Ez a szerszám megreformálja a furatmegmunkálást” – gondolta Paul Horn, miközben tüzetesen megvizsgálta a Supermini első prototípusát. A Supermini szerszámrendszert 1989-ben mutatták be, és azóta is a Paul Horn GmbH egyik sikertermékének számít. A Horn most újabb mérföldkőhöz ért a széria történetében, mostantól szinterezett forgácstörő geometriát A repülés szabályait vérrel írták – interjú: Kapu Tibor, a következő magyar űrhajós Forbes     2024-06-21 06:51:09     Cégvilág Interjú Repülőgép Világűr Térkép Űrállomás Kapu Tibor Kapu Tibort 247 jelentkezőből választották ki, jó eséllyel ő lesz a második magyar űrhajós. A tervek szerint 30 napot fog tölteni a nemzetközi űrállomáson a HUNOR program keretein belül, ahol különböző kísérleteket és termékteszteket fog elvégezni. Ez 30 nap kőkemény munka lesz, amely felteheti a magyar űripart a nemzetközi térképre. Az űrben öt fő Legszívesebben visszafeküdne aludni, ha meglátja, mennyibe kerül az euró Privátbankár     2024-06-21 07:12:09     Gazdaság Árfolyam Nemzetközi devizapiac Erősödött a forint árfolyama a főbb devizákkal szemben péntek reggel a csütörtök kora esti jegyzésekhez képest a nemzetközi bankközi devizapiacon. Orbán Viktor: nekünk a német kancellár szövetségesünk vg.hu     2024-06-21 07:27:27     Külföld Orbán Viktor Németország Berlin Rengeteg gazdasági előnyre tesz szert Magyarország azzal, hogy részt vesz a német ipar átalakulásában - mondta Orbán Viktor miniszterelnök Kossuth Rádió berlini kihelyezett stúdiójában. A kormányfő a nap folyamán találkozik a német kancellárral, aki szerinte szövetségesünk, a németek ugyanúgy érdekeltek a világgazdaság összekapcsolódásában, mint m GKI: Magyarország az EU legszegényebb országa Noizz     2024-06-21 08:24:18     Bulvár Európai Unió Jegybank GKI Magyarország tavaly az Európai Unió legszegényebb országává vált, amit részben a kiskereskedelmi forgalom jelentős visszaesése okozott – közölte a GKI Gazdaságkutató Zrt. A jegybank szerint ennek oka, hogy a jövedelmek értéke csökkent. Törvényben rendelték el a Tízparancsolat kifüggesztését Louisiana osztálytermeiben Magyar Hírlap     2024-06-21 06:27:21     Külföld Jól látható helyen, és olvasható méretű betűkkel szedve kell kifüggeszteni az osztálytermekben. Élesben is bevetette Moszkva a világ egyik legmodernebb légvédelmi rendszerét – Mit tud a legendás Sz-500-as? Portfolio     2024-06-21 07:00:00     Külföld Ukrajna Repülőtér Repülőgép Moszkva Krím Az ukrán vezérkar múlt héten közölte, hogy Oroszország új fegyvert vetett be a Krím-félszigeten: a gyengélkedő SZ-400-as légvédelmi rendszereket a csúcsmodern SZ-500 Prométheusszal egészítették ki, ami Moszkva szerint lényegében minden repülő célpont ellen hatékony. Nézzük, mit lehet eddig tudni az oroszok új csodafegyveréről. Balzsam a léleknek a Káli-medence bájos faluja Sokszínű vidék     2024-06-21 05:05:41     Utazás Kővágóörs kanyargós utcáin díszes házak – köztük műemlék népi lakóházak - sorakoznak, a kertek aljában kutakkal, forrásokkal. Szoboszlain és Ádám Martinon viccelődtek az angol szurkolók az Eb-n Magyar Nemzet     2024-06-21 05:45:00     Sport Szoboszlai Dominik Anglia Hűtőgép Az egyik túl jóképű, a másik olyan, mint egy hűtőszekrény. Angol szurkolók a magyar futballistákról. Olasz öngól, spanyol továbbjutás a B csoport rangadóján Demokrata     2024-06-21 07:59:39     Foci Olaszország Spanyolország A spanyol válogatott 1-0-ra nyert csütörtökön a címvédő olasz csapat ellen. Tetőzik a hőhullám, de nagy felfrissülésre még ne számítsunk Kiderül     2024-06-21 04:57:36     Időjárás Kánikula Szombaton hidegfront vonul át hazánk felett, amelynek hatására néhány fokkal mérséklődik a hőség, de az ország nagy részén továbbra is 30 fok feletti csúcshőmérsékletre számíthatunk. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

A gyermekvédelmi dolgozóknál azt is ellenőrizni fogják, mióta élnek együtt a párjukkal Telex     2024-06-21 04:49:01     Belföld Gyermekvédelem A jövőben a gyermekvédelmi dolgozóknak olyan nyilatkozatot kell kitölteniük, amiben a kifogástalan életvitelüket ellenőrzik. Olyan kérdéseket is meg kell válaszolniuk, hogy hova járnak szórakozni vagy milyen gazdasági érdekeltségeik vannak. Sziklai Tamás jogász szerint más szakmáknál is van hasonló kérdőív, de a vagyoni helyzet ellenőrzése nem rele Cser-Palkovics: Nem elég a háborúval foglalkozni 24.hu     2024-06-21 06:00:32     Belföld háború Fidesz Polgármester Interjú Fejér Székesfehérvár Tisza Cser-Palkovics András Ha valaki a semmiből érkezve pár hónap alatt 30 százalékot szerez egy választáson, érdemes tisztelettel nézni ezt az eredményt – mondja a Tisza Pártról a székesfehérvári polgármester, aki 33 százalékponttal jobb eredményt ért el a június 9-ei választáson, mint a Fidesz. Mi a siker titka? Interjú. Mutatjuk az otthonfelújítási program részleteit Azenpenzem     2024-06-21 06:03:00     Gazdaság Energia Pályázatok Lakásfelújítás Családi támogatás Otthonfelújítási támogatás Összegyűjtöttük az Otthonfelújítási Program részleteit a megjelent pályázat alapján. A vissza nem térítendő támogatásra és a kedvezményes kölcsönre az 1990. december 31-e előtt használatbavételi engedélyt kapott egy- és többlakásos családi házak lakói pályázhatnak, a pénzből legalább 30 százalékos energiamegtakarítást kell elérni. Maximum 6 millió Szerszám-technológiai ikon a Horntól autopro     2024-06-21 04:20:00     Cégvilág „Ez a szerszám megreformálja a furatmegmunkálást” – gondolta Paul Horn, miközben tüzetesen megvizsgálta a Supermini első prototípusát. A Supermini szerszámrendszert 1989-ben mutatták be, és azóta is a Paul Horn GmbH egyik sikertermékének számít. A Horn most újabb mérföldkőhöz ért a széria történetében, mostantól szinterezett forgácstörő geometriát A repülés szabályait vérrel írták – interjú: Kapu Tibor, a következő magyar űrhajós Forbes     2024-06-21 06:51:09     Cégvilág Interjú Repülőgép Világűr Térkép Űrállomás Kapu Tibor Kapu Tibort 247 jelentkezőből választották ki, jó eséllyel ő lesz a második magyar űrhajós. A tervek szerint 30 napot fog tölteni a nemzetközi űrállomáson a HUNOR program keretein belül, ahol különböző kísérleteket és termékteszteket fog elvégezni. Ez 30 nap kőkemény munka lesz, amely felteheti a magyar űripart a nemzetközi térképre. Az űrben öt fő Legszívesebben visszafeküdne aludni, ha meglátja, mennyibe kerül az euró Privátbankár     2024-06-21 07:12:09     Gazdaság Árfolyam Nemzetközi devizapiac Erősödött a forint árfolyama a főbb devizákkal szemben péntek reggel a csütörtök kora esti jegyzésekhez képest a nemzetközi bankközi devizapiacon. Orbán Viktor: nekünk a német kancellár szövetségesünk vg.hu     2024-06-21 07:27:27     Külföld Orbán Viktor Németország Berlin Rengeteg gazdasági előnyre tesz szert Magyarország azzal, hogy részt vesz a német ipar átalakulásában - mondta Orbán Viktor miniszterelnök Kossuth Rádió berlini kihelyezett stúdiójában. A kormányfő a nap folyamán találkozik a német kancellárral, aki szerinte szövetségesünk, a németek ugyanúgy érdekeltek a világgazdaság összekapcsolódásában, mint m GKI: Magyarország az EU legszegényebb országa Noizz     2024-06-21 08:24:18     Bulvár Európai Unió Jegybank GKI Magyarország tavaly az Európai Unió legszegényebb országává vált, amit részben a kiskereskedelmi forgalom jelentős visszaesése okozott – közölte a GKI Gazdaságkutató Zrt. A jegybank szerint ennek oka, hogy a jövedelmek értéke csökkent. Törvényben rendelték el a Tízparancsolat kifüggesztését Louisiana osztálytermeiben Magyar Hírlap     2024-06-21 06:27:21     Külföld Jól látható helyen, és olvasható méretű betűkkel szedve kell kifüggeszteni az osztálytermekben. Élesben is bevetette Moszkva a világ egyik legmodernebb légvédelmi rendszerét – Mit tud a legendás Sz-500-as? Portfolio     2024-06-21 07:00:00     Külföld Ukrajna Repülőtér Repülőgép Moszkva Krím Az ukrán vezérkar múlt héten közölte, hogy Oroszország új fegyvert vetett be a Krím-félszigeten: a gyengélkedő SZ-400-as légvédelmi rendszereket a csúcsmodern SZ-500 Prométheusszal egészítették ki, ami Moszkva szerint lényegében minden repülő célpont ellen hatékony. Nézzük, mit lehet eddig tudni az oroszok új csodafegyveréről. Balzsam a léleknek a Káli-medence bájos faluja Sokszínű vidék     2024-06-21 05:05:41     Utazás Kővágóörs kanyargós utcáin díszes házak – köztük műemlék népi lakóházak - sorakoznak, a kertek aljában kutakkal, forrásokkal. Szoboszlain és Ádám Martinon viccelődtek az angol szurkolók az Eb-n Magyar Nemzet     2024-06-21 05:45:00     Sport Szoboszlai Dominik Anglia Hűtőgép Az egyik túl jóképű, a másik olyan, mint egy hűtőszekrény. Angol szurkolók a magyar futballistákról. Olasz öngól, spanyol továbbjutás a B csoport rangadóján Demokrata     2024-06-21 07:59:39     Foci Olaszország Spanyolország A spanyol válogatott 1-0-ra nyert csütörtökön a címvédő olasz csapat ellen. Tetőzik a hőhullám, de nagy felfrissülésre még ne számítsunk Kiderül     2024-06-21 04:57:36     Időjárás Kánikula Szombaton hidegfront vonul át hazánk felett, amelynek hatására néhány fokkal mérséklődik a hőség, de az ország nagy részén továbbra is 30 fok feletti csúcshőmérsékletre számíthatunk. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Episode 123 Love Spells in Electronic Sound Playlist   Track Time Start Time Introduction –Thom Holmes 06:48 00:00 1.     Mystic Moods Orchestra, “Love Token” from Love Token (1969 Philips). Sound Effects, producer, sound director, Brad Miller; Vocals and vocal effects, The Mystic Moods. 04:33 06:48 2.     Four Tet, “Love Cry” from There Is Love In You (2010 Domino). Written, produced, and performed by Kieran Hebden. 09:06 11:14 3.     Deborah de Luca, “Love is a Losing Game (Mix Raw)” from Nina (2015 Sola_mente Records). Written, produced, and performed by Deborah de Luca. 07:14 20:16 4.     Steven Halpern, “Hot Chakra” from Enhancing Sensual Pleasure (1993 Sound Rx). Bass, Marc Vanwaginengen; Silver Flutes, Emerald Web; Grand Piano, Electric Piano, Producer, Trumpet, Steven Halpern; Harp, Susan Mazer; Lyricon, Dallas Smith; Percussion, Kenneth Nash. 06:48 27:26 5.     Steven Halpern, “Thigh Chi” from Enhancing Sensual Pleasure (1993 Sound Rx). Bass, Marc Vanwaginengen; Flute, Paul Horn; Silver Flutes, Emerald Web; Grand Piano, Electric Piano, Producer, Trumpet, Steven Halpern; Harp, Susan Mazer; Lyricon, Dallas Smith; Percussion, Kenneth Nash. 05:31 34:08 6.     Klaus Schulze, “Moogetique” from Body Love, Vol. 2 (1977 Island). Producer, Composer, instruments, Klaus Schulze; Drums, Harald Grosskopf. Original electronic music for a film by Lasse Braun. 13:12 39:34 7.     Klaus Schulze, “Stardancer II” from Body Love, Vol. 2 (1977 Island). Producer, Composer, instruments, Klaus Schulze; Drums, Harald Grosskopf. Original electronic music for a film by Lasse Braun. 14:13 52:44 8.     Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” from Events (1980 Harvest). Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMI, Liner Notes, Eberhard Schoener; Fairlight CMI, Morris Pert; Fender Rhodes, Roger Munnis; Tenor Saxophone, Olaf Kübler; Vocals, Clare Torry. 10:56 01:06:50 9.     Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Written, produced, and performed by Nora En Pure. 05:48 01:17:45 10.   Art Linkletter, “Narrates The Story Of Where Did You Come From?” (side 1) from Narrates The Story Of Where Did You Come From? (1963 20th Century Fox). This was an early 60s sex-education LP. Linkletter was a Canadian-American radio and television personality. I've intermixed this disc with tracks of rolling white sound (by me) and a track by Kazumoto Endo, “Falling In and Out of Love” from Never Gonna Make You Cry (1999 Kling Film-Records). Written, produced, and performed by Kazumoto Endo. All to present a slightly odd view of love. 19:12 01:23:32 11.   Donna Summer, “Summer Fever” from Four Seasons Of Love (1976 Casablanca). Written-By Donna Summer, Giorgio Moroder, Pete Bellotte; accompanied by The Munich Machine; recorded in MusicLand Studios, Munich; mixed and produced by Giorgio Moroder. 08:12 01:42:44   Opening background music: The Love Symphony Orchestra, “Let's Make Love in Public Spaces” from Penthouse Presents The Love Symphony Orchestra (1978 Talpro). Keyboards, Synthesizer, Clifford Carter. (03:12) Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.

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

Modern Jazz Quartet, Julie London, Teddy Wilson, Erroll Garner, Nina Simone, Nellie Lutcher, Lalo Schifrin, Paul Horn, Gene Bertoncini w. Michael Moore, Jim McHarg w. Lonnie Johnson. Those are records I dug from my storage locker: great albums I played for myself this week.. And I found at least one track from each I wanted…Continue reading Episode 254: More From my LP Collection

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Bill Gross, the LA Probate Expert, hosts a weekly call to discuss all things probate. In this episode, Bill talks to guest attorney Paul Horn. Bill's Website: ⁠http://thelaprobateexpert.com/⁠ Join Probate Weekly live: ⁠https://www.eventbrite.com/e/probate-weekly-tickets-67396261031⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/probateweekly/message Support this podcast: https://podcasters.spotify.com/pod/show/probateweekly/support

**It's The Jazz2Go Show Replay On traxfm.org. Jazz2Go Presented Some Classic & Contemporary/Neo Jazz Crackers From Sergio Esposito, Los Kenya, Gonzalo Rubalcaba,The Jazz Crusaders, Mike Rojas, Doug Carn, Francisco Mora Catlett, Fourth World, Paul Horn, Cuban Jazz legends Feat Peruchin Nieto & Tata Guines, Mr Hermano, Goran Bregovic Berardi Jazz Connection, Big Bang, Yambu, Eparapo & More #Jazz #JazzClassics #ContemporaryJazz #JazzGroove #JazzSoul Catch Jazz2Go Every Monday From 7PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Amerikiečių džiazo legenda, taip pat new age muzikos vienas pradininkų, Paul Horn (1930-2014) koncertavo Kaune, 1983 metų rugpjūčio 21 dieną, o iškart po pasirodymo, į automobilį ir – magistralė Kaunas-Vilnius. Ten, Lietuvos sostinėje, Paul Horn atrado garso erdvę, kokios ilgai ieškojo, savo akustinėmis savybėmis kuri priminė jam Karaliaus menę, Didžiojoje Egipto piramidėje. Prisiminsime ir visą Paul Horn unikalios muzikos ciklą „Inside“, ir naktinę solo improvizacijų sesiją Vilniaus bažnyčioje, belieka atsekti kurioje išgirsime šiuos, prieš 40 metų atliktus unikalius įrašus.Ved. Lukas Devita

Children's author and illustrator talks about what it means to be human, his relentless touring schedule and why Paul Horn is considered, by some, to be the grandfather of new age music. Whale Song.....

After hearing Paul Horn play flute in the Taj Mahal, Bodhi Starwater knew, at 15, that the silver flute would be his lifelong companion. Over the years, he has added many other instruments to his collection, including exotic flutes from around the world, conch shell, charango, 12-string guitar, Tibetan bowls, feathers, harmonica, gong, drums, and rattles. Bodhi's been working with sound meditation, sound healing, and sacred sound journeys for over 40 years. He's studied with Tito La Rosa, Paul Horn, Allaudin Mathieu, and many other artists. Around the globe, his music is used in yoga studios, health spas, and health practitioners' offices. His music has had millions of plays on Pandora, Spotify, Apple Music, and other streaming sites. Bodhi's deep love for the natural world led him to work many years as a wilderness and river guide. Playing his flute in the forest, inspired by the sounds of nature, he developed his own unique style of improvisation within the healing music modalities. He's been a featured artist at many festivals and conferences around the world, including the International Conference on Shamanism. He has 18 original albums in his portfolio and is the founder of the touring and recording ensembles Sonic Transfusion, Crystal Wind, and Rhythm Matrix. He's had two no. 1 flute albums on the Zone Music Reporter International New Age Music Chart, Trans Ukraine in 2006 and Deep Dream in 2020. In 2021 he created the Soundscape Oasis, a sound healing temple sanctuary near the town of Mt. Shasta in California. He offers group and private sound healing journeys for concerts, festivals, yoga classes, meditation groups, retreats, and conferences. http://soundscapeoasis.com/ Natalie Brown: http://www.soundshealstudio.com http://www.facebook.com/soundshealstudio.com http://www.instagram.com/nataliebrownsoundsheal http://www.youtube.com/soundshealstudio Music by Natalie Brown, Hope & Heart http://www.youtu.be/hZPx6zJX6yA This episode is sponsored by The Om Shoppe. The OM Shoppe & Spa offers a vast array of Sound Healing and Vibrational Medicine tools for serious professionals and for those ready to make sound and vibration part of their ongoing lifestyle. More and more we are coming to understand that our individual wellness is a direct reflection of our personal vibration. How we care for ourselves, our physical bodies, our minds and our spirits. The OM Shoppe is ready to help you today in a variety of ways. They offer the countries largest showroom of Quartz Crystal Singing bowls, sound healing instruments and vibrational medicine tools. If you are ready to uplevel your sound healing practice The OM Shoppe is a great place to get guidance and direction. They are available to consult with you directly by phone or you can shop online. They really enjoy getting to know their clients and customers one on one to better help recommend the right sound healing tools in the right tones for you. Call them today or visit them at http://www.theomshoppe.com. If you are ever near Sarasota, Florida, do consider stopping in and visiting with them or enjoy a luxury spa treatment such as sound healing, energy work, massage, vibroacoustics or hypnotherapy. They truly offer a full holistic experience for practitioners and those seeking healing through natural means.

On the first guest-isode of 2023 the guys go headfirst into this staple Disney Channel movie: Luck of the Irish, with their friend Jamal, who you may be familiar with from guesting on Play no Games or his own podcast. They are asking the questions that need to be asked: Is this really the Disney classic we thought? Can you trap an Irish person by grabbing their beard? Did they lose track of scoring during the Irish games? And how did the grandpa get up there?! Questions like this and more discussed on this great episode of the Backseat Critics.Luck of the Irish is directed by Paul Horn, and stars Ryan Merriman, Alexis Lopez, Timothy Omundson, Marita Geraghty, Charles Halford, Thurl Bailey, Henry Gibson, Glenndon ChatmanHere's the Lineup for today's episode.00:00 - Intro00:36 - Jamal Intro04:12 - Linup04:41 - 2 Minute Summary07:35 - Quiz Question08:28 - Intermission09:34 - Characters18:43 - Scenes32:08 - What?! Moments41:28 - Final ThoughtsBe sure to hit like if you like this podcast.Email us at: thebackseatcritics@gmail.comFind us on Instagram at TheBackseatCritics. Follow us @BackseatCritics  on Twitter.Also be sure to follow our friends over at Play No Games Podcast on YouTube. They are also on Instagram @lookhere.fri.Be sure to hit like if you like this podcast. Email us at: thebackseatcritics@gmail.com Find us on Instagram at TheBackseatCritics. Follow us @BackseatCritics on Twitter. Also be sure to follow our friends over at Play No Games Podcast on YouTube. They are also on Instagram @lookhere.playnogamespod.

Want to build an awesome body? The process is actually pretty simple if you let it be. In today's episode author and coach Paul Horn lays out his radically simple plan for average guys to build awesome bodies. Buy the book: https://amzn.to/3FktWBq Paul's website: https://www.hornstrength.com/ Follow Paul on IG : https://www.instagram.com/horn_strength/ Paul on Reddit: https://www.reddit.com/r/hornstrength/ Are you tired of logging hours in the gym, eating clean, and not seeing results? Our Training Programs + Nutrition Coaching fixes both of these problems. Apply to work with Digital Barbell TODAY! - www.digitalbarbell.com/contact-us Imagine not only loving your workouts and diet, but finally seeing the results of both in the mirror. We give you customized workouts, compassionate coaching and accountability, and a nutrition program built just for you that you'll love. You get the results you've always wanted, so you can enjoy your fitness without the stress of figuring it out on your own. Download our FREE 2-Week Training and Nutrition kickstart: https://www.digitalbarbell.com/two-week-turnaround Download our FREE Grocery & Meal Prep Guide: www.digitalbarbell.com/groceryguide Download our FREE 5- Week workout program "Arms, Abs, & A.. You know the rest" - www.digitalbarbell.com/armsandabs

Paul Horn the CEO of H2Cyber shares how can small businesses prevent cyber attacks? Get more info at https://www.H2Cyber.com/

Paul Horn of H2Cyber is today's Human of Caddo We are teaching you the basic arithmetic of cybersecurity via our prioritized approach.  This will allow you to grow over time and move to a more robust cybersecurity frameworks if needed as all our controls are aligned to the five basic functions of the NIST Cybersecurity Framework (Identify, Protect, Detect, Respond, and Recover).

M

**It's The Jazz2Go Show Replay On traxfm.org. Jazz2Go Presented Some Classic & Contemporary Jazz Crackers From Harris Simon, The Stance Brothers, Kamaal Williams, Sirius B, Paquito D'Rivera, Paul Horn,Ramsey Lewis Tribute (RIP: May 27, 1935 – September 12, 2022), Balimaya Project & More #Jazz #JazzClassics #ContemporaryJazz #JazzGroove #JazzSoul Catch Jazz2Go Every Monday From 7PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Bill Gross, the LA Probate Expert, hosts a weekly call to discuss all things probate. In this episode, Bill talks to guest attorney Paul Horn. Visit his website here: https://www.paulhornlawfirm.com/ Bill's Website: http://thelaprobateexpert.com/ Sign Up for Probate Mastery Course (affiliate link): https://courses.magnumopusproject.com/billgross Join Probate Weekly live: https://www.eventbrite.com/e/probate-weekly-tickets-673962610 --- Send in a voice message: https://podcasters.spotify.com/pod/show/probateweekly/message Support this podcast: https://podcasters.spotify.com/pod/show/probateweekly/support

On today's episode on Piano Explored, I have a conversation with Dr. Daniel Paul Horn who is professor and Chair of Keyboard Studies at the Wheaton College Conservatory of Music. I have been a long-time admirer of Daniel's career and teaching. We speak of our connection through Dr. Samuel Hsu, my undergraduate teacher, who Daniel met in 1980.  The conversation opens with our shared joy in learning the piano music of Richard Danielpour. I hope you enjoy this conversation as much as I did. Don't forget to follow us on Instagram and Facebook. An active and versatile pianist, Daniel Paul Horn is Professor of Piano and Chair of Keyboard Studies at the Wheaton College Conservatory of Music, where he was honored with a 2009 Senior Academic Achievement Award for sustained excellence in scholarship. As solo recitalist, he has appeared at colleges and universities throughout North America, at the American Liszt Society Festival, and in live broadcasts over WFMT-FM, on its Pianoforte Foundation Fazioli Salon Series and its 2010 Beethoven Piano Sonata series. As concerto soloist, he has performed with various Midwestern orchestras, including the Detroit Symphony Orchestra; in 2015, he made his European orchestral debut with the Sarajevo Philharmonic, performing Lumen by Wheaton alumnus Jacob Bancks. An avid chamber musician, he regularly collaborates with members of the Chicago Symphony Orchestra. With the MasterWorks Ensemble, he has played in Bermuda and at the 2010 Beijing Modern Music Festival; in addition, he has performed with the Ying String Quartet, the Rembrandt Chamber Players, cellists Leonardo Altino and Stephen Balderston;  pianists Alexander Djordjevic and Caroline Hong; and Guarneri Quartet violinist John Dalley. He also works with noted singers. Working with contemporary composers, he has premiered music by George Arasimowicz, Jacob Bancks, Delvyn Case, David M. Gordon, Neal Harnly, Patrick Kavanaugh, Daniel Kellogg, and Max Raimi. During the 2020-2021 season, he will give the world premiere of Seven Mysteries for solo piano, composed for him by Richard Danielpour through a commission made possible by a generous gift to Wheaton College. As an early keyboardist, he was harpsichordist in performances of Handel's Messiah under the baton of John Nelson, and has twice performed on the Historical Piano Concert series at the Frederick Collection in Ashburnham, Massachusetts. In 1997, he recorded the critically praised disc “Wanderings” for Titanic Records on an 1829 Graf fortepiano, and in 2010 released Sehnsucht: Music of Robert Schumann; he also recorded for the Centaur label with CSO cellist Donald Moline, for the Canadian Music Centre with soprano Carolyn Hart, and for the Innova label with flutist Jennie Oh Brown. A Detroit native, Horn studied at Peabody with Walter Hautzig, and at Juilliard, where he studied with Martin Canin and Felix Galimir, and earned his doctorate. He has also coached with Jerome Lowenthal, Ann Schein, Joseph Bloch, Roy Howat, and Menahem Pressler, for whom he twice served as guest assistant at Indiana University. In addition to his duties at Wheaton, he has been a faculty artist at the Sewanee, Adamant, Blue Mountain, and MasterWorks summer festivals, and has served on the jury of the Chicago International Music Competition.

We are rejoined by guest Jake Watkins for this 1969 LP from flautist Paul Horn. Viewed by many as the dawn of New Age music, this record's creation is a story unto itself.   If you like us, please support us at patreon.com/idbuythatpodcast to get exclusive content (episodes on 45s!), or tell a friend about us. Broke and have no friends? Leave us a review, it helps more people find us. Thanks!

We first heard Paul Horn's album ‘Inside the Taj Mahal' in 1970 and it blew us away. Then in 1977, Dean Evenson was invited to interview Paul Horn on video at the Boulder Colorado public library. This was quite an honor for Dean who had been playing flute since he was 11 years old; it … Continue reading "Interview with Paul Horn on Soundings Mindful Media Podcast"

**It's The Jazz2Go Show Replay On traxfm.org. Jazz2Go Presented Some Classic & Contemporary Jazz Crackers From Alex Malheiros & Banda Utopia Feat Sabrina Malheiros, Soul Bossa Trio, Sicania Soul, Sonzeira, Sleep Walker, Paul Horn, Kamaal Williams, Papik & Yuma, Soil & Pimp Sessions & More #Jazz #JazzClassics #ContemporaryJazz #JazzGroove #JazzSoul Catch Jazz2Go Every Monday From 7PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

This episode features the contemplative contemporary music of Paul Horn, Paul Halley, Gabriel Lee, David Lanz, David Arkenstone, John Doan, Spencer Brewer, Tingstadt and Rumble plus several others including Images in sound of South American music.

Episode 66 Those We Have Lost—Electronic Musicians Who Passed in 2021   Playlist In this episode, we pay tribute to electronic composers and musicians who passed in 2021. I've put together what I hope will be a satisfying playlist of these diverse artists and their works. Alvin Lucier, “Vespers” from Electric Sound (1972 Mainstream). This work was performed by Lucier and other members of the Sonic Arts union, David Behrman, Robert Ashley, and Gordon Mumma. The musical instrument was a device not intended for making electronic music. It was the Sondol, a hand-held pulse oscillator designed for “boat owners, acoustic engineers, and the blind.” Lucier bought a few of these devices and worked out a piece for echolocation. Each performer was equipped with a Sondol and asked to move blindfolded inside a defined performing space. This resulted in a work comprised of four independent streams of percussive pulses that sound as if they have their own relationship to one another as each musician moves about in the space. VESPERS is written as a prose score in which Lucier invites the performer to explore the world beyond human limits: “Dive with whales, fly with certain nocturnal birds or bats (particularly the common bat of Europe and North America of the family Vespertilionidae), or seek the help of other experts in the art of echolocation.” Richard H. Kirk, with Cabaret Voltaire, “Let it Come Down” from International Language (1993 Plastex). This album was released during a period of transformation for CV. Founding member Chris Watson had left to pursue other sound interests, while Mallinder and Kirk remained and headed into the instrumental direction embodied by dance music. The liner notes for this album state, “Abandon thinking. Everything you will hear in the next seventy-four minutes is true. This music is dedicated to the Merry Pranksters past present & future.” Not sure what that means, but hey. This group was fantastic. Richard H. Kirk, solo, "Information Therapy" from Disposable Half-Truths (1980 Industrial Records). This was from Kirk's first solo cassette release while he maintained his parallel work with Cabaret Voltaire. Joel Chadabe, “Rendevous” from Rhythms for Computer and Percussion (1981 Lovely Music). Joel had such a long list of accomplishments in electronic music, a pioneer of analog systems as well as computer music. On this album, his collaboration with percussionist Jan Williams was startlingly fresh. Electronics, computer synthesizer system (Synclavier), Joel Chadabe; percussion, wood block, vibraphone, marimba, slit drum, log drum, temple block, cowbell, singing bowls, Jan Williams. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music." Jon Hassell, “Abu Gil” Last Night The Moon Came Dropping Its Clothes In The Street (2009 ECM). Trumpet, keyboard, composed by Jon Hassell; bass, Peter Freeman; Live sampling, Jan Bang; guitar, Rick Cox; drums, Helge Norbakken; violin, Kheir-Eddine M'Kachinche. Jon Hassell, “Wing Melodies” from Power Spot (1981 ECM). Trumpet, composed by Jon Hassell; guitar, electronic treatments, Michael Brook; electric bass, Brian Eno; electronic keyboards (bass, percussion, string sounds), Jean-Phillippe Rykiel; percussion, acoustic and electronic, alto flute, J. A. Deane; produced by Brian Eno and Daniel Lanois. Sophie, Eeehhh” from Nothing More to Say (2012 Huntleys & Palmers). Electronics, vocals, composed and performed by Sophie Xeon. I chose a couple of earlier tracks that were largely instrumental experiments. Sophie, “Elle” from Bipp/Elle (2013 Numbers). Electronics, vocals, composed and performed by Sophie Xeon. Sophie was primarily known for electronica dance music. Malcolm Cecil, “Gamerlonia Dawn” from Radiance (1981 Unity Records). Composed By, Performer, Producer, Engineer, Malcolm Cecil. English bassist and inventor of the unique TONTO synthesizer ("The Original New Timbral Orchestra"), a massive integrated synthesizer system that was used on many analog electronic albums in the early 1970s. Episode 36 was devoted to Cecil's work so you might want to catch-up with that to get more detail about this amazing musician and producer. This track uses TONTO and also features the “golden flute” of Paul Horn. Peter Zinovieff, “M Piriform” from Electronic Calendar—The EMS Tapes (2015 Space Age Recordings). Computer music from 1981 by the founder of EMS, Peter Zinovieff, with composer/conductor Justin Connolly. Collaborating with classical composer Connolly, Zinovieff created the electronic music in his Putney studio, using computer-controlled audio generators, and combined it with instrumental parts written by Connolly for soprano, flute, and violin. This performance of the work was staged in 1969 and featured Jane Manning (soprano), Judith Pearce (flute) and Pauline Scott (violin), who all played along with a tape recording of the electronic part. Murray Schafer, “Threnody” from Threnody (Youth Music by R. Murray Schafer) (1970 Melbourne). This Canadian release features an instrumental work with electronic sound by Schafer, who is perhaps more familiar to us as a creator of soundscapes and ambient audio experiments. But he also worked in traditional instrumental music and featured electronics in some of these. There are not many recordings such as this example from 52 years ago. Background music: Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.  

Solénoïde (03.01.2022) - Entre minimalisme et gigantisme, de diagonales écolos en métaphores astrales, préparez-vous à vivre une heure de lévitation musicale, une heure dédiée à l'infini et à l'intangible, une heure de dépaysement garanti sur les hauts plateaux de l'ambient music !

Arif Virani, Liberal MP; Eric Duncan, Conservative MP; Taylor Bachrach, NDP MP; Paul Horn, Mission Mayor; Nik Nanos, Nanos Research; Rick Mercer, author and comedian; Robert Benzie, the Toronto Star; Kristy Kirkup, the Globe and Mail; and Jamie Ellerton, Conaptus Limited.

This is the second episode looking at the ballad Lord Randall aka Henry My son aka Amhrán na hEascainne aka Großmutter Schlangenköchin. Tracklist La Piva dal Carnér - Il Testamento dell'avvelenato Elster Silberflug - Großmutter Schlangenköchin Carl Orff, Gunhild Keetman & Kölner Kinderchor - Großmutter Schlangenköchin Abner Jay – Lord Randall Josh White – Lord Randall Sara Cleveland – My Bonny Bon Boy Jean Ritchie – Lord Randall Peggy Seeger – Billy Boy Fred Katz with Paul Horn and the Chico Hamilton Quartet – Lord Randall The Mickey Finns – Lord Randall https://campsite.bio/firedrawnear

In the latest episode of the Empowerography Podcast, my guest is Maria Manna. Lifelong, award-winning jazz, blues and gospel vocalist Maria Manna has performed with legendary greats Paul Horn, Tommy Banks, Alfie Zappacosta, and David Foster. She has actively raised awareness of and funds for non-profit societies in Canada and globally. Maria created and performed in her first fundraising musical show at age seven, and donated the proceeds to a less fortunate neighborhood family. Simply stated, Maria's commitment to helping others thrive, through the gift of music is central to who she is and what she does. Maria Manna was born and raised in Edmonton, Alberta. She is the eldest of 4 daughters to Italian immigrant parents. Her first language is Italian and she speaks, writes and reads fluently.  She has 3 children, 2 of her own; Marco and Christina and stepchildren Kyle and Karmen. As Klondike Kate, Maria served as Ambassador for the City of Edmonton in 1999 and 2000. She was proud to have been chosen to entertain the Canadian Military in Aviano, Italy and the Canadian Military in Bosnia on a ten-day tour. Upon her return from Bosnia, Maria helped fill a military aircraft full of school supplies and had it sent off to Bosnia. The Canadian Military helped Maria record a CD with total profits going to the Bosnian children. Her movie credits include the principal vocalist role as well as script coach for “The Engagement Ring”. She currently has 4 albums in her native language Italian and in English and most recently released her first music video, “I like it in the Water. She lives on Vancouver Island with her Husband Christopher Grew and their dog Ciccio. In 2016 Maria became an Ordained Minister and provides services as well as visits to palliative care. In this episode we discuss community, performing, music, philanthropic work, chairties, healing, support and faith. Website - https://www.mariamanna.ca                 https://www.bcvoclaistsociety.com IG - https://www.instagram.com/mariamanna1 FB - https://www.facebook.com/maria.c.manna.5 Twitter - https://twitter.com/mariamanna "Listen, and I'm not ashamed to say it, I'm 60 years old and 60 years is a long time to do a whole bunch of things" - 00:01:35 "You know, I really feel really lucky in my life, I've had a good life" - 00:16:58 "To love and be loved, to accept people the way they are" - 00:29:17 Empowerography would like to offer you a discount code to one of our exclusive partners, Quartz & Canary Jewelry & Wellness Co. Please use CODE EMPOWER15 to receive 15% off upon check out at www.quartzandcanary.com. Quartz & Canary is truly the place, where spirituality meets style.

In the latest episode of the Empowerography Podcast, my guest is Maria Manna. Lifelong, award-winning jazz, blues and gospel vocalist Maria Manna has performed with legendary greats Paul Horn, Tommy Banks, Alfie Zappacosta, and David Foster. She has actively raised awareness of and funds for non-profit societies in Canada and globally. Maria created and performed in her first fundraising musical show at age seven, and donated the proceeds to a less fortunate neighborhood family. Simply stated, Maria's commitment to helping others thrive, through the gift of music is central to who she is and what she does. Maria Manna was born and raised in Edmonton, Alberta. She is the eldest of 4 daughters to Italian immigrant parents. Her first language is Italian and she speaks, writes and reads fluently.  She has 3 children, 2 of her own; Marco and Christina and stepchildren Kyle and Karmen. As Klondike Kate, Maria served as Ambassador for the City of Edmonton in 1999 and 2000. She was proud to have been chosen to entertain the Canadian Military in Aviano, Italy and the Canadian Military in Bosnia on a ten-day tour. Upon her return from Bosnia, Maria helped fill a military aircraft full of school supplies and had it sent off to Bosnia. The Canadian Military helped Maria record a CD with total profits going to the Bosnian children. Her movie credits include the principal vocalist role as well as script coach for “The Engagement Ring”. She currently has 4 albums in her native language Italian and in English and most recently released her first music video, “I like it in the Water. She lives on Vancouver Island with her Husband Christopher Grew and their dog Ciccio. In 2016 Maria became an Ordained Minister and provides services as well as visits to palliative care. In this episode we discuss community, performing, music, philanthropic work, chairties, healing, support and faith. Website - https://www.mariamanna.ca                 https://www.bcvoclaistsociety.com IG - https://www.instagram.com/mariamanna1 FB - https://www.facebook.com/maria.c.manna.5 Twitter - https://twitter.com/mariamanna "Listen, and I'm not ashamed to say it, I'm 60 years old and 60 years is a long time to do a whole bunch of things" - 00:01:35 "You know, I really feel really lucky in my life, I've had a good life" - 00:16:58 "To love and be loved, to accept people the way they are" - 00:29:17 Empowerography would like to offer you a discount code to one of our exclusive partners, Quartz & Canary Jewelry & Wellness Co. Please use CODE EMPOWER15 to receive 15% off upon check out at www.quartzandcanary.com. Quartz & Canary is truly the place, where spirituality meets style.

In der ersten Episode des B2B Funkers unterhalten sich Daniel Radel und Michael Döhler über B2B E-Commerce beim Traditionsunternehmen Paul Horn. Herr Radel ist seit 2008 im E-Commerce tätig und seit Ende 2018 für den E-Commerce Bereich bei Paul Horn zuständig. Die Inhalte bewegen sich vom Tech-Stack und dem Verständnis einer B2B E-Commerce Plattform über das veränderte Verhalten im Vertrieb, bis zum Online-Marketing.Zum Abschluss gewährt uns Herr Radel einen Einblick in seine persönlichen LinkedIn Experimente und welche Online Kanäle er in Zukunft für wichtig erachtet.

Estamos acostumbrados a escuchar música en cualquier espacio y en cualquier circunstancia. La vida moderna nos permite llevar encima unos auriculares y tener acceso instantáneo a una biblioteca interminable de canciones. La música que escuchamos en La Frontera Perdida se presta más a una escucha atenta y pausada, son músicas que reclaman nuestra atención porque no son músicas fugaces, no son intrascendentes, no son volátiles. Son músicas perennes, son intensas, son extraordinarias. Son nuestras músicas interiores. Jo Blankenburg, Jarguna & Henrik Meierkord, Sarah Neufeld, Balmorhea, Paul Horn, cru, Sunshine Recorder, JM Mantecon, Lisa Bella Donna, Erik Wøllo, Ümlaut.

I talk with Jon Woodhouse, about his upcoming book. His book includes inteviews with, Conversations with Icons of Rock, Jazz, Soul, Country, Hawaiian, Blues, & Reggae in Paradise Maui No Ka Oi - Paul Simon, Willie Nelson, George Harrison in Hana, Steely Dan, George Benson, Prince, Santana, Beach Boys, Fleetwood Mac, Aerosmith, Kris Kristofferson, Doobie Brothers, Alice Cooper, Michael McDonald, Sammy Hagar, Pat Benatar, Dave Mason, Jimi Hendrix (plays Maui), Lukas & Micah Nelson, Captain Beefheart (Jeff Cotton). Rock - Bo Diddley, Chuck Berry (Johnnie Johnson), Carl Perkins,  John Lennon (told by Yoko), Police, Pearl Jam, Kiss, Foreigner, Leon Russell, Greg Allman, Sheryl Crow, Chicago, Carly Simon, Melissa Etheridge, Cyndi Lauper, Midnight Oil, Marshall Tucker, A Flock of Seagulls, Greta Van Fleet. Troubadours - Harry Belafonte, Tony Bennett, Joan Baez, Eagles, James Taylor, CS&N, Bonnie Raitt, Jackson Browne, Jimmy Buffett, John Denver, David Crosby, Richie Havens, Rickie Lee Jones, Joan Osborne, Jack Johnson, John Sebastian, Michael Franti. California Dreaming - Byrds, Grateful Dead, Doors, Jefferson Airplane, Big Brother, Youngbloods, Fillmore (Bill Graham), Woodstock, Country Joe, Buffalo Springfield, Steve Miller, Merl Saunders. British Invasion - Cream, Yardbirds, Animals, Stones (Mick Taylor), Wings (Denny Laine), Yes, Badfinger, Peter Frampton. Country - Charley Pride, Crystal Gayle, Miranda Lambert, Vince Gill, Billy Currington. Soul - Supremes, Sade, Jacksons, Earth Wind & Fire, Dionne Warwick, Chaka Khan, Temptations, Booker T & MGs, Billy Preston, Angélique Kidjo, Freda Payne, Kool & Gang, Maceo Parker, Commodores, Village People, Narada Michael Walden, Corinne Bailey Rae, Lisa Fischer. Blues - BB King, Buddy Guy, Junior Wells, John Mayall, Johnny Winter, Jimmie Vaughan, Taj Mahal, Dr John, Boz Scaggs, Vieux Farka Touré. Jazz - Dizzy Gillespie, McCoy Tyner, Herbie Hancock, Wynton Marsalis, Pat Metheny, Dave Brubeck, Chick Corea, Paul Horn, Mose Allison, Hugh Masakela, Bela Fleck. Hawaii - Henry Kapono, Willie K, Iz, Keali‘i Reichel, Eddie Kamae, Keola Beamer, Jake Shimabukuro, Tom Moffatt. Reggae - Jimmy Cliff, Toots Hibbert, Marleys (Ziggy etc), The Wailers, UB40, English Beat, Harder They Come movie.

Episode 36 Listening to Malcolm Cecil and T.O.N.T.O Malcolm Cecil's synthesizer setup was known as T.O.N.T.O., an acronym meaning The Original New Timbral Orchestra. Playlist Caldera, “Share With Me the Pain” from A Moog Mass (1970 Kama Sutra). Synthesizer programming and engineering by Malcolm Cecil and Robert Margouleff; spoken vocals, Malcolm Cecil; tenor vocals, Robert White; harpsichord, John Atkins; synthetic speech effects, Robert Margouleff' cello, toby Saks. 4:31 Tonto's Expanding Head Band, “Timewhys” from Zero Time (1971 Atlantic). Written by, programmed, engineered, produced and performed by Malcolm Cecil and Robert Margoulff. Lyrics by Tama Starr. Recorded with an expanded Moog Modular III synthesizer. This was prior to expanding their system into what would become T.O.N.T.O.. 5:03 Tonto's Expanding Head Band, “Cybernaut” from Zero Time (1971 Atlantic). Written, programmed, engineered, produced and performed by Malcolm Cecil and Robert Margoulff. Recorded with an expanded Moog Modular III synthesizer. A nice demonstration of what they could accomplish with the Moog. 4:31 Stephen Stills/Manassas, “Move Around” from Manassas (1972 Atlantic). Synthesizer, electric guitar, organ, vocals, producer, Stephen Stills; keyboards, Paul Harris; drums, Dallas Taylor; guitar, Chris Hillman. Synthesizer programming, Malcolm Cecil. 4:17 Stevie Wonder, “Keep on Running” from Music Of My Mind (1972 Tamla). Synthesizers, ARP and Moog, Piano, Drums, Harmonica, Organ, Clavichord, Clavinet, Stevie Wonder. Engineering and synthesizer programming, Malcolm Cecil and Robert Margouleff. Adds the ARP and another Moog to the T.O.N.T.O. setup. 6:38 Stevie Wonder, “Evil” from Music Of My Mind (1972 Tamla). Synthesizers, ARP and Moog, Piano, Drums, Harmonica, Organ, Clavichord, Clavinet, Stevie Wonder. Engineering and synthesizer programming, Malcolm Cecil and Robert Margouleff. 3:31 Pat Rebillot, “The Naked Truth” from Free Fall (1974 Atlantic). Synthesizer and electric piano, Pat Rebillot. Engineering and synthesizer programming, Malcolm Cecil and Robert Margouleff. 3:28 Tonto, “The Boatman” from It's About Time (1974 Polydor). Written, programmed, engineered, produced, and performed by Malcolm Cecil and Robert Margoulff. Features the expanded analog version of T.O.N.T.O. featuring ARP, Moog, and Oberheim equipment. Note the rain and thunder sounds created using the synthesizer. Reminds me of Beaver and Krause from this era. 5:04. Tonto, “Tonto's Travels” from It's About Time (1974 Polydor). Written, programmed, engineered, produced, and performed by Malcolm Cecil and Robert Margoulff. Features the expanded analog version of T.O.N.T.O. featuring ARP, Moog, and Oberheim equipment. I think you can hear the joystick that Cecil created. 8:25 Mandrill, “Peaceful Atmosphere” from Beast From The East (1975 United Artists Records). T.O.N.T.O. played by Claude “Coffee” Cave, Carlos Wilson; electronic music programming, Malcolm Cecil. From the liner notes: “T.O.N.T.O. The Original New-Timbrel Orchestra. This instrument consists of twelve synthesizers linked together and played simultaneously. A polyphonic touch-sensitive also plays also plays an essential role in the creation of sound when the instrument is played. We thank you Malcolm Cecil for the creation of T.O.N.T.O. 3:19 Mandrill, “Honey-Butt” from Beast From The East (1975 United Artists Records). T.O.N.T.O. played by Claude “Coffee” Cave, Carlos Wilson; electronic music programming, Malcolm Cecil. 4:58 Stairsteps, “Theme Of Angels” from 2nd Resurrection (1976 Dark Horse Records). Synthesizer, T.O.N.T.O., Billy Preston; T.O.N.T.O. programmed by Malcolm Cecil and Robert Margouleff; produced and engineered by Robert Margouleff. Music By, Lyrics By, Lead Vocals, Lead Guitar, Bass, Kenneth Burke; Backing Vocals, Ivory Davis; Backing Vocals, Stairsteps; Drums, Alvin Taylor; Guitar, Dennis Burke; Keyboards, Billy Preston. 3:18 Stairsteps, “Salaam” from 2nd Resurrection (1976 Dark Horse Records). Synthesizer, T.O.N.T.O., Billy Preston; T.O.N.T.O. programmed by Malcolm Cecil and Robert Margouleff; produced and engineered by Robert Margouleff. Music By, Lyrics By, Lead Vocals, Lead Guitar, Bass, Kenneth Burke; Backing Vocals, Ivory Davis; Backing Vocals, Stairsteps; Drums, Alvin Taylor; Guitar, Dennis Burke; Keyboards, Billy Preston. 4:26 Quincy Jones, “I Heard That” from I Heard That!! (1976 A&M). Synthesizer, Dave Gruisin. Synthesizer programming by Malcom Cecil, Robert Margouleff, Paul Beaver. 2:12 Quincy Jones, “Theme from ‘The Anderson Tapes” from I Heard That!! (1976 A&M). Synthesizer, Dave Gruisin. Synthesizer programming by Malcom Cecil, Robert Margouleff, Paul Beaver. Synthesizer, Ed Kalehoff. Also features a vibraphone solo by Milt Jackson, a trumpet solo by Freddie Hubbard, Toots Thielemans on harmonica, and Bobby Scott on piano. 5:05 Steve Hillage, “Octave Doctors” from Motivation Radio (1977 Virgin). Producer, Engineer, Synthesizer T.O.N.T.O., Malcolm Cecil; Synthesizer & Saucersizer, Vocals, Lyrics, Miquette Giraudy; Composed, Arranged, Lyrics, Guitar, Guitar Synthesizer, Voice, Shenai; Steve Hillage. 3:30 Steve Hillage, “Radio” from Motivation Radio (1977 Virgin). Producer, Engineer, Synthesizer T.O.N.T.O., Malcolm Cecil; Synthesizer, Vocals, Lyrics, Miquette Giraudy; Composed, Arranged, Lyrics, Guitar, Guitar Synthesizer, Voice, Shenai; Steve Hillage. 6:11 Gil Scott-Heron & Brian Jackson, “1980” from 1980 (1980 Arista). Produced by Brian Jackson, Gil Scott-Heron, Malcolm Cecil; engineered and mixed by Malcolm Cecil; Synthesizer (T.O.N.T.O.), piano, electric piano, keyboard bass, Brian Jackson; composer, guitar, piano, vocals, Gil Scott-Heron; horns, Bill Watrous, Denis Sirias, Gordon Goodwin; drums, Harvey Mason; guitar, Marlo Henderson. 5:59 Gil Scott-Heron & Brian Jackson, “Late Last Night” from 1980 (1980 Arista). Produced by Brian Jackson, Gil Scott-Heron, Malcolm Cecil; engineered and mixed by Malcolm Cecil; Synthesizer (T.O.N.T.O.), piano, electric piano, keyboard bass, Brian Jackson; composer, guitar, piano, vocals, Gil Scott-Heron; horns, Bill Watrous, Denis Sirias, Gordon Goodwin; drums, Harvey Mason; guitar, Marlo Henderson. 4:24 Malcolm Cecil, “Gamelonia Dawn” from Radiance (1981 Unity Records). Composed, Performed, Produced, Engineered by Malcolm Cecil. Recorded at T.O.N.T.O. studios in Santa Monica, California. From the liner notes: “The Original New Timbral Orchestra is the world's largest privately built and owned synthesizer standing some six feet high and twenty feet in diameter. It was designed and built by Malcom Cecil.” In addition to Cecil on T.O.N.T.O., this track features Paul Horn on “golden” flute. 4:35 Malcolm Cecil, “Dance of the Heart” from Radiance (1981 Unity Records). Composed, Performed, Produced, Engineered by Malcolm Cecil. Recorded at T.O.N.T.O. studios in Santa Monica, California. 3:28   Background music: Caldera, “Make Me Carry The Death Of Christ” from A Moog Mass (1970 Kama Sutra). Synthesizer programming and engineering by Malcolm Cecil and Robert Margouleff; spoken vocals, Malcolm Cecil; tenor vocals, Robert White; harpsichord, John Atkins; synthetic speech effects, Robert Margouleff' cello, toby Saks. Tonto's Expanding Head Band, “Riversong” from Zero Time (1971 Atlantic). Written by, programmed, engineered, produced and performed by Malcolm Cecil and Robert Margoulff. Lyrics by Tama Starr. Recorded with an expanded Moog Modular III synthesizer. This was prior to expanding their system into what would become T.O.N.T.O.. 8:01 Here is the video produced with Malcolm Cecil by the National Music Centre of Canada. This short history of T.O.N.T.O. at Rolling Stone magazine is also of interest.   Introductory and background music by Thom Holmes unless otherwise indicated. Opening and closing sequences were voiced by Anne Benkovitz. For episode notes, see Noise and Notations. For more information about the history of electronic music, see Electronic and Experimental Music, sixth edition, published by Routledge.

Nirvana [00:33] "Scentless Apprentice" In Utero DGC DGC-24607 1993 The one track on In Utero with writing credit to all three band members. Stiff Little Fingers [04:21] "Alternative Ulster" Inflammable Material Rough Trade ROUGH 1 1979 Another one of my go-to selections on the Downtown Beirut jukebox. Ray Charles [07:04] "Busted" Ingredients in a Recipe for Soul ABC-Paramount ABCS-465 1963 Ain't it the truth though? Written by Harlan Howard and originally recorded by Johhny Cash the year prior. Stevie Wonder [09:12] "Don't You Worry 'bout a Thing" Innervisions Tamla T 326L 1973 This song made it to number 16 on the hot 100 in 1974. Stevie plays piano, drums and Moog bass; Yusuf Roahman handles the shaker, and Sheila Wilkerson plays the bongos an Latin gourd. Paul Horn [15:30] "Akasha" Inside Epic BXN 26466 1968 Recorded INSIDE the Taj Mahal. Monty Python [17:20] "How Do You Tell a Witch" Instant Record Collection - The Pick Of The Best Of Some Recently Repeated Python Hits Again, Vol. II Arista AL 9580 1981 Stick that in your logical fallacies and smoke it. Buck Owens and his Buckaroos [20:07] "Buckaroo" The Instrumental Hits of Buck Owens and his Buckaroos. Capitol Records T 2367 1965 TextExpander will be very happy to suggest adding a shortcut for me so I don't have to type out Buck Owens and his Buckaroos everytime. The Album Leaf [22:06] "Always for You" Into the Blue Again Sub Pop SP 708 2006 Some fine SoCal electro indie pop. Sean Lennon [28:20] "Photosynthesis" Into the Sun Grand Royal GR053 1998 A fine latin groove from some groovy Downtown Jazz cats. Strings Unlimited [34:11] "Flight of the Bumble Bee" Introducing Strings Unlimited Tempo Records TS 1001 Buzz buzz baby. Daedelus [35:35] "Quiet Now" Invention Plug Research PR340202LP 2002 Always a pleasure to see perform live. This track features words by the equally excellent Busdriver. Jaco Pastorius [39:07] "Fannie Mae/Eleven" Invitation Warner Bros. Records 9 23876-1 1983 Recorded while touring Japan. John Lee Hooker [43:30] "Boom Boom" Is He the World's Greatest Blues Singer? Vee-Jay Records VJS 8502 1965 Can't get much more classic than this. Grace Jones [46:02] "Love Is the Drug" Island Life Island Records 7 90491-1 1985 A look at her 9 years on... Island Records! I love this version of the Roxy Music hit, remixed by E.T. Thorngren. Three Dog Night [52:07] "Mama Told Me (Not to Come)" It Ain't Easy ABC/Dunhill DS-50078 1970 Written by Randy Newman (https://youtu.be/wR0D6HJms8w) for Eric Burdon (https://youtu.be/tH47sJIFK0U), taking the song to it's highest success. Frank Sinatra, Count Basie and his Orchestra [55:25] "Fly Me to the Moon" It Might as Well Be Swing Reprise Records FS-1012 1964 Moon yes, Mars... I'm not too sure about that one. Music behind the DJ: "Holiday for Strings" by Strings Unlimited

Matthew Ingram is author of Retreat: How the Counterculture Invented Wellness. He hosts the Woebot blog. This stimulating conversation explores the very nature of music and covers different music genres including blues, rock, gospel, jazz, new age, and even punk. Some of the many musicians discussed include John Coltrane, Alice Coltrane, Carlos Santana, Paul Horn, … Continue reading "Music and Mysticism with Matthew Ingram"

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Estreno de 'Love Soul', nuevo disco de los británicos Workshy, y repaso a las recientes publicaciones de Lowell Hopper, Richard Elliot, Mario Biondi, Les Sabler y Papik. En los minutos para el recuerdo recuperamos un álbum de la década de los 70 del saxofonista Paul Horn y el primer disco en solitario editado por el bajista Jacob Webb.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

Estreno de 'Love Soul', nuevo disco de los británicos Workshy, y repaso a las recientes publicaciones de Lowell Hopper, Richard Elliot, Mario Biondi, Les Sabler y Papik. En los minutos para el recuerdo recuperamos un álbum de la década de los 70 del saxofonista Paul Horn y el primer disco en solitario editado por el bajista Jacob Webb.

  Somehow last year I missed the album Transcendence by Sherry Finzer. https://heartdancerecords.bandcamp.com/album/transcendence It's an album of solo flute improvisations recorded in an old water tank in Rangely, Colorado. It definitely has the same feel as Paul Horn's Inside the Great Pyramid from 1976. As I listened to it, I wondered if I could collect enough tracks to make a mix of music recorded in water tanks, silos and cisterns. Well, I guess I found enough because here's the mix - Resonant Spaces. There were a few artists that I immediately knew I would include - Pauline Oliveros, Stuart Dempster, Paul Horn, and Jim Cole. From there I did a bit of research, got a recommendation from Sherry, and ended up with a nice collection of tracks.  My first exposure to recording on-site, in an unusual location was Paul Horn's Great Pyramid album. I had that LP in college and it helped me through many nights of studying. Well, not that many because I didn't study a whole lot. My next exposure was 1989's Deep Listening by Oliveros, Dempster, & Panaiotis. An iconic album recorded in a huge underground cistern in northwest Washington state. The space would eventually be known as Dan Harpole Cistern. Deep Listening is one of my favorite ambient albums of all time. It owes its unique sound to the incredible space in which it was recorded.  According to the liner notes they parked their van next to the cistern and began to drop cables into the 14-foot deep cavern. They then rigged up rope and harnesses to lower chairs, accordion, sea shells, trombone, garden hoses, didgeridoos, tarps, cleaning tools and people. It was very dark, contrasted with the daylight streaming in from the hatch where they had come down.   The liner notes continue - "The remarkable thing about the acoustic space is the long reverb, which could approach 45 seconds, and the lack of slap echoes and distinct early reflections that are often characteristic of large cathedrals; only pure, smooth reverb...the amplitude of which appears to begin at the sane decibel level as the source. Consequently, it is impossible to tell where the performer stops and the reverberation takes over."   Here's a list of each artist, their album & a pic of where the recording was made:   1. Sherry Finzer - Transcendence - recorded at The Tank in Rangely, Colorado.   2. Jim Cole & Spectral Voices - Innertones - recorded in a 120-feet-tall water tank.   3. Stuart Dempster - Underground Overlays from the Cistern Chapel - recorded in a 2 million-gallon concrete cistern, now empty, in the Pacific Northwest known as the Dan Harpole Cistern.   4.  Jherek Bischoff - Cistern - also recorded in the Dan Harpole Cistern.   5. Paul Horn - Inside The Great Pyramid - Recorded in the King's Chamber inside The Great Pyramid of Gizeh.     6. Paul Kikuchi - Portable Sanctuary Vol. 2 - Live in the Great Hall - recorded in the Great Hall at Union Station, Seattle, WA.   7. Jherek Bischoff - Improvisations - recorded in the Dan Harpole Cistern in Fort Warden in Port Townsend, WA.      7. Bodhi - Inside - recorded inside an old military bunker. I could not locate a pic of the bunker so this is from the album cover.   8. The User - Silophone - recorded in an abandoned grain storage facility in the port of Montréal.   9. Brother Saturn - Live at The Tank - recorded at The Tank in Colorado.   10. Bob Guido - Silophonic - recorded in Silo #5, an abandoned grain storage facility in the port of Montréal.      11. Oliveros Dempster Panaiotis - Deep Listening - recorded in the Dan Harpole Cistern in Washington. I hope you enjoy this other-worldly journey through Resonant Spaces.   Cheers!   T R A C K L I S T :   00:00    Sherry Finzer - Ancient Roots (Transcendence 2020) 05:18    Jim Cole & Spectral Voices - Hear Earth (Innertones 2006) 09:53    Stuart Dempster - Morning Light (Underground Overlays from the Cistern Chapel 1995) 17:20    Jherek Bischoff - The Sea's Son (Cistern 2016) 23:34    Paul Horn - Initiation (Inside The Great Pyramid 1976) 29:22    Paul Kikuchi - Union Pacific (Portable Sanctuary Vol. 2 - Live in the Great Hall 2016) 32:57    Bodhi - Relax (Inside 2020) 33:57    The User - Silophone (2001) 35:30    Brother Saturn - A Canopy Of Stars (Live at The Tank 2018) 39:50    Bob Guido - Silophonic 42:05    Oliveros Dempster Panaiotis - Lear (Deep Listening 1989) 52:05    Jim Cole & Spectral Voices - Spectral Winds, Inward Voices (Innertones 2006) 60:00    end  

After a few words on the passing of a legend, Julian Bream, Composer and guitarist, Scott Niebauer joins me to discuss a wide range of topics, including his guitar beginnings, the importance of practicing composition, musical influences, and of course, iced tea. We then hear Scott's latest composition, and a great piece from Paul Horn.

After a few words on the passing of a legend, Julian Bream, Composer and guitarist, Scott Niebauer joins me to discuss a wide range of topics, including his guitar beginnings, the importance of practicing composition, musical influences, and of course, iced tea. We then hear Scott's latest composition, and a great piece from Paul Horn.

Paul Horn, owner of Horn Strength & Conditioning out of LA, California sits down to talk about pivoting during the pandemic and what changes are happening to his gym. Paul's recent project, The Horn Strength Post-Workout Podcast, is an audio journey with a touch of whiskey, training and entertainment. Listen, subscribe and enjoy the show. https://www.hornstrength.com/ ttps://www.youtube.com/channel/UCzMhPWIik-2PsDjl91rXuCA https://podcasts.apple.com/us/podcast/the-horn-strength-post-workout-podcast/id1506502752 Subscribe at: https://podcasts.apple.com/us/podcast/inside-fitness-now/id1521241538

Rich Goodhart is not only an internationally recognized world music composer and recording artist working with nontraditional forms but also a shamanic sound healing practitioner, poet, writer, instrument builder and Qigong/Tai Chi instructor. Originally a keyboardist, he plays multiple instruments and has studied with master musicians of Africa, India, America and Indonesia. He has published two books, Shaman, Mirror, Medicine Tree and The Sound inside the Sound. Goodhart has created eight progressive world music CDs. New Age Retailer praised his third CD, Never Give a Sword to a Man Who Can’t Dance, as “the ultimate soundtrack to one’s most private ritual dream.”  According to world percussion master Glen Velez, it has “a true sense of adventure, with plenty of backbone and vibrant heart.” Goodhart’s most recent recording of sound healing journeys and meditations is Forest River Pathway. Goodhart has performed and collaborated with many highly regarded musicians including Jon Anderson of Yes, Steve Gorn, Krishna Das, Paul Horn, Daevid Allen, and Russill Paul, and also with writers such as Allen Ginsberg and Deepak Chopra, and with choreographer and dancer Bill T. Jones. Goodhart is likely to be found performing on dousongoni, sanza, bouzouki, dulcitar, Cosmi-Sonic Trance Banjo, berimbau, African and Middle Eastern hand drums, Native American flute, melodica, jaw harp, Himalayan bowls, gong and voice. Rich Goodhart: https://www.richgoodhart.com/ https://soundhealingforum.discussion.community/ https://www.youtube.com/channel/UC3EDI7L60GcsDD7Ab1fdDMw Natalie Brown: http://www.soundshealstudio.com http://www.facebook.com/soundshealstudio http://www.youtube.com/soundshealstudio http://www.instagram.com/nataliebrownsoundsheal Music by Natalie Brown, Hope & Heart http://www.youtube.com/watch?v=hZPx6zJX6yA This episode is sponsored by The OM Shoppe & Spa. The OM Shoppe & Spa offers a vast array of Sound Healing and Vibrational Medicine tools for serious professionals and for those ready to make sound and vibration part of their ongoing lifestyle. More and more we are coming to understand that our individual wellness is a direct reflection of our personal vibration. How we care for ourselves, our physical bodies, our minds and our spirits. The OM Shoppe is ready to help you today in a variety of ways. They offer the countries largest showroom of Quartz Crystal Singing bowls, sound healing instruments and vibrational medicine tools. If you are ready to uplevel your sound healing practice The OM Shoppe is a great place to get guidance and direction. They are available to consult with you directly by phone or you can shop online. They really enjoy getting to know their clients and customers one on one to better help recommend the right sound healing tools in the right tones for you. Call them today or visit them at http://www.theomshoppe.com. If you are ever near Sarasota, Fl do consider stopping in and visiting with them or enjoy a luxury spa treatment such as sound healing, energy work, massage, vibroacoustics or hypnotherapy. They truly offer a full holistic experience for practitioners and those seeking healing through natural means.

Every now and then when the holidays roll around, the boys celebrate by surveying some jazz-related Christmas releases. This is one of those now and thens, and they've picked an eclectic bunch indeed. After the tinsel talk winds down, Mike muses about Nick Cave (little known fact - Nick is Santa's favorite artist), tries to guess Pat's glam rock favorites, and gets an update on "world's angriest sunbeam" Nellie McKay. Various Artists on Columbia Records – JINGLE BELL JAZZ; Stan Kenton – A MERRY CHRISTMAS!; Geri Allen – A CHILD IS BORN; Paul Horn – JAZZ SUITE ON THE MASS TEXTS; Dave McKenna – CHRISTMAS IVORY.

Chris Hedge has been making music for a long time. He’s worked with masters like Paul Horn and Neil Young and others. Chris has produced a new record Himalayan Sessions with Paul Horn, Keola Beamer, and local musicians in the … More ... The post Chris Hedge – Sonic Magician – New CD “Himalayan Sessions” appeared first on Paradigms Podcast.

Chloe Goodchild in conversation with singer, composer, author, storyteller & speaker, Ann Mortifee, discussing compassion, passion, death, grief, presence, singing, voice and much more.The VOCE Dialogues offer a simple, accessible in-depth ground for poets, authors, musicians, visual artists, and visionary teachers to share and disseminate their insights about the transformative practice of contemplative, creative and compassionate communication.Ann Mortifee is a luminous, multi-faceted performing artist. A singer with a remarkable four-octave range, Ann is a Member of the Order of Canada, the highest honour bestowed on civilians by the Government of Canada.Her albums, concerts, musicals, scores (for ballet, opera, film and TV), and book, In Love with the Mystery, have generated numerous national and international distinctions and several awards. She is a compelling storyteller and keynote speaker at major conferences. Ann facilitates workshops on arts and consciousness, and has co-founded two foundations – one for social innovation and one for forestry conservation.She resides in British Columbia and is the wife of the late jazz flutist and ‘father of new age music’, Paul Horn.http://annmortifee.com/Chloe Goodchild is an international singer, innovatory educator, author and founder of The Naked Voice (1990) and its UK Charitable Foundation (2004), dedicated to the realization of compassionate communication in all realms of human life. Deafness in childhood catalysed Chloë’s deep encounter with her inner self, and began a lifetime’s experiential research into the voice as a catalyst for personal evolution and global transformation.https://www.chloegoodchild.com/

Back from a trip to Philadelphia with a few selections, plus a couple more from the Brooklyn crates. Enjoy! Tracklist: Walt Barr, Synthesis, Groove Holmes, Connexion, Harold Johnson Sextet, Anthony Ortega Quartet, Paul Horn

00:00 - Introduction 02:31 - Main Topic (Serving Military Families) On episode ONE HUNDRED AND FIVE of Let the Bird Fly! Mike sits down with Rev. Paul Horn, who is pastor at Lamb of God Lutheran Churuch in Lafayette, Indiana. Rev. Horn has also served congregations in Kentucky and Georgia and has had a number of opportunities to serve military families. We wanted to have him on to discuss the challenges and benefits of serving this unique group of people. Since Mike's in charge again, you'll be without a Free-for-All (eventually Wade will see what he's up to, though, and get back on an episode to right the ship). Rev. Horn forces Mike into a mini-Free-for-All, however, so not all is lost (thanks, Paul!). Thanks to Rev. Horn for joining us while he was in the area! If you're interested in joining Wade and Mike at the 2019 Here We Still Stand conference in San Diego, head over there now to see if there are still tickets available (but hurry, this will sell out). And if you do sign up, remember to use the promo code PNET19 to save $25 off your registration. Let the Bird Fly! is supported by the 1517 Podcast Network, which is part of 1517.org. If you haven't done so yet, stop over there and check out the other great podcasts in the network, as well as all of the other excellent content they offer. And as always, if you are enjoying the show, please subscribe, rate, and review us on iTunes, Stitcher, Google Play, Spotify, or TuneIn Radio. You can also like us on Facebook and follow us on Twitter. You can also follow our Telegram Channel, where we post our new episodes as well as other content that we think you might enjoy. And, of course, share us with a friend or two! If you’d like to contact us we can be reached at podcast@LetTheBirdFly.com, or visit our website at www.LetTheBirdFly.com. Thanks for listening! Attributions for Music used in this Episode: “The Last One” by Jahzzar is licensed under an Attribution-ShareAlike 3.0 International License. “Whistling Down the Road” by Silent Partner. “Not Drunk” by The Joy Drops is licensed under an Attribution 4.0 International License.

In this Podcast: On this episode, Amber Pedroncelli interviews Paul Horn to discuss why everyone needs cybersecurity. Listen Download this PodcastThe post Global CISO Forum Podcast: Everyone Needs Cyber Security appeared first on EC-Council.

Gary Stroutsos – A Passion For Sound TravellingAired Wednesday, 1 May 2019, 12:00 PM EST / 9:00 AM PSTEvoking a spirit of place and the voices of the land, Gary’s Stroutsos musical works includes internationally-acclaimed recordings at sacred sites, using the unique acoustics and history of each great space as the starting point for musical exploration:A shared moment in a timeless place, where flute melodies, ancestral and modern, play off one another and songs come alive, buoying and breathing through the generations.In over thirty recordings, including a number of recordings made on location from the plains of the Dakotas, to the canyon lands of the Southwest, to the shores of the Pacific Coast, Stroutsos has created a body of work which expresses a passion for sound traveling:Music without borders.Gary’s New Album Reflections of the Taj Mahal: A Tribute To Paul Horn is Serene, spacious, and floating, and pays tribute to one of the greats–the highly innovative and jazz-minded improviser Paul Horn, who is often (incorrectly, says Gary!) referred to as “the grandfather of New Age music.” This new album is a perfect soundtrack for yoga, meditation, driving, the healing arts, and more.Visit: https://whiteswanrecords.bandcamp.com/track/traveller-bass-flute

Estelle Cimino describes how the Museum began in a house in Monterey, California. She and husband Jerry tell how the museum grew into the San Francisco institution it is today. People mentioned in this episode include Patti Smith and Paul Horn, as well as Alan Watts. Check out our blog on Tumblr, "North Beach Now Podcast". Pictured: One of Allen Ginsberg's typewriters on display in the Museum.

Episode 82 - R. Carlos Nakai. Dan Sterenchuk and Tommy Estlund are honored to have as our guest, R. Carlos Nakai. Of Navajo-Ute heritage, R. Carlos Nakai is the world's premier performer of the Native American flute. He began his musical studies on the trumpet, but a car accident ruined his embouchure. His musical interests took a turn when he was given a traditional cedar flute as a gift and challenged to master it. As an artist, he is an adventurer and risk taker, always giving his musical imagination free rein. He is also an iconoclastic traditionalist who views his cultural heritage not only as a source and inspiration, but also a dynamic continuum of natural change, growth, and adaptation subject to the artist's expressive needs. His first album, Changes, was released by Canyon Records in 1983, and since then he has released forty albums with Canyon plus additional albums and guest appearances on other labels. In addition to his educational workshops and residencies, he has appeared as a soloist throughout the United States, Europe, and Japan, and has worked with guitarist/luthier William Eaton, composer James DeMars, pianist Peter Kater and “the late” Paul Horn among many others. The famed American choreographer Martha Graham used Nakai's second album, Cycles, in her last work Night Chant. R. Carlos contributed music to the major motion pictures New World (New Line) and Geronimo (Columbia). R. Carlos, while cognizant of the traditional use of the flute as a solo instrument, began finding new settings for it, especially in the genres of jazz and classical. He founded the ethnic jazz ensemble, the R. Carlos Nakai Quartet, to explore the intersection of ethnic and jazz idioms. He brought the flute into the concert hall, performing with over 30 symphony and chamber orchestras. He was a featured soloist on the Philip Glass composition, Piano Concerto No. 2: After Lewis & Clark, premiered by the Omaha Symphony. He also works with producer and arranger Billy Williams, a two-time Grammy® winner, in composing for and performing the traditional flute in orchestral works of a lighter vein. In a cross-cultural foray, he performed extensively with the Wind Travelin' Band, a traditional Japanese ensemble from Kyoto which resulted in an album, Island of Bows. Additional recordings with ethnic artists include In A Distant Place with Tibetan flutist and chanter Nawang Khechog, and Our Beloved Land with famed Hawaiian slack key guitarist and singer Keola Beamer. Recently, he released Voyagers with Philadelphia Orchestra cellist Udi Bar-David which blends Native American melodies with Jewish and Arabic songs. R. Carlos Nakai has received two gold records (500,000 units sold) for Canyon Trilogy and Earth Spirit which are the first (and only) Native American recordings to earn this recognition. In 2014, Canyon Trilogy reached Platinum (over 1 million units sold), the first ever for a Native American artist performing traditional solo flute music. He has sold over four million albums in the course of his career. A Navy veteran, he earned a Master's Degree in American Indian Studies from the University of Arizona. He was awarded the Arizona Governor's Arts Award in 1992, and an honorary doctorate from Northern Arizona University in 1994. In 2005, R. Carlos Nakai was inducted into the Arizona Music & Entertainment Hall of Fame. He has also authored a book with composer James DeMars, The Art of the Native American Flute, which is a guide to performing the traditional cedar flute. We encourage you to visit his website: http://rcarlosnakai.com and you can purchase music here: https://rcarlosnakai.com/category/discography/ All music used with permission of R. Carlos Nakai (rcarlosnakai.com)and Canyon Records (canyonrecords.com). Special thanks to R. Carlos Nakai, Pamela Hyde, and Kathy Norris. The Curiosity Hour Podcast is hosted and produced by Dan Sterenchuk and Tommy Estlund.

a cura di Gigi Longo. Musiche di John Patton, Quincy Jones, Freddie Hubbard, Chico Hamilton, Bobby Timmons, Grant Green, The Ramsey Lewis Trio, Paul Horn, Ahmad Jamal, Art Blakey & The Jazz Messengers

a cura di Gigi Longo. Musiche di John Patton, Quincy Jones, Freddie Hubbard, Chico Hamilton, Bobby Timmons, Grant Green, The Ramsey Lewis Trio, Paul Horn, Ahmad Jamal, Art Blakey & The Jazz Messengers (seconda parte)

a cura di Gigi Longo. Musiche di John Patton, Quincy Jones, Freddie Hubbard, Chico Hamilton, Bobby Timmons, Grant Green, The Ramsey Lewis Trio, Paul Horn, Ahmad Jamal, Art Blakey & The Jazz Messengers (seconda parte)

Please join us this Wednesday, May 16, 2018 at 4:00 p.m. PST and 7:00 p.m. EST for a live show with host Denise Messenger.  Robert Williams will be joining us and talking about his book, "Love in the Power--Moving Humanity from Fear to Love."  Robert is considered one of the world’s foremost experts in subtle energy engineering and technology. Robert is an inventor, musician and educator. He lectures at leading universities and is the inventor and developer of Quantum Code Technology™. In addition to teaching music at the university level, Robert recorded and performed with such artists as The Beach Boys, Paul Horn and Charles Lloyd. He has worked with prominent scientists including Dr. William Tiller (Stanford), Dr. Beverly Rubik (Berkeley), Dr. Rustum Roy (Penn State) and Dr. Stuart Krassner (UC Irvine).

Love Is the Power author Robert O. Williams is the co-founder of ONE08, Inc., a Portland-based innovative technology company. He is the inventor and developer of Quantum Code Technology™. Robert’s research has provided scientific breakthroughs in field-based technologies, consciousness, and human potential. Robert has also enjoyed success as a musician and educator. He taught music at the university level, and recorded and performed with such artists as The Beach Boys, Paul Horn, and Charles Lloyd. After having a near-death experience in 1979, Robert devoted all of his time and energy towards researching consciousness and subtle energy, along with conventional physics and medicine. His research was published in the Journal of Alternative and Complementary Medicine and the journal Subtle Energies and Energy Medicine. He has been a guest lecturer several times at the University of California at Irvine and the Tai Sophia College of Alternative Medicine in Maryland. Additionally, Robert co-developed the ONE08 mobile phone Heart+ APP that can lower stress up to 30.2%. Love Is the Power describes in raw detail how his life journey continued to turn from one direction to another eventually leaving him struggling for his life, and the unexpected revelation that through various means, has improved the quality of life for millions.

Aired Thursday, 30 November 2017, 7:00 PM ET Love Is The Power: Moving Humanity From Fear To Love with Robert O. Williams What happens when we live all emotions, thoughts and body feelings as love as opposed to just searching for love? The answer, according to Inventor, Near-Death-Experiencer and former Beach Boys Musician, Robert O. Williams, “We are free to give to others without need or fear. That love is the power and pure heart consciousness. Considered to be one of the world’s foremost experts in subtle energy engineering and technology, Robert O. Williams’ life journey has been a far from average one. The author of the book “Love is the Power: Moving Humanity from Fear to Love,” Robert O. Williams joins Sandie this week to discuss: ~ His unique childhood and magical time performing and recording with the Beach Boys ~ His extraordinary near-death experiences ~ The out-of-body visits to other dimensions, which showed him the answer to the purpose of humanity ~ His invention of Quantum Code Technology™ and the Heart+ App, which is designed to help move humanity from fear to love ~ The ultimate purpose of Love… and much more… About the Guest: Robert O. Williams ROBERT O. WILLIAMS is considered one of the world’s foremost experts in subtle energy engineering and technology. An inventor, musician and educator, he lectures at leading universities and is the inventor and developer of Quantum Code Technology™. In addition to teaching music at the university level, Robert recorded and performed with such artists as The Beach Boys, Paul Horn and Charles Lloyd. He has worked with prominent scientists including Dr. William Tiller (Stanford), Dr. Beverly Rubik (Berkeley), Dr. Rustum Roy (Penn State) and Dr. Stuart Krassner (UC Irvine). The mission of his innovative global technology company, One08, is to improve the lives of all human beings worldwide by developing and bringing to market scientifically based life-changing mobile apps and clean technology products that improve the health, performance and lifestyles of its customers. Future offerings from One08 will include additional mobile apps, and patented clean technology products with Quantum Code Technology™ to positively affect global resources necessary for healthy living. Website: www.one08.net

What happens when we live all emotions, thoughts and body feelings - aslove - as opposed to just searching for love?  We would then be free to give to others without need or fear. Can we actually increase daily our ability to be in that state of love? Our guest today, Professor Robert Williams says, Yes, indeed! Robert is considered one of the world's foremost experts in subtle energy engineering and technology. He is an inventor, musician and educator. He lectures at leading universities and is the inventor and developer of Quantum Code Technology and the Heart Plus App. In addition to teaching music at the university level, Robert recorded and performed with such artists as The Beach Boys, Paul Horn and Charles Lloyd and he has worked with prominent scientists from some of the leading institutions. Robert's new book is entitled, Love is the Power: Moving Humanity from Fear to Love.  Visit www.loveisthepower.com Get the Inclusion Revolution CD by Sister Jenna.  Like America Meditating.  Visit our website at www.AmericaMeditating.org.  Download our free Pause for Peace App for Apple or Android

What happens when we live all emotions, thoughts and body feelings - aslove - as opposed to just searching for love?  We would then be free to give to others without need or fear. Can we actually increase daily our ability to be in that state of love? Our guest today, Professor Robert Williams says, Yes, indeed! Robert is considered one of the world's foremost experts in subtle energy engineering and technology. He is an inventor, musician and educator. He lectures at leading universities and is the inventor and developer of Quantum Code Technology and the Heart Plus App. In addition to teaching music at the university level, Robert recorded and performed with such artists as The Beach Boys, Paul Horn and Charles Lloyd and he has worked with prominent scientists from some of the leading institutions. Robert's new book is entitled, Love is the Power: Moving Humanity from Fear to Love.  Visit www.loveisthepower.com Get the Inclusion Revolution CD by Sister Jenna.  Like America Meditating.  Visit our website at www.AmericaMeditating.org.  Download our free Pause for Peace App for Apple or Android

Aired Wednesday, 13 September 2017, 8:00 PM ET Robert O. Williams - Love is the Power Picture this. A man has a long, successful career as a musician, university level music teacher and executive director of a music and movie production company. Then, a near death experience changes his life completely. What he experienced and brought back from near death was a quest to research consciousness and subtle energy along with physics and medicine and a deeper and more profound understanding of “light”, “love” and the power to transmute our human condition. This is the true life story (this lifetime) of Robert O. Williams. Robert recorded and performed with such artists as The Beach Boys, Paul Horn and Charles Lloyd and served as executive director of Beach Boy Mike Love’s motion picture and recording company. After his NDE in 1979, his focus and life purpose changed, transforming him into a seeker, inventor and visionary. His research has been published in the Journal of Alternative and Complementary Medicine and the journal, Subtle Energies and Energy Medicine. He is the inventor of Quantum Code Technology™. He is co-developer of the ONE08 mobile phone Heart+ APP that enhances, supports and maintains highly efficient human and animal bio-energy levels. He joins me this week to discuss his new book detailing his life and experiences, Love is the Power: Moving Humanity from Fear to Love.

Love Is the Power (June 2017) author Robert O. Williams is the co-founder of ONE08, Inc., a Portland-based innovative technology company. He is the inventor and developer of Quantum Code TechnologyTM (QCTTM) and Sympathetic Resonance TechnologyTM (SRTTM). Robert’s research has provided scientific breakthroughs in field-based technologies, consciousness, and human potential. Robert has also enjoyed success as a musician and educator. He taught music at the university level, and recorded and performed with such artists as The Beach Boys, Paul Horn, and Charles Lloyd. After having a near-death experience in 1979, Robert devoted all of his time and energy towards researching consciousness and subtle energy, along with conventional physics and medicine. His research was published in the Journal of Alternative and Complementary Medicine and the journal Subtle Energies and Energy Medicine. He has been a guest lecturer several times at the University of California at Irvine and the Tai Sophia College of Alternative Medicine in Maryland. Additionally, Robert co-developed the ONE08 mobile phone Heart+ APP that enhances, supports, and maintains highly efficient human and animal bioenergy levels. He also co-developed a way to revitalize drinking water, restoring the molecular relationships of H2O to match those of pristine healing waters found around the planet. Love Is the Power describes in raw detail how his life journey continued to turn from one direction to another eventually leaving him struggling for his life, and the unexpected revelation that through various means, has improved the quality of life for millions.

Lyran 1, ny podcast om mötet mellan musik och poesi, av & med poeten Niklas Törnlund och Rolf Beckman. Flöjtisten Paul Horn i en hemlig inspelning från gravkammaren i Keops pyramid. Den legendariske USA-poeten Gary Snyders ekovisionära ”Moder jord hennes valar”. Dessutom ett samtal med Augustprisade författaren Lina Wolff. Ur en kommande diktsamling läser Törnlund "Vindmusiken".

April 23rd, 2017 - Paul Horn • Virtues and Vices: Love by All Souls Anglican Church

Gonny Van Der Zwaag En Jean Paul Horn (iCulture) Over Tien Jaar IPhone by Fast Moving Targets

The return of the Starting Strength Podcast! In this episode, Mark Rippetoe interviews Paul Horn, Starting Strength Coach and owner of Horn Strength and Conditioning in Los Angeles. Rip and Paul discuss living in LA, the day to day life of a Starting Strength Gym owner and the value of the Starting Strength Coach credential. ----------------------------------------­----------------------------------------­--------- Watch Podcast on YouTube: https://www.youtube.com/watch?v=BRGI4p1aM20 WEBSITE: http://startingstrength.com FORUM: http://startingstrength.com/resources/forum/ STORE: http://aasgaardco.com Subscribe on YouTube: http://www.youtube.com/subscription_center?add_user=AasgaardCo Follow on Twitter: https://twitter.com/SS_strength Like on Facebook: https://www.facebook.com/pages/Starting-Strength-The-Aasgaard-Company/142424022490628 ----------------------------------------­----------------------------------------­---------

I've always tried to keep my personal and professional life separate, but these days it seems the lines are increasingly blurred. It's no secret that much to my amazement and delight I've become a father again which accounts for my recent sabbatical from the radio. So, whilst I was reconciled to the idea of parenthood returning to the agenda despite my (ahem) advancing years, I never anticipated..... twins!!!! A double blessing for sure, but that's easily said by those who've never actually experienced the reality of dealing with two wee ones simultaneously! It's relentless, they sleep deprivation is a form of torture but mainly I'm just delirious, doolally and drunk on the delights of nappy changing, cooing, comforting and generally easing the passage of my identical twin boys into this world. Funnily enough when we eventually arrived home with the boys there was a record shaped package amongst the piles of bills and junk mail which turned out to be my copy of Malcolm Cecil's "Radiance". I've long been fascinated by Cecil's career, as an obsessive devourer of record sleeve credits I eventually pieced together Cecil puzzle from his work alongside Robert Magaloueff with Stevie Wonder, and their pioneering electronic ambient excursions as Tonto's Expanding Head Band, to his production with Gil Scott-Heron And The Isley Brothers, but his solo album from 1981 had so far eluded me. It's very much in the classic T.O.N.T.O style, The Original New Timbral Orchestra being the vast modular synthesiser on which the album is entirely played, (apart from a contribution from Paul Horn's flute on the second track we include in the show). So "Radiance" ended up being the soundtrack to our first days at home with Quincy and Sebastian.... and you know who the former is named after! Ambient music certainly seems the most appropriate for the frayed and dazed days of new parenthood, gentle and slightly surreal, time dissolved into a continuum of caring and getting through. So maybe instead of my musings about cycling to South London my podcast will become a blog about twin parenthood? Actually I look forward to the day when I can get back to cycling and broadcasting live, and for that matter the days when I can return to my regular work-outs in the pool... of all the things I miss at the moment swimming would have to be top of the list as I tend to think it keeps me sane as much as trim! Anyway it was fairly miraculous to me that I managed to record a show here at Forge Towers, and I wouldn't pretend it's the greatest radio show I've put together, but under the circumstances I'm pleased with the outcome. There's a healthy balance of ancient and modern, with new soulful sounds from Lucas Arruda, Eric Roberson, Dele Sosimi, Kamasi Washington nestling alongside classics from Doug and Jean Carn, Charles Earland, Deodato and others. Of course Doug and Jean's rendering of Wayne Shorter's beautiful "Infant Eyes" was an obvious choice even if it was originally dedicated to a baby girl, it has all the tenderness and wonder of life inside the baby bubble. Of course for all the vagaries of sleepless nights and other sacrifices the joys of witnessing a new life are so much greater, unfathomable, therapeutic and profound. As for the music, well it was definitely therapeutic to get back to my vinyl, and the one advantage of recording the show at home is that affords the opportunity for more spontanaeity. Certainly the last half hour was completely impromptu, other than kicking it off with Nick the Record's rework of a Lincoln Olivetti Brazil boogie nugget, the rest were just pulled out off the cuff. (Which is easy as my twelves are all in the racks behind my decks, whereas the jazz is mainly on the other side of the room!). If I'd been planning a show more meticulously I'd probably thought "better" of playing Level 42's "Starchild" and Deodato's "Whistle Bump", so there you go. I also particularly enjoyed the start of the show with the Malcolm Cecil segué into an often overlooked version of "My Favourite Things" ( thank you Jean Claude Thompson). As I mentioned on the show I've been reassessing my Charles Earland collection as he is undoubtedly my favourite jazz organist, so expect more buried treasure from the king of the Hammond in weeks to come...Generally to my ears nothing screams "Acid Jazz" more than the sound of a funky organ groove, as that was the dominant sound at the birth of that "genre". So it was to my surprise that when I eventually dipped into the the third disc of the Kamasi Washington album to find that "Cherokee" was very much in that kind of rare groove style. However it must be said that the thing that stands out to me about the vocal tunes on The Epic is that they have something of a "show tune" quality, the melodies are almost archaic on "Cherokee" and "The Rhythm Changes", which is no bad thing. Of all the new music I played this week, I have to say that having vinyl copies of the Dele Sosimi and Lucas Arruda albums has increased my appreciation of those works exponentially. Of course I'm a vinyl fan, but beyond any discussion about sound quality, what makes an enormous difference to me is that I'm less likely to listen to a file on my main sound system and even though I run my laptop through a nice pair of speakers (in the kitchen), the whole sonic perspective is very different when playing off vinyl on my "semi-audiophile" set-up with my decks. So the Dele Sosimi album which benefits from being recorded in one of London's best analogue studios sounded much mightier from vinyl. As for Lucas Arruda's "Solar", it's a delightful set which owes much to classic Brazilian crossover fusion and soul, and even though it bears his influence quite obviously even Ed Motta is a fan, as indeed am I; a maturing talent for sure. More musings on fatherhood and music (definitely not) for dad dancing next week. I'm toying with the idea of some specials.... Like shows dedicated to my favourite drummers... Bernard Purdie, Harvey Mason et al, and I think a classic strictly acoustic jazz set is long overdue... Also I'm trying to think of a fitting tribute to my late great colleague Colin Faver who passed away last Saturday after I recorded the show. The man was one of the greatest DJs I've known, so much greater a talent than so many more celebrated names...no doubt he'll be rocking that party on the other side. Until then as one of my favourite comedians, Dave Allen, used to say "may your God go with you" which i think leaves plenty of room for interpretation whether your religious, agnostic or atheist...your God might well be music. 1. Malcolm Cecil - Sun Song 2. Oliver Nelson - My Favourite Things 3. Lucas Arruda - Vento Sul 4. The Foreign Exchange - Milk And Honey 5. Dele Sosimi - E Go Better 6. Kamasi Washington - Cherokee 7. Charles Wright & The Watts 103rd Street Band - What Can You Bring Me? 8. Charles Earland - Charles 3rd 9. Guilherme Vergueiro - Em Cima Da Hora 10. George Cables - Quiet Fire 11.Malcolm Cecil - Gamelonian Dawn 12. Doug & Jean Carn - Infant Eyes 13. Lucas Arruda - Uma Onda 14. Omar - Get Away 15. Eric Roberson ft. King - Just Imagine 16. Famks - Labirinto (Nick The Record rework ) 17. Carly Simon - Tranquilo (Melt My Heart) 18. Airto - The Road Is Hard ( But We're Going To Make It ) 19. Level 42 -Starchild 20. Deodato - Whistle Bump

Tried though I might to have been the harbinger of Spring last Sunday, fairly inevitably seven days later I'm braced by wintry raw as I'm scudding down the Old Kent Rd. As I write the seasonal change seems to be trying to assert itself again,as nature endeavours to claw its way free from that cold embrace. Even so, around this time of year we tend to start anticipating Summer, contemplating the seemingly impossible shedding of layers, days on the beach, and nights filled with sweet festival sounds..... If you're thinking of heading anywhere this Summer look no further than the tremendous Southern Soul Festival in lovely Montenegro, the line-up is hard to resist.... Whilst the new website is under construction you can check the Facebook, still a few early bird tickets left, grab 'em!! https://www.facebook.com/events/299599816915683/ Whilst on such topics before we get in to the broadcast stuff, a couple more nights to check... A Friday night which bodes of great things... less than a 100 tickets left , so please come and join us if you feel the urge! https://www.facebook.com/events/809590672423254/ And next month there's a rare and maybe never to be repeated session featuring myself alongside my lovely Launette, back to back, in Manchester. https://www.facebook.com/events/1091302944229261/ So, Cosmic Jam..... I enjoyed this one; maybe sleep deprivation is good for me, having had to rise after an hour and a half's kip following another top session at Guzzo in Barcelona; it was the only flight available, at 9am! So I got back to Forge Towers, sorted a little tunage then retired to my pit for some not quite satisfactory shut-eye. Personally, I always find sleeping during the day disorienting, discombobulating and definitely not to be indulged in unless absolutely essential. It's just that it seems to take longer to wake up again, I hate that fuzziness! Of course after my jaunt down South on the bike I felt very much wide awake, and managed to stay focussed through the show; sometimes I hit a wall of fatigue, and doubtless sometimes that's pretty obvious in my delivery. First half hour freshness, female vocals, Nneka, Emily Saunders, Eska, Vanessa Freeman, Rhonda Thomas...actually the Eska track is from 2009, but easily as fresh as the rest. Good news is her album drops soon...at last, though I doubt it will have anything as obviously jazzy as this collaboration with Michael Olatuja. Latin, and harmony? At least so I dubbed the next section of the show. I must say I've been enjoying the Mambo/Descarga/Latin Jazz thing of late, not that I've ever fallen out of love with those hypnotic bass lines and rolling percussion grooves that are best described as by one of my old time record dealers, "dangerous dance music". He had a habit of scrawling on the back of record sleeves, thus diminishing their value considerably, and sometimes the letters DDM would appear next to a track title, just as they do on my copy of "Mighty Mongo". Bless you Brian! Suffice to say that the trio of tunes that closes this section, from Marvin Smitty Smith through Mongo Sanataria to Daniel Ponce are all deserving of the DDM tag. It's funny, but over the years I've observed that so many fans of Soul and Jazz (Fusion) who are avid vinyl buyers often steer clear of the Latin and Brazilian sections despite the pervasive influence of those rhythms and musical cultures in so much of the music they cherish (and buy). Maybe I'm just on the Latin Jazz tip at the moment as it's blatantly not trendy, African compilations, obscure South American or Brazilian funk and boogie, anything like that has got legs for the vinyl punter, but good old Latin (Jazz) barely gets a look in! Prior to that section of tunes the harmony, especially from Lambert Hendricks and Ross, Hendricks' Lyrics to Hi-Fly are hilarious especially when applied anachronistically to the modern hipster, though of course they were written for the original age of "jive cats". The O Quarteto track is sublime beyond words, it must be said the Brazilians have an incredible affinity with the art of harmony singing. Second half of the show and the back to back section is dominated by Quincy's epic Gula Matari which I usually balk at playing on account of its length. On Sunday night I just wanted to hear it again, and relished every note. It seemed to segué nicely out of Paul Horn's "Guinevere" and into Letta Mbulu's "Down By The River". The "funky folk"? tune that closes the section is a recent turn on, thank you Paul Hillery!! (ph on Mixcloud) Boogie to the top always seems to be my mantra for the final section of the show, for many reasons, staying awake, staying alive, keeping the groove, and generally banging the boogie. Hopefully this week's burst of dance-floor energy won't disappointment. 1. Nneka - Believe System 2. Emily Saunders - Summer Days 3. Michael Olatuja ft Eska. - Yi Yipada 4. Gomo ft Vanessa Freeman - Forever Love 5. Rhonda Thomas - I Love It 6. Arn Evans & Tradewinds - Sambatime 7. O Quarteto - Ceu E Mar 8. Lambert Hendricks & Ross - Hi-Fly 9. Marvin "Smitty" Smith - Salsa Blue 10. Mongo Santamaria - Sabor 11. Daniel Ponce - Oromi 12. Paul Horn - Guinevere 13. Quincy Jones - Gula Matari 14. Letta Mbulu - Down By The River 15. Bernie Leadon / Michael Georgiades Band - Callin' For Your Love 16. Tom Browne - Brighter Tomorrow 17. Bobby Humphrey - No Way 18. Samm Culley Band - Walk 19. The Sunburst Band - The Secret Life Of Us (The Reflex Revision) 20. Gwen Guthrie - Padlock

Anlässlich der Ausstellung zuwenig liebe für alle des Künstlers Paul Horn vom 5. September bis zum 5. Oktober 2013 in der Knoll Galerie Wien zeigt CastYourArt ein Kurzinterview mit dem Künstler.

N4AL's Wendy and Adron Buske talk with Paul Horn, writer/artist of webcomic Cool Jerk, and Darlene Horn, food blogger for My Burning Kitchen and writer of Girl with the Donut Tattoo.

Season 2 of Eight Bit begins with special guest Rachel Wolters with innuendo specialists Ian Buck and Ian Decker, with a review of everyone's favorite Android game - Dots, and headlines on Audiosurf 2, Elder Scrolls Online, notes on interesting recent releases over the summer and more!