Podcast appearances and mentions of Pierre Henry

Aquesta setmana quasi no arranquem, però en contra de tota la tecnologia i de tota lògica, aconseguim tindre el capítol 398. Òscar, Rubén i Andreu, tres desvergonyits, ens apropen el seu mon musical, amb novetats, Agenda Vibradora de la mà Godzilla que marxa a les comarques de l'interior fins i tot. També tenim una part final on podem anar des de França a Itàlia, sense deixar de passar pel punk i fins i tot li fem un homenatge a Derringer, R.I.P. (Rock In Peace). Aprofitem aquestes línies per cagar-nos en la puta mare que va parir la targeta de so de l'ordinador de Ràdio Espai Jove. Llistat: Andre Miguel & The Moment - Sinvergüenza; Fizzz- Wasted time; MOOON -MODULATION BABY; Sempre res - Centra't; The Flaming Sideburns - Lucille; Mamotreto - Lovercraft Haiku; JOHNNY MOPED - I’M A SKITZOID; Heavy Lungs - Mr. Famous; The Cinelli Brothers - Leavi it with you; Pierre Henry et Michel Colombier - Psyché Rock; VILLAGE PEOPLE - Fight Food; SPIZZENERGI - SOLDIER SOLDIER; The McCoys - Sloopy Hang out; Adriano Celentano - Mondo in Mi 7a.

durée : 01:00:07 - Documentaire : Pierre Schaeffer, le musicien - par : François Bonnet - Plongez dans l'aventure de la musique concrète : 60 minutes d'archives rares où Pierre Schaeffer, Pierre Henry et leurs héritiers dévoilent l'objet sonore, de la locomotive au « Trièdre fertile », entre laboratoire et conscience écologique. - réalisé par : Alexandre Bazin

Como todos los años dedicamos un programa al Día Anual Internacional de concienciación sobre Ruido. En este día se celebran actividades en todo el mundo dirigidas a sensibilizar a la población y a los responsables políticos sobre cómo la exposición constante a niveles elevados de sonido—ya sea por el tráfico, la industria, eventos o actividades urbanas—pueden producir problemas de salud, como trastornos del sueño, estrés, pérdida de audición, y enfermedades cardiovasculares. La concienciación sobre el ruido es fundamental para comprender y mitigar su impacto en la salud humana y el medio ambiente. Escucharemos obras de Luigi Russolo, Edgar Varese, Luc Ferrari, Pierre Henry y sonidos de espacios naturales de la Sierra del Guadarrama (Madrid)Escuchar audio

Quand le covid est apparu dans nos vies, il a apporté avec lui des mots qui ont résonné fort dans ma mémoire : épidémie, contagion, quarantaine .. Mon histoire est née elle-même au sein d'une épidémie, et en quelque sorte grâce à elle.Après la crise du COVID, J'ai eu envie de faire se croiser des paroles de jeunes de différentes périodes ; on se souvient bien de ce qu'a été le COVID, mais que reste t il de la mémoire de la tuberculose qui a touché tant de jeunes jusque dans l'après guerre ? On a oublié ce que cette maladie représentait dans l'imaginaire collectif, celle qu'on appelait dans la littérature « phtisie » voir « maladie romantique». Alors, en quoi le vécu de la maladie est différent, pour des jeunes, ceux des années 50 et ceux d'aujourd'hui ?Je suis retournée à Ste Feyre, au « sana » comme l'on disait alors , qui est maintenant une clinique. J'ai cherché et rencontré d'anciens malades, de ceux qui avaient la vingtaine dans les années 50, et j'ai aussi demandé à des lycéens d'aujourd'hui de me raconter, par le son comment ils avaient vécu le COVID.Une pièce produite et réalisée par Muriel KS - la productrice de l'émission-  en 2024Mixage : Etienne GratianetteMerci à Emmeline Monville professeure du Lycée Pierre Bourdan - Guéret et aux élèves de la Terminale ThéâtreJe vous propose ensuite d'écouter "Souffle II" une pièce de Pierre Henry extraite du disque "Le voyage" composée pour le ballet éponyme de Maurice Béjart" L'oreille perçoit à nouveau le vent aigu de la réalité. L'être retrouve une terre hostile et dure. Le soufflé reprend possession des os et de la chair. La respiration s'accorde au vent démentiel. La mémoire disparaît."Pierre Henry, note de pochette Le Voyage, d'après Le Livre des mort tibétains, 1967. Si vous souhaitez écouter une autre de mes créations, de 2025 celle-ci, vous pouvez aller sur le site de France Culture émission “L'expérience” . Ma création s'appelle “La vie à vif, huis clos pour un sevrage”. Bonne écoute !   Emission produite et réalisée par Muriel KS

Episode 169 Chapter 28, Moog Analog Synthesizers, Part 2. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 2 from my book Electronic and Experimental music.   Playlist: CLASSIC SYNTHESIZER ROCK— FROM TAPE COMPOSITION TO SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     The Beatles, “Tomorrow Never Knows” (1966). Tape loops and Lennon's voice fed through the rotating Leslie speaker of a Hammond organ. 02:57 01:42 2.     Spooky Tooth and Pierre Henry, “Have Mercy” (1969). Featured tape composition by the French composer of musique concrète as part of a collaborative rock opera. 07:55 04:40 3.     Emerson, Lake, & Palmer, “Lucky Man” (1971). Featured the Moog Modular played by Keith Emerson; one of the first rock hits in which a Moog was the featured solo instrument. 04:39 12:34 4.     Yes, “Roundabout” (1971). Featured the Minimoog, Mellotron, Hammond Organ and other electronic keyboards played by Rick Wakeman. 08:33 17:10 5.     Elton John, “Funeral for a Friend/Love Lies Bleeding” (1973). Featured the ARP 2600 played by Dave Henschel. 11:10 25:42 6.     David Bowie, “Speed of Light” (1977). Produced by Brian Eno. Used an EMS AKS synthesizer and Eventide H910 harmonizer for the electronic effects and sounds. 02:47 36:46 7.     Gary Wright, “Touch and Gone” (1977).  Used Polymoog, Clavinet, Oberheim, and Fender-Rhodes electronic keyboards. 03:58 39:32 8.     Gary Numan, “Cars” (1979).  Early synth-rock success using electronic keyboards without guitar. Multiple Polymoog synthesizers. 03:52 43:28 9.     The Art of Noise, “(Who's Afraid Of?) The Art of Noise” (1984). Art rock devised by Anne Dudley and Trevor Horn exploring the sampling capabilities of the Fairlight CMI. 04:23 47:20 10.   Grace Jones, “Slave to the Rhythm” (1985). Featured the Synclavier programmed and played by Trevor Horn. 09:39 51:43   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. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Le match de Brive face à Provence est-il un quart de finale comme l'a présenté Pierre-Henry Broncan ? Ecoutez l'épisode 32 du PodCAB

Episode 153 Chapter 14, Musique Concrète in France. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: MUSIQUE CONCRÈTE IN FRANCE Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1.     Pierre Schaeffer, “Étude Aux Chemins De Fer ” (1948). Early musique concrète using turntables not magnetic tape. GRM studio (Paris). 02:53 01:36 2.     Pierre Schaeffer, “Étude Violette” (1948). Early musique concrète using turntables not magnetic tape. GRM studio (Paris). 03:25 04:28 3.     Pierre Schaeffer and Pierre Henry, “Prosopopée I” from Symphonie pour un homme seul (1949– 50). Early use of magnetic tape for musique concrète GRM studio (Paris). 02:57 07:48 4.     Iannis Xenakis, “Diamorphoses” (1957). Magnetic tape composition. GRM studio (Paris). 06:57 10:42 5.     Luc Ferrari, “Visage V” (1958-59). Magnetic tape composition. GRM studio (Paris). 10:37 17:38 6.     Mireille Kyrou, “Etude I” (1960). Magnetic tape composition. GRM studio (Paris). 05:09 28:12 7.     Philippe Carson, “Turmac” (1961). Magnetic tape composition. GRM studio (Paris). 09:43 33:20 8.     Bernard Parmegiani, “Danse” (1961). Magnetic tape composition. GRM studio (Paris). 04:08 43:04 9.     Henri Pousseur, “Trois Visages De Liège” (1961). Magnetic tape composition. Composed at the Centre de recherches et de formation musicales de Wallonie (CRFMW) (Belgium). 20:40 47:22 10.   Luc Ferrari, “Hétérozygote” (1963-64). Magnetic tape composition. GRM studio (Paris). 26:20 01:08:00 11.   François Bayle, “Vapeur” (1964). Magnetic tape composition. GRM studio (Paris). 04:44 01:34:16 12.   Beatriz Ferreyra, “Demeures aquatiques” (1967). Magnetic tape composition. GRM studio (Paris). 07:20 01:39:00                   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. Original music by Thom Holmes can be found on iTunes and Bandcamp.

En el último programa estuvimos hablando de Gómez de la Serna este brillante artista multifacético que marcó el arte de vanguardia español Hoy empezamos haciendo referencia a su faceta de reportero radiofónico su interés por lo cotidiano por lo aparentemente banal. Escucharemos referencias y reconstrucciones de sus experiencias sonoras junto con piezas de Richard Dering, Felix Blume y Pierre Henry.Escuchar audio

En France, les autorités font l'objet de critiques après l'attentat de Mulhouse au cours duquel un passant a été tué au couteau. Le suspect est un ressortissant algérien de 37 ans, condamné pour apologie du terrorisme, sous OQTF (obligation de quitter le territoire français), et dont l'expulsion a été refusée à plusieurs reprises par Alger. « Il faut changer la loi », a réagi la porte-parole du gouvernement Sophie Primas. Pourquoi l'assaillant n'a-t-il pas été mis hors d'état de nuire ? Pourquoi les lois immigration se succèdent-elles en France sans succès apparent ? Pour en débattre :- Anaïs Place, avocate spécialiste en droit des étrangers- Pierre Henry, président de l'association France Fraternités, ancien DG de France Terre d'Asile - Yves Pascouau, docteur en droit public, expert et consultant en droit et politique migratoire.

En France, les autorités font l'objet de critiques après l'attentat de Mulhouse au cours duquel un passant a été tué au couteau. Le suspect est un ressortissant algérien de 37 ans, condamné pour apologie du terrorisme, sous OQTF (obligation de quitter le territoire français), et dont l'expulsion a été refusée à plusieurs reprises par Alger. « Il faut changer la loi », a réagi la porte-parole du gouvernement Sophie Primas. Pourquoi l'assaillant n'a-t-il pas été mis hors d'état de nuire ? Pourquoi les lois immigration se succèdent-elles en France sans succès apparent ? Pour en débattre :- Anaïs Place, avocate spécialiste en droit des étrangers- Pierre Henry, président de l'association France Fraternités, ancien DG de France Terre d'Asile - Yves Pascouau, docteur en droit public, expert et consultant en droit et politique migratoire.

Episode 146 Chapter 08, Tape Composition and Sound Editing. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 08, Tape Composition and Sound Editing from my book Electronic and Experimental music.   Playlist: Classic Tape Composition Techniques   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1 Pierre Schaeffer, “Cinq études de bruits: Étude violette (1948). Early application of backwards sounds using a turntable 03:19 01:34 2 Pierre Henry, “Le Microphone bien tempéré” (1950– 52). Used reverberation. 24:48 04:50 3 Otto Luening, “Invention in Twelve Tones” (1952). Used tape echo. 03:47 29:37 4 Morton Feldman, “Intersection” (1953). Used leader tape as a composition tool to add patches of silence. 03:30 33:18 5 György Ligeti, “Glissandi” (1957). Extensive use of tape speed variation and backwards sounds. 07:45 33:44 6 Henri Pousseur, “Scambi” (1957– 58). Explored white noise, filtering, and reverberation. 06:34 44:20 7 Herbert Brün, “Anepigraphe” (1958). Tape music with voices edited into the mix, produced in the WDR studio in Cologne. 07:46 50:56 8 Terry Riley, “Music for the Gift” part 1 (1963). One of the first uses of tape delay with multiple tape recorders. 05:45 58:42 9 Pauline Oliveros, “Beautiful Soop” (1967). Used multiple tape echo signals. 27:46 01:04:24 10 Violet Archer, “Episodes” (1973). Using two Putney synthesizers, a bank of 10 oscillators, mixer, reverb, ring modulation, and filtering.  08:46 01:32:10   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. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 139 Chapter 01, What is Electronic Music? Recommended Works from Electronic and Experimental Music  This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. Playlist Time Track Time* Start Introduction –Thom Holmes 01:16 00:00 Pierre Schaeffer, Cinq Études De Bruits Étude Violette (1948). Example of musique concrète. 03:25 01:16 Pierre Schaeffer and Pierre Henry, Bidule en Ut (1950). Example of musique concrète. 02:11 04:36 Herbert Eimert, Klangstudie I (1952). Example of elektronische music. 03:57 06:46 Herbert Eimert and Robert Beyer, Klang Im Unbegrenzten Raum (1952). Example of elektronische music. 10:33 10:40 Karlheinz Stockhausen, Studie I (1953-54). Example of elektronische music. 10:00 20:59 Karlheinz Stockhausen, Gesang Der Jünglinge (1955-56). Example of electroacoustic music. 13:40 30:28 Else Marie Pade, Symphonic Magnetophonique (1958). Example of electroacoustic music. 19:28 43:38 Edgard Varèse, Poème Électronique (1958). Example of organized sound. 08:08 01:02:54 Max Mathews, Numerology (1960) 02:45 01:11:05 Daphne Oram, Four Aspects (1960). Example of Oramics or electroacoustic music. 08:15 01:13:36 Henri Pousseur, Trois Visage de Liège (1961). Example of electroacoustic music. 17:54 01:21:44 James Tenney, Collage No.1 (Blue Suede) (1961). Example of electroacoustic music. 03:27 01:39:32 Delia Derbyshire, Falling (1964). Example of radiophonic music. 08:45 01:42:58 Ann Hamilton, Mantle (1998). Example of sound art. 32:09 01:51:39   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. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Pierre-Henry Broncan est-il le seul responsable de la défaite du CA Brive face à Nevers ? Ecoutez l'épisode 21 de la saison 5 du PodCAB

Hors-série consacré à un concert hors Indre-et-Loire, au Musée d'Art Moderne de l'Abbaye de Fontevraud pour l'exposition Bernard Buffet, médiéval et pop Programme • Michel Magne, "Danse des flammes", musique pour Le Rendez-vous manqué • Interview de Dominique Gagneux, Directrice du Musée d'Art Moderne de l'Abbaye de Fontevraud • Erik Satie, "Sonnerie pour réveiller le Bon Gros Roi des Singes" * • Denis Dufour, "Cinq formes d'appel. N°4 - Invite" * • Arrivée De La Cloche Gabrielle À L'Abbaye De Fontevraud • Giacinto Scelsi, "Quattro Pezzi" pour trompette N°1 * • Giacinto Scelsi, "Preghiera per un' ombra" pour clarinette * • Pierre Henry - Michel Colombier, "Psyché Rock" • Entretien mené par Michel Droit avec les invités Bernard Buffet et Annabel Buffet • Karlheinz Stockhausen, "Der Kleine Harlekin" pour clarinette (extrait) * • Karlheinz Stockhausen, "Tierkreis - Le Lion" * • Pierre Henry, "La Reine Verte - Rock électronique" * enregistré en concert le 26/08/2024, au Musée d'Art Moderne de l'Abbaye de Fontevraud. ensemble PTYX : Antoine Moulin, clarinette, clarinette basse / Christophe Rostang, trompette / Jean-Baptiste Apéré, mélodica Plus de détails et des photos sur ensembleptyx.com ********************************************* Émission radiophonique sur les musiques contemporaines proposée par l'ensemble PTYX. Présentation : Jean-Baptiste Apéré réalisation, production, sans concession : ptyx fan club vnrpe (c) 2024

Nuestros cuerpos y su capacidad de percibir de sentir de conocer han tenido una relevancia diversa a lo largo de la historia del mundo occidental. La tendencia a la racionalidad y a la abstracción centraron todo el interés en el campo cognitivo relegando el cuerpo y lo sentido a un segundo plano. En las revoluciones artísticas del siglo XX el cuerpo fue asumiendo cada vez más importancia poniendo la atención sobre las capacidades del cuerpo de sentir y percibir el mundo que le rodea. Con este trasfondo escucharemos músicas de danza de Centro África y obras de Pierre Henry y Pierre Schaeffer, John Cage y Pablo Palacio.Escuchar audio

Quelque Part… La Matière c'est la nouvelle pâtisserie imaginée par le chef cuisinier Florian Barbarot et le chef pâtissier Pierre-Henry Lecompte. Ensemble, ils ont imaginé un univers brut et spatial, où la matière est omniprésente. Entrez dans leur boutique et vous serez immédiatement transportés dans leur univers bien singulier. Leur boutique ne ressemble à nulle autre mais, je ne voudrais pas trop en dire, au risque de vous gâcher la surprise. Alors rendez-vous au 48 Rue du Faubourg Montmartre à Paris pour découvrir tout cela.Alors dans ce nouvel épisode, en compagnie de Pierre-Henry, j'ai aimé découvrir ces belles valeurs qui sont au coeur de leur pâtisserie et de ce projet commun avec Florian. Son amour des plantes, du végétal, son envie de rester simple et d'aller à l'essentiel aussi, parfois. Il nous raconte tout.Au menu :

durée : 01:14:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - En 1979 la musique concrète avait trente ans. L'occasion pour l'émission "Dialogues" d'inviter les compositeurs et pionniers de cette musique, Pierre Schaeffer et Pierre Henry. Un face-à-face au ton malicieux qui retrace l'épopée de la musique concrète. - réalisation : Virginie Mourthé - invités : Pierre Schaeffer Compositeur, ingénieur, chercheur, théoricien et écrivain français.; Pierre Henry Compositeur français, pionnier de la musique électroacoustique (Paris, 1927 - 2017); Michel Chion Compositeur; François Bayle Compositeur, créateur et ancien directeur du Groupe de recherche musicale (GRM)

durée : 00:30:57 - Les Nuits de France Culture - par : Albane Penaranda - Il y a toute une œuvre derrière le tube du compositeur de musique contemporaine Pierre Henry "Messe pour le temps présent". C'est de cette œuvre aux multiples influences dont il question dans le second entretien avec le co-fondateur de la musique concrète dans "Multipistes" en 1990. - réalisation : Thomas Jost - invités : Pierre Henry Compositeur français, pionnier de la musique électroacoustique (Paris, 1927 - 2017)

durée : 00:32:36 - Les Nuits de France Culture - par : Albane Penaranda - On lui doit la "Messe pour le temps présent" composée pour une chorégraphie de Maurice Béjart. Mais Pierre Henry est un compositeur que l'on ne peut réduire à un tube. Le cofondateur de la musique concrète, avec Pierre Schaeffer, se raconte dans une série en deux épisodes de "Multipistes " en 1990. - réalisation : Thomas Jost - invités : Pierre Henry Directeur général de l'association France Terre d'Asile

Música creada por el compositor francés Pierre Schaeffer en 1948, en París, cuando trabaja en la Radio Televisión Francesa. Su atención está en los sonidos naturales—el paso de un tren, el trino de un pájaro—que graba en cinta magnética y transfiere de modo “concreto”._____Has escuchadoCinq études de bruits. Étude aux chemins de fer (1948) / Pierre Schaeffer. Ina Éditions (2010)Cinq études de bruits. Étude noire (1948) / Pierre Schaeffer. Ina Éditions (2010)Crayonnés ferroviaires (1992) / Michel Chion. Ina GRM (1998)Étude aux sons animés (1958) / Pierre Schaeffer. Ina Éditions (2010)Hors Phase (1977) / Bernard Parmegiani. Ina Éditions (2008)_____ Selección bibliográficaALLEN, Richard, “The Sound of ‘The Birds'”. October, vol. 146 (2013), pp. 97-120*BERTRAND, Loïc, Pierre Schaeffer & Pierre Henry: Symphonie pour un homme seul. Contrechamps Éditions, 2021CHION, Michel, El arte de los sonidos fijados. Traducido por Carmen Pardo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2001*—, Pierre Henry. Fayard, 2003DALLET, Sylvie y Anne Veitl, Du sonore au musical: cinquante années de recherches concrètes (1948-1998). L'Harmattan, 2001DELHAYE, Cyrille, “Orphée 53 de Pierre Schaeffer et Pierre Henry. Aux origines du scandale de Donaueschingen”. Revue de Musicologie, vol. 98, n.º 1 (2012), pp. 171-191*GAYOU, Évelyne, Le GRM: Groupe de Recherches Musicale: cinquante ans d'histoire. Fayard, 2007*GIRAULT, Hervé, “Les Affichages de Pierre Henry - ‘Apparitions Concertées': Analyse d'un parcours”. Musurgia, vol. 17, n.º 3 (2010), pp. 39-58*HENRY, Pierre, Le son, la nuit. La Rue musicale, 2017*—, L'œuvre: catalogue illustré, opus et musiques d'application 1945-2017. Philharmonie de Paris, 2021JUDD, Frederick Charles, Electronic music and musique concrète. Foruli Classics, 2013MANNING, Peter, “The Influence of Recording Technologies on the Early Development of Electroacoustic Music”. Leonardo Music Journal, vol. 13 (2003), pp. 5-10*PALOMBINI, Carlos, “Pierre Schaeffer, 1953: Towards an Experimental Music”. Music & Letters, vol. 74, n.º 4 (1993), pp. 542-557*POLSON, Simon, “(Demolishing) Concrete Music”. Leonardo Music Journal, vol. 23 (2013), pp. 55-57*SCHAEFFER, Pierre, A la recherche d'une musique concrète. Seuil, 1952—, Tratado de los objetos musicales. Traducido por Araceli Cabezón de Diego. Alianza, 1988*—, De la musique concrète à la musique même. Mémoire du livre, 2002STEINTRAGER, James A. y Rey Chow (eds.), Sound objects. Duke University Press, 2019*WEDGEWOOD, Richard B., “Dziga Vertov's ‘Enthusiasm': Musique Concrète in 1930”. College Music Symposium, vol. 23, n.º 2 (1983), pp. 113-121* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Comment fonctionnent les voitures rechargeables?  Entrevue  avec Pierre Henry, formateur pour Atelier Branchés  Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Montréal en totale décrépitude : merci à Valérie Plante et son je-m'en-foutisme | Magali Picard attaque Pierre Poilievre et Alain Rayes réagit | Ça va mal pour l'Ukraine | FIQ : des négociations ardues sur la place publique    Dans cet épisode intégral du 3 septembre, en entrevue :  Pierre Henry, formateur pour Atelier Branchés   Alain Rayes, député indépendant Richmond Arthabaska. Serge Sasseville, conseiller municipal dans le district Peter-McGill (centre-ville de Montréal). Philippe Sabourin, porte-parole administratif de la ville de Montréal. Éric Paradis, producteur du Fetish Weekend de Montréal.   Une production QUB Septembre 2024Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

‘J'ai créé ma marque pour offrir une meilleure expérience utilisateur. Au début tu es fier de signer avec des grandes enseignes, puis tu te rends compte qu'elles n'ont pas un grand engagement envers le consommateur”. Laurent Kretz échange avec Pierre-Henry Servajean, le créateur du premier jean armuré de l'histoire : l'Armalith®. Il nous explique comment il a eu l'idée d'inventer ce tissu révolutionnaire pour les motards, puis comment il a déposé un brevet et monté une première entreprise. Il nous partage également sa stratégie pour exploiter les royalties de sa création et pourquoi il a créé la marque Bolid'ster afin de maîtriser son expérience client de A à Z. Pierre-Henry nous donne également ses bonnes pratiques pour trouver le bon fabricant et investir dans la R&D après que son brevet soit tombé dans le domaine public. Dans ce nouvel épisode du Panier, vous trouverez des clés pour : 00:00:00 - Intro 00:07:10- Créer une paire de jeans esthétique et confortable à destination des motards ; 00:19:30 - Déposer un brevet (en tant qu'entreprise) et monter sa première boîte pour l'exploiter ; 00:29:45 - Protéger son brevet lorsque son entreprise est en redressement judiciaire ; 00:31:50 - S'associer (et fermer une entreprise) avec des amis ; 00:40:45 - Pivoter lorsque son brevet tombe dans le domaine public ; 00:48:45 - Faire évoluer son pricing en fonction de la quantité produite et de l'optimisation de sa chaîne de production ; 00:53:00 - Créer sa propre marque pour maîtriser son expérience client ; 01:02:25 - Investir dans la R&D pour se démarquer des fabricants qui copient l'Armalith® et soigner son produit final, Pour en savoir plus sur les références abordées dans l'épisode : #285 - Freeman T. Porter : Faire X10 en e-commerce sans concurrencer ses revendeurs #166 - Comment lancer un jeu de société et en vendre 10 M d'exemplaires, avec Régis Bonnessée Soulever un hummer avec un jean en Armalith® Et quelques dernières infos à vous partager : Suivez Le Panier sur Instagram lepanier.podcast ! Inscrivez- vous à la newsletter sur leanier.io pour cartonner en e-comm ! Écoutez les épisodes sur Apple Podcasts, Spotify ou encore Podcast Addict Le Panier est un podcast produit par CosaVostra, du label Orso Media.

Lithion Technologies, entreprise qui développe, déploie et exploite des technologies pour le recyclage et la circularité des matériaux stratégiques des batteries lithium-ion, a ouvert sa première usine de recyclage de batteries à St-Bruno de Montarville. Le PDG de la compagnie, Benoit Couture, nous en parle. Nous recevons aussi Pierre Henry, formateur à l’atelier branché et en essai routier, le nouveau Subaru Forester 2025 avec aussi le Chevrolet Blazer EV, et Silverado EV Voir https://www.cogecomedia.com/vie-privee/fr/ pour notre politique de vie privée

Continuamos hoy escuchando una selección de diferentes obras sonoras audiovisuales y fotográficas realizadas por creadores de todo el mundo dentro de la Muestra Internacional de Música Electroacústica MUSLAB. Se trata de un proyecto sobre la identidad cultural planteada desde el arte contemporáneo. Esta muestra internacional de música electroacústica en la que participan artistas e instituciones de diversos lugares está coordinada por Pedro Castillo Lara, investigador adjunto del Programa Arte Ciencias y Complejidad del Centro de Ciencias de la Complejidad de la UNAM.Escucharemos obras de Matteo Tundo, Pedro Castillo Lara, Edmar Soria y Panayiotis Kokoras. Además, vamos a remontarnos a los orígenes de esta música, vamos a escuchar una obra clásica de la música electroacústica. Le Voile d'Orphée es la primera obra de música electrónica. Fue compuesta por Pierre Henry en 1953 aunque hay una versión anterior de 1951 a partir de su ópera realizada para el Festival de Donaueschingen.La obra sería utilizada en el año 1958 por el coreógrafo Maurice Bejart.Escuchar audio

Cette semaine, le maître formateur de l’atelier branché Pierre Henry nous raconte son quotidien et ses statistiques intéressantes sur les véhicules électriques vs ceux à essence. Pendant ce temps Benoit nous parle de son essai privilégié de la Ferrari 296 sur le circuit de Fiorano et Alain a trouvé un gagnant de sa voiture de l’année: le Kia EV9. Voir https://www.cogecomedia.com/vie-privee/fr/ pour notre politique de vie privée

GARY WRIGHT 'THE LOST INTERVIEWS' EPISODE 4 with RAY SHASHO Gary Wright (April 26, 1943 – September 4, 2023)   Gary Wright is a celestial keyboard virtuoso, idyllic songwriter, and vocalist with powerful soulful pipes. Wright is an innovator of the synthesizer and over the years has managed to condense his many synthesized melodies into a single keyboard strapped around his neck. Although born and raised in Cresskill, New Jersey, Wright founded the British rock group Spooky Tooth in 1967. Wright would later become most recognized for his two solo hit singles “Dream Weaver” in 1975 and “Love Is Alive” in 1976.  Gary Wright will be joining the ‘Sail Rock 2013' tour along with Christopher Cross, Orleans, Firefall, John Ford Coley, Robbie Dupree and Player beginning August 5th in West Allis, Wisconsin. Visit Pollstar.com for all the latest concert dates.  SPOOKY TOOTH: Gary Wright joined the band 'Art' in 1967. The ‘V.I.P.'S' morphed into 'Art' after several lineup changes since its inception in 1963. The British R&B music ensemble had featured various distinguished musicians including Mike Harrison, Greg Ridley, Jimmy Henshaw, Keith Emerson, Luther Grosvenor, Walter Johnstone and Mike Kellie.  Keith Emerson (The Nice, ELP) left in 1967 when the name was changed to Art. The band eventually turned into Spooky Tooth with a lineup of Wright (organ, keyboards, and vocals), Harrison (vocals, keyboards) Ridley (bassist), Grosvenor (guitar, vocals) and Kellie (drums). In 1968, Spooky Tooth released their debut album entitled … It's All About. The album featured covers by Janis Ian and Bob Dylan. Most of the other tracks were either written or co-written by Gary Wright. The bands next release Spooky Two (1969) released on Island Records was hailed by critics as one of their finest recordings. The album featured many of the bands standards including “Evil Woman” and “Better by You, Better Than Me” a tune written by Wright and eventually covered by Judas Priest in 1978. Spooky Tooth quickly became a highly sought concert attraction and a mainstay on progressive rock radio. The band shared the stage with such legendary music acts as Jimi Hendrix and The Rolling Stones. Bassist Greg Ridley left in 1969 to join Humble Pie, Andy Leigh replaced him.  Also in 1969, the group released Ceremony (Spooky Tooth and Pierre Henry album) a progressive collaboration with the French electronic composer. Session musician: Wright left Spooky Tooth briefly to produce albums for Traffic and Rolling Stones producer Jimmy Miller and his production company. Gary Wright became an esteemed session musician and was asked to play on George Harrison's triple- album set All Things Must Pass (1970). Wright and Harrison began a long lasting friendship and musical collaboration that included Wright playing or sharing songwriting tasks on several of Harrison's subsequent albums including … Living in the Material World (1973), Dark Horse (1974), Extra Texture (Read All About It)(1975), Thirty Three & 1/3(1976), George Harrison(1979), Cloud Nine (1987). The Last Puff album (1970) primarily featured Mike Harrison while Wright focused on other projects. The release featured an incredible cover version of The Beatles, “I Am The Walrus.” Joe Cocker Grease Band members Henry McCullough, Chris Stainton and Alan Spenner were brought into the studio to work on the album. In 1971, Gary Wright performed “Two Faced Man” with George Harrison on the Dick Cavett Show. He also played piano on Harry Nilsson's #1 hit, a Badfinger cover tune entitled, “Without You.” In 1972, Gary Wright and Mike Harrison reformed Spooky Tooth with a different lineup. The new lineup featured future Foreigner founder and guitarist Mick Jones. Subsequent Spooky Tooth albums … (You Broke My Heart So I Busted Your Jaw (1973), Witness (1973), The Mirror (1974) and Cross Purpose (1999) (Reunion album without Wright, Greg Ridley returned). Spooky Tooth disbanded in 1974. Gary Wright and George Harrison visited India in 1974 as a guest of Ravi Shankar. Wright developed a long-term relationship with Shankar after the visit. SOLO CAREER: Gary Wright released two critically acclaimed solo albums on A&M Records … Extraction in 1971 and Footprint in 1972. Wright signed a record deal with Warner Brothers Records in 1974 and achieved his biggest commercial success with the release of The Dream Weaver album (1975). The single “Dream Weaver” reached #2 on Billboard's Hot 100 singles chart and #1 on the Cash Box charts. The album also spawned the hit “Love is Alive” (1976) reaching #2 on Billboard's singles chart. The album peaked at #7 on Billboard's Hot 100 albums chart. The song “Dream Weaver” has been spotlighted on numerous television shows and motion pictures. “Love is Alive” was covered by several legendary artists including … Chaka Khan, Joe Cocker and Richie Havens.  The Dream Weaver album featured guest musicians …guitarist Ronnie Montrose, drummers Jim Keltner and Andy Newmark, Hammond organist David Foster and Bobby Lyle on additional synthesizers. In 1981, Gary Wright scored again commercially with “Really Wanna Know You” (#16 Billboard Singles Hit). Gary Wright Solo albums … Extraction (1971), Footprint (1972), The Dream Weaver (1975), The Light of Smiles(1977), Touch and Gone (1978), Headin' Home (1979), The Right Place (1981), Who I Am (1988), First Signs of Life (1995), Human Love (1999), Waiting to Catch the Light (2008), The Light of a Million Suns (EP) (2008), Connected (2010). In 2004, Wright, Harrison and Kellie reunited Spooky Tooth for several concerts in Germany. As a result of their triumphant return, they released the Nomad Poets DVD in 2007. The same lineup played a series of European dates in 2008. Most recently: Gary Wright toured with Ringo Starr and His All-Star Band in 2008. In 2010, Wright released his latest studio album entitled Connected and features guest artists … Ringo Starr, Joe Walsh and Jeff “Skunk” Baxter. Gary Wright is currently writing his 'memoir' for the Penguin Group and should be available sometime near the end of 2014. I had the great pleasure of chatting with Gary Wright recently about ‘Sail Rock 2013,' Spooky Tooth, George Harrison, the music business, metaphysics and much-much more.   Support us on PayPal!

Dans On décrypte le monde, Jean-Marie Bordry reçoit Pierre Henry, président de France Fraternités et ancien directeur général de l'association France terre d'asile entre 1997 et 2020, ainsi que Philippe Fontana, avocat au barreau de Paris, auteur de “La Vérité sur le droit d'asile : Une industrie insoupçonnée financée par l'État” (Editions de l'Observatoire)

durée : 00:32:11 - Talmudiques - par : Marc-Alain Ouaknin - .

durée : 01:58:07 - France Musique est à vous du samedi 30 mars 2024 - par : Gabrielle Oliveira-Guyon - Serge Reggiani, Pierre Henry, le grand ténor wagnérien Franz Völker ou encore Montserrat Caballé, cette semaine, dans France Musique est à vous, c'est encore vous qui donnez le LA ! - réalisé par : Emmanuel Benito

Delighted and honoured to be joined by Jonathan Moore on the podcast today.  Jonathan is one-half of hugely influential electronic act, Coldcut, which he formed back in 1986 with Matt Black. Coldcut are often refereed to as pioneers of pop sampling in the 1980s We discuss, among other things, the recording of Coldcut's first album. His memories of working with the late and very great, Mark. E. Smith from post-punk band The Fall and Jonathan tells a great story about the time Coldcut remixed a track by legendary French composer and pioneer of musique concrète, Pierre Henry.   We also discuss Ninja Tune, the label that he and Matt started in 1990. The label's first release was the first five volumes of DJ Food's Jazz Brakes. Since then Ninja Tune has gone on to release albums by The Cinematic Orchestra, Bonobo, Kelis, Amon Tobin, Black Country New Road and the amazing BICEP https://coldcut.net/ https://ninjatune.net/home The Fall w/Coldcut - Telephone Thing Coldcut featuring Lisa Stansfield Synthetic Dreams is presented and produced by Scott Zverblis Synthetic Dreams on ⁠⁠Instagram⁠⁠ Synthetic Dreams title music by Chris Ibbott

SITE INTERNET : https://www.nexity.fr/

durée : 00:32:36 - Les Nuits de France Culture - par : Albane Penaranda - On lui doit la "Messe pour le temps présent" composée pour une chorégraphie de Maurice Béjart. Mais Pierre Henry est un compositeur que l'on ne peut réduire à un tube. Le cofondateur de la musique concrète, avec Pierre Schaeffer, se raconte dans une série en deux épisodes de "Multipistes " en 1990. - invités : Pierre Henry Directeur général de l'association France Terre d'Asile

durée : 00:08:28 - Les Nuits de France Culture - par : Albane Penaranda - Une sélection d'archives, proposée par Albane Penaranda, sur l'histoire de la musique concrète, le GRM, le Groupe de Recherches Musicales, qui abrita les compositeurs-pionniers de cette révolution musicale dans les années 1950 : Pierre Schaeffer, Pierre Henry, Eliane Radigue, Luc Ferrari, etc. - invités : Pierre Schaeffer Compositeur, ingénieur, chercheur, théoricien et écrivain français.

durée : 00:30:57 - Les Nuits de France Culture - par : Albane Penaranda - Multipistes - Pierre Henry 2/2 (1ère diffusion : 29/09/1990)

durée : 00:30:57 - Les Nuits de France Culture - par : Albane Penaranda - Il y a toute une œuvre derrière le tube du compositeur de musique contemporaine Pierre Henry "Messe pour le temps présent". C'est de cette œuvre aux multiples influences dont il question dans le second entretien avec le co-fondateur de la musique concrète dans "Multipistes" en 1990. - invités : Pierre Henry Compositeur français, pionnier de la musique électroacoustique (Paris, 1927 - 2017)

durée : 01:27:59 - Elvis Costello et les musiciens classiques - par : François-Xavier Szymczak - De Procol Harum à Emerson, Lake and Palmer, la scène pop-rock anglaise s'est parfois nourrie de musiques classiques. Outre Atlantique, Leonard Bernstein inclut des passages rock dans Mass, et en France, Pierre Henry lance Psyché rock

Episode 96 Crosscurrents of Musique Concrète Playlist Pierre Henry, “Final Du Concerto Des Ambiguités (Final Of The Ambiguities Concerto)” (1950) from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, tape editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 3:15 Pierre Henry, “Expressionisme (1951) Musique Sans Titre – 5e et 6e Mouvements (Untitled Music – 5th and 6th Movements)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Early piece of musique concrete during a time of transition at the RTF, when the composers were moving from using turntables and disc lathes to magnetic tape as a composition medium. This work has evidence of both. Composition, sound editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:59 Philippe Arthuys, “Boîte À Musique (Musical Box)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, sound editing, and audio production by Philippe Arthuys. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:53 Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Composition, sound editing, and audio production by Mireille Kyrou. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française", directed by Pierre Schaeffer. Kyrou is the rare example of a woman composer using the French studio. This is her only work released on record. However, according to Hugh Davies' International Electronic Music Catalog, I find several other compositions dating from this period that, hopefully, will one day be released by the GRM. There were three additional works from 1960-61, all done for film, totaling in time to about 31 minutes. 5:09 Henri Pousseur, “Trois Visages De Liège” (1961) from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). This is a reissued version of Pousseur's work from 1961 and originally released on a Columbia disc in 1967. But this version is several minutes longer than that release. This album also features a bonus track of sound elements used for the work before being fully composed. Composition, tape editing, and audio production by Henri Pousseur. Pousseur was Belgian and worked in the Studio de Musique Electronique de Bruxelles in a musique concrète style. 20:32 Bernard Parmegiani, “Danse” (1961) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Bernard Parmegiani. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. Parmegiani was one of the GRM's most prolific composers, working on individual works but also numerous pieces for stage, dance, and, most importantly film and commercials, producing early music videos, soundtracks, and commercials for companies like Renault. His music was inventive and imaginative, and he became a chief craftsman of electronic music for decades. Until 1992, he produced most of his music at GRM, but was frequently on commission to work at institutions in other countries. In 1992, Parmegiani left the GRM and set up his own studio in Saint-Rémy-de-Provence. 4:08 Luc Ferrari, “Tautologos I” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings realized in the studios of Gravesano (directed by Hermann Scherchen). Reissue of 1964 release. Composition, tape editing, and audio production by Luc Ferrari. 4:19 Philippe Carson, “Turmac” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by Philippe Carson. 9:43 Luc Ferrari, “Tête Et Queue Du Dragon” (Second Version) (1962) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Luc Ferrari. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 9:07 François-Bernard Mâche, “Terre De Feu (Second Version)” (1963) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by François-Bernard Mâche. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 6:52 François Bayle, “Vapeur” (1964) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by François Bayle. 4:44 Bernard Parmegiani, “Récession” (1966) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for theatre. 2:25 Bernard Parmegiani, “La Ville En Haut De La Colline II” (1968) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 1:30 Bernard Parmegiani, “Outremer” (1968) and “Trois Canons En Hommage À Galilée”(1969) from Arlette Sibon-Simonovitch Avec Le Concours De Sylvio Gualda Œuvres De: Parmegiani, Mestres-Quadreny – Espaces Sonores N°1 (1975 La Voix De Son Maître). Ondes Martenot, Arlette Sibon-Simonovitch. Composition, tape editing, and audio production by Bernard Parmegiani. Work for Ondes Martenot and four tracks of magnetic tape. 21:02 Bernard Parmegiani, “Je Tu Elles” (1969) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 2:59 Roger Roger, “Le Type Beurré” from Musique Idiote (1970 Neuilly). Another experiment with the Moog Synthesizer by composer Roger Roger, maker of broadcast library music. 1:38 Roger Roger, “La Nana Siphonée” from Musique Idiote (1970 Neuilly). Enter the Moog Synthesizer. Here are some early works for Moog by composer Roger Roger, maker of broadcast library music. 1:39 Opening background music: Henri Pousseur, “Éléments De Trois Visages De Liège” from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). Composition, tape editing, and audio production by Henry Pousseur. 3:10   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

durée : 00:04:31 - Le Feuilleton - Les poèmes d'Ingeborg Bachmann, dans la traduction de François-René Daillie et de Françoise Rétif, étaient lus par Dominique Reymond. Equipe de réalisation Pablo Valero, Pierre Henry.

durée : 00:04:31 - Le Feuilleton - Les poèmes d'Ingeborg Bachmann, dans la traduction de François-René Daillie et de Françoise Rétif, étaient lus par Dominique Reymond. Equipe de réalisation Pablo Valero, Pierre Henry.

Episode 95 Early Intersections of Rock and Electronic Music   Playlist Frank Zappa, The Mothers of Invention, “The Return of the Son Of Monster Magnet (Unfinished Ballet In Two Tableaus)” from Freak Out! (1966 Verve). Bass, Guitarrón, Soprano Vocals, Roy Estrada; Drums, Jimmy Carl Black; Guitar, Vocals, Arranged By, Written-By, Leader, Musical Director, Frank Zappa; Lead Guitar, Rhythm Guitar, Elliot Ingber; Vocals, Harmonica, Tambourine, Finger Cymbals, Ray Collins. Having been gifted a copy of the Mother's album Freak Out! In 1966, it was apparently this song that stuck in Paul McCartney's mind, inspiring the “Carnival of Light” recording to follow. 12:15 The Beatles, “Carnival of Light” an unreleased track that was commissioned by the Million Volt Light and Sound Rave, an event held at the Roundhouse in London on January 28 and February 4, 1967. Recorded during a session for the song "Penny Lane" in January 1967. Working with the recording studio as a creative tool, this was a project brought to band by Paul McCartney who had been asked by the festival sponsors to create a tape to be featured at the event. It was reported later that McCartney explained the exercise to his bandmates by saying, "This is a bit indulgent, but would you mind giving me 10 minutes? I've been asked to do this thing. All I want you to do is just wander round all of the stuff and bang it, shout, play it." The result was this sound piece. The Beatles were already conditioned for turning out spectacular sound effects in the studio. This was before the Moog Synthesizer came to Abbey Road. Nonetheless, they had access to all manner of guitar effects, echo, reverb, a Mellotron, electronic piano, organ, Lesley speakers and other devices with which to improvise. 13:08 The Riders Of The Mark, “The Electronic Insides And Metal Complexion That Make Up Herr Doktor Krieg” from The Electronic Insides And Metal Complexion That Make Up Herr Doktor Krieg/Gotta Find Somebody (1967 20th Century Fox). I wish I knew more about this band, but I don't. They had this one single. It has sometimes been included on compilation of psychedelia. Rock music, tape reversal, tape echo, fuzz tones, guitars. 2:13 Pink Floyd, “Interstellar Overdrive” from The Piper At The Gates Of Dawn (1967 Columbia). UK release of the formidable Pink Floyd, then making an impact with their first LP. No synthesizers, but there were electronic rock instruments galore and some imaginative stereo imaging, a benefit of working with tape in those days. Bass Guitar, Vocals, Roger Waters; Lead Guitar, Vocals, Syd Barrett; Drums, Nicky Mason; Piano, Organ, Rick Wright. 9:40 Bernard Parmegiani, “Pop'eclectic (1968)” from JazzEx (1999 Plat Lunch). Composed, produced, edited by Bernard Parmegiani. Parmegiani was one of the lesser-known composers associated with the French musique concrete school, although he was no less prolific in many genres, including electronic music for commercials. He was adept at experimenting across genres, providing musique concrete vividness to works for jazz and rock music. I always find his work to be refreshing and uncluttered by musical cliches. 11:03 (Frank Zappa) The Mothers of Invention, “Are You Hung Up?” from We're Only In It For The Money (1968 Verve). Arranged By, Composed By, Conductor, Concept By Conceived, Directed By Executed, Producer, Frank Zappa; Bass, Vocals, Other Asthma, Roy Estrada; Drums, Trumpet, Vocals, Other Indian Of The Group, Jimmy Carl Black; Drums, Vocals, Other Yak & Black Lace Underwear, Billy Mundi; Guitar, Piano, Vocals, Edited By, Other Weirdness, Frank Zappa; Piano, Woodwind, Other Wholesome, Ian Underwood; Saxophone, Other Weirdness & Teen Appeal, Euclid James Motorhead Sherwood; Sounds Snorks, Dick Barber; Voice Creepy Whispering, Engineer, Gary Kellgren; Voice Telephone, Suzy Creamcheese; Woodwind, “Mumbled Weirdness,” Bunk Gardner. 1:30 Silver Apples, “Velvet Cave” from Silver Apples (1968 Kapp). Composed and Arranged by, Dan Taylor, Simeon; Percussion, Dan Taylor; The Simeon (oscillators, filters), Simeon; Vocals, Dan Taylor, Simeon. “INSTRUCTIONS: Play Twice Before Listening.” This two-man group used a genius combination of drums and oscillators, a match made in heaven. 3:27 (Frank Zappa) The Mothers of Invention, “Nasal Retentive Calliope Music” from We're Only In It For The Money (1968 Verve). Arranged By, Composed By, Conductor, Concept By Conceived, Directed By Executed, Producer, Frank Zappa; Bass, Vocals, Other Asthma, Roy Estrada; Drums, Trumpet, Vocals, Other Indian Of The Group, Jimmy Carl Black; Drums, Vocals, Other Yak & Black Lace Underwear, Billy Mundi; Guitar, Piano, Vocals, Edited By, Other Weirdness, Frank Zappa; Piano, Woodwind, Other Wholesome, Ian Underwood; Saxophone, Other Weirdness & Teen Appeal, Euclid James Motorhead Sherwood; Sounds Snorks, Dick Barber; Voice Creepy Whispering, Engineer, Gary Kellgren; Voice Telephone, Suzy Creamcheese; Woodwind, “Mumbled Weirdness,” Bunk Gardner. 2:03 The United States of America, “The American Metaphysical Circus” from The United States of America (1968 Columbia). While the entire psychedelic scene in America was adding tape manipulation, fuzz tones, and echo to their recordings, The United States of America brought a blend of rock musicianship and serious tape collage work to the fore. The tape effects in their music were not the usual brief hooks or the sake of novelty, but fully composed blocks of electronic and found sounds integrated in the core of their tunes. Electric Bass, Rand Forbes; Keyboards, Electronics, Organ, Piano, Arranged, Electric Harpsichord, Calliope, Joseph Byrd; Lead Vocals, Dorothy Moskowitz; Organ, Piano, Calliope, Ed Bogas; Percussion, Drums Electric Drums, Craig Woodson; Producer, David Rubinson; Violin Electric Violin, Ring Modulator, Gordon Marron. 5:07 The United States of America, “Hard Coming Love” from The United States of America (1968 Columbia). Electric Bass, Rand Forbes; Keyboards, Electronics, Organ, Piano, Arranged, Electric Harpsichord, Calliope, Joseph Byrd; Lead Vocals, Dorothy Moskowitz; Organ, Piano, Calliope, Ed Bogas; Percussion, Drums Electric Drums, Craig Woodson; Producer, David Rubinson; Violin Electric Violin, Ring Modulator, Gordon Marron. No synthesizers as such, but Tom Oberheim built ring modulators and other devices for them. 4:48 Bernard Parmegiani, “Du Pop À L'âne (1969)” from JazzEx (1999 Plat Lunch). Composed, produced, edited by Bernard Parmegiani. Of special interest on this track is a sampled chunk of a song by the Doors that appears about 6 minutes in, altered and accompanied by editing and effects. This use of sampling speaks to the liberties that musique concrete musicians were taking with found materials. 10:14 Pierre Henry & Michel Colombier, “Prologue,” “Psyché Rock,” “Jéricho Jerk,” and “Teen Tonic” from Mass For Today / The Green Queen (1969 Limelight). Compilation of earlier works first released in 1967. These four works were part of “Mass for Today,” an electronic rock ballet.” This is a decent collection, with selections from other Henry musique concrete works. The electronic sounds and tape effects seem somewhat heavy-handed now, but at that time, this was what one could do without a synthesizer. Henry was already a maestro of musique concrete by that time so it's especially interesting to see what sounds he added without seeming trite or cliched. Réalisation Sonore, Pierre Henry; Written by, Michel Colombier, Pierre Henry. 9:54 Spooky Tooth and Pierre Henry, “Have Mercy” from Ceremony: An Electronic Mass (1969 Island). Bass Guitar, Andy Leigh; Composed by Gary Wright, Pierre Henry; Drums, Mike Kellie; Electronics, Realisation Sonore, Pierre Henry; Lead Guitar, Luther Grosvenor; Lead Vocals, Mike Harrison; Lead Vocals, Keyboards, Gary Wright. 8:10 The Free Pop Electronic Concept, “Pish! Pshaw!” from A New Exciting Experience (1969 Palette). From Brussels. Bass, James; Composed By, Recorded by Arsène Souffriau; Drums, Stu Martin; Electric Guitar, Jess; Organ, Scott Bradford; Percussion, Tumba, Vinagre. 4:47 The Free Pop Electronic Concept, “Cosmos Rhythms” from A New Exciting Experience (1969 Palette). From Brussels. Bass, James; Composed By, Recorded by Arsène Souffriau; Drums, Stu Martin; Electric Guitar, Jess; Organ, Scott Bradford; Percussion, Tumba, Vinagre. 3:01 Tommy James and the Shondells, “Cellophane Symphony” from Cellophane Symphony (1969 Roulette). This title track was a rare instrumental from this group normally associated with rock vocal hits. This is the only track in this podcast featuring the Moog Modular Synthesizer. There were certainly other examples of the Moog since it was first used in 1967, but I wanted to choose an example of how the synthesizer could be used by a rock band, rather than a pop artist such as Jean Jacques Perrey or Mort Garson. This is a terrific example that I would bet many of my listeners have never heard before. Tommy James, lead vocals, guitars, keyboards; Eddie Gray, lead guitar, backing vocals; Ronnie Rosman – keyboards, backing vocals; Mike Vale, bass guitar, backing vocals; Pete Lucia, drums, percussion, backing vocals. 9:37 West Coast Pop Art Experimental Band, “As Kind as Summer” from Vol. 3 - A Child's Guide To Good & Evil (1968 Reprise). American psychedelic rock band, formed in Los Angeles in 1965, broke up in 1969. Three teens (brothers Dan and Shaun Harris and their friend Michael Lloyd) teamed up with 30-year old Bob Markley, who got them a record deal with Reprise. Each of their albums was most bizarre, combining hummable pop tunes and spacey production. I included this particular track because it starkly demonstrates the use of tape loops and sound reversal. 1:10 Toshi Ichiyanagi, The Flowers, "Electric Chant” and “The Flowers (内田裕也とザ・フラワーズ)” from Opera "From The Works Of Tadanori Yokoo (1969 The End Record). Composed by Toshi Ichiyanagi and performed by the Japanese rock group The Flowers: Bass, Takeshi Hashimoto; Drums, Joji Wada; Guitar, Vocals, Remi Aso; Percussion, Backing Vocals, Yuya Uchida; Steel Guitar, Katsuhiko Kobayashi; Vocals, Hiroshi Chiba, Kento Nakamura. I'm including two pieces from this opera from 1969. The first, “Electric Chant” is electronic and includes tape collage while the second, “The Flowers” was performed by the Japanese pop rock band The Flowers and is loaded with distortion, echo, feedback, and reverberation, transforming the simple rock format into a discourse in electronic sound. 5:17 & 7:18 Tim Buckley, “Starsailor” from Starsailor (1970 Bizarre). Engineer, Stan Agol; Vocals, Producer, Written by, Tim Buckley. According to Larry Beckett, Buckley's chief lyricist and collaborator, who was there when they recorded this track, Buckley had a basic lyric track to which he recorded 18 additional vocals tracks on top of it. “He didn't write it out as a classical musician does, but it was thoroughly composed.” From the standpoint of rock music, this was more akin to composing with tone clusters than chord progressions. 4:34 Opening background music: Luc Ferrari, “Dialogue Ordinaire Avec La Machine (1984)” from Dialogue Ordinaire Avec La Machine / Sexolidad (2019 Elica). Composed and performed by Luc Ferrari. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Bienvenido Bastarnauta, a una suculenta edición con música para remover al puerco. ¿Que rolas pondrías para despertar las energías de las entrañas, encarar el día con huevos y partirle la madre a lo que se interponga en tu camino? Compartimos aquí un mosaico chingón. Escucha un tema divertido pero perturbador de Pierre Henry, go twisters de Disco Ruido, Súper Koto de Ponzu Island, Don Quijote marihuana un clásico del rock latino noventero, otro clasicazo setentero de Cream, y para cerrar con broche de oro, un algo muy interesante del 2021 de Orchestre Tout Puissant Marcel Duchamp. Disfruten mientras abordamos temas como los compromisos sociales de etiqueta, las competencias por alcanzar el baño en un restaurante, la incomodidad de las uñas postizas, entre otras banalidades para relajar un poco ese cerebelo sobreexplotado. --- Send in a voice message: https://anchor.fm/los-bastardos-con-suerte/message

durée : 00:55:07 - Côté Club - par : Laurent Goumarre - Côté Club, le rendez-vous de toute la scène française reçoit Phoenix qui signe son grand retour avec "Alpha Zulu" et le parrain de la musique électronique Jean-Michel Jarre pour un 22ème album studio conceptuel sous forme d'hommage à Pierre Henry. Bienvenue au Club !

durée : 00:59:56 - En pistes, contemporains ! du dimanche 30 octobre 2022 - par : Emilie Munera - Au programme : Christian Immler, en compagnie du pianiste Andreas Frese, met en regard le contemporain Jörg Widmann et le romantique Schumann. Mais aussi la musique de Pierre Henry, considéré comme l'un des pères fondateurs de la musique électronique. En Pistes, contemporains ! - réalisé par : Céline Parfenoff

Episode 80   Electronic Music for Astral Tripping Or, Better Music Through Pharmacology  Playlist Hal Blaine, “Flashes” from Psychedelic Percussion (1967 Dunhill). Drums, Hal Blaine; Electronics (Moog), Paul Beaver; Keyboards, Organ, Electric Piano, Mike Lang; Percussion, Emil Richards, Gary Coleman. 2:22 Raymond Scott, “LSD”public service announcement for the film, The Trip (1967), plus some electronic music snippets from Electronium (2007 Electronium). I'm not sure who the voice of the announcer is but the recording was produced by Raymond Scott and and I sandwiched the PSA between two snippets of Scott's electronic music. Let this be a warning to you. 1:58 Mort Garson, “Astral Projection” from Ataraxia–The Unexplained (Electronic Musical Impressions Of The Occult) (1975 RCA). Composed with an electronic music score (Moog Modular) by Mort Garson. 5:12 Pierre Henry, “Electro-Genèse” from Mise En Musique Du Corticalart De Roger Lafosse (1971 Philips). Live improvisations recorded Feb. 15-21, 1971 by Pierre Henry using Roger Lafosse's Corticalart device, allowing one to transform brainwaves into electronic signals for further raw manipulations. Technical realization by Groupe Artec (Bordeaux) with electroacoustic equipment from Apsome and J. Heuze. I thought that we needed at least one piece that tapped directly into brain waves. 7:39 Ron Jacobs, “Eating Food” and “Listening to Music” from A Child's Garden Of Grass (A Pre-Legalization Comedy) (1971 Elektra). Timely yet instantly dated, this relic capitalized on explaining marijuana to squares. The Electronic Music was by Alex Hassilev, which probably means that Paul Beaver did the synthesizer patchwork (both were involved in 1967 on the Zodiac Cosmic Sounds by Garson). 3:31 Nik Raicevik, “Methedrine” from Numbers (1970 Narco). Although Raicevik went by the name 107-34-8933 for the initial release of this record on his Narco label, it was re-released by Buddha Records under the title Head by Nik Raicevik. Buddha dropped him and Raicevik went on to create several more crazy electronic albums for his Narco label. This was primarily a Moog Modular album. 5:59 Steve Hillage, “Hurdy Gurdy Glissando” from L (1976 Atlantic). This album was produced by Todd Rundgren and featured some of his Utopia bandmates, Kasim Sulton (bass) and the mind-blowing Roger Powell on synthesizers (R.M.I. Keyboard Computer, Minimoog). But the star is guitarist Steve Hillage (Guitar, Guitar-synthesizer, ARP, EMS, Voice) and a 15th Century Hurdy Gurdy by Sonja Malkine. This is an extrapolation of the Donovan Leitch song, “Hurdy Gurdy Man,” also featured on the album. 8:54 Eberhard Schoener and the Secret Society, “Trance-Formation” from Trance-Formation (1977 Harvest). Bass Guitar, Hansi Ströer; Choir, Members Of The Tölzer Knabenchor; Guitar, Andy Summers; Keyboards, Raimund Elleder; Orchestra, Orchestra of the Munich Chamber-Opera; Percussion, Nippi; Moog Synthesizer, Organ, Piano, Mellotron, Conductor Orchestra Conducted By, Composed By, Arranged By, Produced By, Sleeve Notes, Eberhard Schoener; Vocals, Mary Gregoriy, Monks Of The Monastery of Sama. 11:42 Kitaro, “Astral Trip” from 天界 = Ten Kai / Astral Trip (1978 Wergo). Shakuhachi, Biwa, Ryusuke Seto; Sitar, Lavi; Moog, Korg, ARP, and Roland synthesizers, Koto, Mandolin, Acoustic Guitar, Drums, Percussion, Bass, Kitaro. Written and Arranged by Kitaro. 7:40 Ozric Tentacles, “Lull Your Skull” from There Is Nothing (1986 Self-Released). Bass, Adam Mace; Drums, Nick Van Gelder; Guitar, Keyboards, Ed Wynne; Keyboards, Joie Hinton. 3:00 Bill Nelson, “Opium” from Sounding The Ritual Echo (Atmospheres For Dreaming) (1985 Cocteau Records). "Sounding the Ritual Echo was recorded in the privacy of my own home on broken or faulty tape machines & speakers, each track possessing its own technological deformity. For this I offer no apology as the music owes its existence to a very personal & selfish obsession. As a direct result, some pieces will require a little patience.” Bill Nelson. 1:44 Michael Magne, “Trip Psychiatrique” from Elements Nº 1 "La Terre" (1978 Egg). Bongos, Percussion, Grégori Czerkinsky; R.M.I. Keyboard Computer, ARP Odyssey, ARP Omni Polyphonique, ARP 2600, and Minimoog synthesizers, Clavinet D6, Electric Piano (Fender and Yamaha, composed, adapted, arranged by Michel Magne; Drums, Syn-drums, Jean-Paul Batailley. 4:35 Pure Energy, “Spaced Out” from Spaced Out (12” vinyl) (1983 Say What!? Records). From the Netherlands. Need I say more? I'm not sure if this was about space or being spaced-out but it is definitely psychologically disorienting. This is the long version. 7:35 Acid Mothers Temple & The Melting Paraiso U.F.O., “Stone Stoner” from Absolutely Freak Out (Zap Your Mind!!). Bass Monster Bass, Acoustic Guitar, Vocals, Other Cosmic Joker, Tsuyama Atsushi; Drums, Ichiraku Yoshimitsu; Drums, Percussion, Other Sleeping Monk, Koizumi Hajime; Electric Guitar, Synthesizer, Other Dancin' King, Hiroshi Higashi; Electric Guitar, Violin, Tambura, Effects Cosmic Ringmodulator, Rds900, Synthesizer, Organ, Electric Harpsichord, Vocals, Other Speed Guru, Producer, Engineer, Kawabata Makoto; Jew's Harp, Electric Guitar, Other Erotic Underground, Magic Aum Gigi; Narrator Cosmic Narration, Other Freak Power, Wellens Johan; Saxophone, Mano Kazuhiko; Vocals, Suzuki Chisen; Vocals, Synthesizer, Acoustic Guitar, Other Beer and Cigarettes, Cotton CasinoVoice, Other Cosmos, Ginestet Audrey; Recorded at Acid Mothers Temple and FTF Studio, May to July, 2000. Yes, this is what psychedelic music should sound like. I promise to do an entire podcast around Japanese psychedelic music soon. 16:19 Opening background music: Steve Hillage, “Hurdy Gurdy Man” (edit) from L (1976 Atlantic). Steve Hillage (Guitar, Guitar-synthesizer, ARP, EMS, Voice) and a 15th Century Hurdy Gurdy by Sonja Malkine. This is a cover version of the Donovan Leitch song, “Hurdy Gurdy Man.” 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.

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durée : 01:28:39 - Jérôme Sueur, éco-acousticien - par : Priscille Lafitte - Jérôme Sueur est éco-acousticien, il étudie les sons d'une forêt équatoriale en Guyane ou des plateaux du Haut Jura pour comprendre les comportements animaux et surveiller la biodiversité. Ses compositeurs de prédilection se nomment Léo Brouwer, Heitor Villa-Lobos ou Pierre Henry. - réalisé par : Pierre Willer

durée : 02:05:00 - Les Nuits de France Culture - Par Martine Cadieu - Avec Pierre Henry, Olivier Messiaen et ses élèves du Conservatoire - Réalisation André Mathieu

This week's episode looks at “Tomorrow Never Knows”, the making of Revolver by the Beatles, and the influence of Timothy Leary on the burgeoning psychedelic movement. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Keep on Running" by the Spencer Davis Group. 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 A few things -- I say "Fairfield" at one point when I mean "Fairchild". While Timothy Leary was imprisoned in 1970 he wasn't actually placed in the cell next to Charles Manson until 1973. Sources differ on when Geoff Emerick started at EMI, and he *may* not have worked on "Sun Arise", though I've seen enough reliable sources saying he did that I think it's likely. And I've been told that Maureen Cleave denied having an affair with Lennon -- though note that I said it was "strongly rumoured" rather than something definite. Resources As usual, a mix of all the songs excerpted in this episode is available at Mixcloud.com. 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. For information on Timothy Leary I used a variety of sources including The Most Dangerous Man in America by Bill Minutaglio and Steven L. Davis; Timothy Leary: Outside Looking In by Robert Forte; The Starseed Signals by Robert Anton Wilson; and especially The Harvard Psychedelic Club by Don Lattin. I also referred to both The Tibetan Book of the Dead and to The Psychedelic Experience. Leary's much-abridged audiobook version of The Psychedelic Experience can be purchased from Folkways Records. Sadly the first mono mix of "Tomorrow Never Knows" has been out of print since it was first issued. The only way to get the second mono mix is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Revolver. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I'd like to note that it deals with a number of subjects some listeners might find upsetting, most notably psychedelic drug use, mental illness, and suicide. I think I've dealt with those subjects fairly respectfully, but you still may want to check the transcript if you have worries about these subjects. Also, we're now entering a period of music history with the start of the psychedelic era where many of the songs we're looking at are influenced by non-mainstream religious traditions, mysticism, and also increasingly by political ideas which may seem strange with nearly sixty years' hindsight. I'd just like to emphasise that when I talk about these ideas, I'm trying as best I can to present the thinking of the people I'm talking about, in an accurate and unbiased way, rather than talking about my own beliefs. We're going to head into some strange places in some of these episodes, and my intention is neither to mock the people I'm talking about nor to endorse their ideas, but to present those ideas to you the listener so you can understand the music, the history, and the mindset of the people involved, Is that clear? Then lets' turn on, tune in, and drop out back to 1955... [Opening excerpt from The Psychedelic Experience] There is a phenomenon in many mystical traditions, which goes by many names, including the dark night of the soul and the abyss. It's an experience that happens to mystics of many types, in which they go through unimaginable pain near the beginning of their journey towards greater spiritual knowledge. That pain usually involves a mixture of internal and external events -- some terrible tragedy happens to them, giving them a new awareness of the world's pain, at the same time they're going through an intellectual crisis about their understanding of the world, and it can last several years. It's very similar to the more common experience of the mid-life crisis, except that rather than buying a sports car and leaving their spouse, mystics going through this are more likely to found a new religion. At least, those who survive the crushing despair intact. Those who come out of the experience the other end often find themselves on a totally new path, almost like they're a different person. In 1955, when Dr. Timothy Leary's dark night of the soul started, he was a respected academic psychologist, a serious scientist who had already made several substantial contributions to his field, and was considered a rising star. By 1970, he would be a confirmed mystic, sentenced to twenty years in prison, in a cell next to Charles Manson, and claiming to different people that he was the reincarnation of Gurdjieff, Aleister Crowley, and Jesus Christ. In the fifties, Leary and his wife had an open relationship, in which they were both allowed to sleep with other people, but weren't allowed to form emotional attachments to them. Unfortunately, Leary *had* formed an emotional attachment to another woman, and had started spending so much time with her that his wife was convinced he was going to leave her. On top of that, Leary was an alcoholic, and was prone to get into drunken rows with his wife. He woke up on the morning of his thirty-fifth birthday, hung over after one of those rows, to find that she had died by suicide while he slept, leaving a note saying that she knew he was going to leave her and that her life would be meaningless without him. This was only months after Leary had realised that the field he was working in, to which he had devoted his academic career, was seriously broken. Along with a colleague, Frank Barron, he published a paper on the results of clinical psychotherapy, "Changes in psychoneurotic patients with and without psychotherapy" which analysed the mental health of a group of people who had been through psychotherapy, and found that a third of them improved, a third stayed the same, and a third got worse. The problem was that there was a control group, of people with the same conditions who were put on a waiting list and told to wait the length of time that the therapy patients were being treated. A third of them improved, a third stayed the same, and a third got worse. In other words, psychotherapy as it was currently practised had no measurable effect at all on patients' health. This devastated Leary, as you might imagine. But more through inertia than anything else, he continued working in the field, and in 1957 he published what was regarded as a masterwork -- his book Interpersonal Diagnosis of Personality: A Functional Theory and Methodology for Personality Evaluation. Leary's book was a challenge to the then-dominant idea in psychology, behaviourism, which claimed that it made no sense to talk about anyone's internal thoughts or feelings -- all that mattered was what could be measured, stimuli and responses, and that in a very real sense the unmeasurable thoughts people had didn't exist at all. Behaviourism looked at every human being as a mechanical black box, like a series of levers. Leary, by contrast, analysed human interactions as games, in which people took on usual roles, but were able, if they realised this, to change the role or even the game itself. It was very similar to the work that Eric Berne was doing at the same time, and which would later be popularised in Berne's book Games People Play. Berne's work was so popular that it led to the late-sixties hit record "Games People Play" by Joe South: [Excerpt: Joe South: "Games People Play"] But in 1957, between Leary and Berne, Leary was considered the more important thinker among his peers -- though some thought of him as more of a showman, enthralled by his own ideas about how he was going to change psychology, than a scientist, and some thought that he was unfairly taking credit for the work of lesser-known but better researchers. But by 1958, the effects of the traumas Leary had gone through a couple of years earlier were at their worst. He was starting to become seriously ill -- from the descriptions, probably from something stress-related and psychosomatic -- and he took his kids off to Europe, where he was going to write the great American novel. But he rapidly ran through his money, and hadn't got very far with the novel. He was broke, and ill, and depressed, and desperate, but then in 1959 his old colleague Frank Barron, who was on holiday in the area, showed up, and the two had a conversation that changed Leary's life forever in multiple ways. The first of the conversational topics would have the more profound effect, though that wouldn't be apparent at first. Barron talked to Leary about his previous holiday, when he'd visited Mexico and taken psilocybin mushrooms. These had been used by Mexicans for centuries, but the first publication about them in English had only been in 1955 -- the same year when Leary had had other things on his mind -- and they were hardly known at all outside Mexico. Barron talked about the experience as being the most profound, revelatory, experience of his life. Leary thought his friend sounded like a madman, but he humoured him for the moment. But Barron also mentioned that another colleague was on holiday in the same area. David McClelland, head of the Harvard Center for Personality Research, had mentioned to Barron that he had just read Diagnosis of Personality and thought it a work of genius. McClelland hired Leary to work for him at Harvard, and that was where Leary met Ram Dass. [Excerpt from "The Psychedelic Experience"] Ram Dass was not the name that Dass was going by at the time -- he was going by his birth name, and only changed his name a few years later, after the events we're talking about -- but as always, on this podcast we don't use people's deadnames, though his is particularly easy to find as it's still the name on the cover of his most famous book, which we'll be talking about shortly. Dass was another psychologist at the Centre for Personality Research, and he would be Leary's closest collaborator for the next several years. The two men would become so close that at several points Leary would go travelling and leave his children in Dass' care for extended periods of time. The two were determined to revolutionise academic psychology. The start of that revolution didn't come until summer 1960. While Leary was on holiday in Cuernavaca in Mexico, a linguist and anthropologist he knew, Lothar Knauth, mentioned that one of the old women in the area collected those magic mushrooms that Barron had been talking about. Leary decided that that might be a fun thing to do on his holiday, and took a few psilocybin mushrooms. The effect was extraordinary. Leary called this, which had been intended only as a bit of fun, "the deepest religious experience of my life". [Excerpt from "The Psychedelic Experience"] He returned to Harvard after his summer holiday and started what became the Harvard Psilocybin Project. Leary and various other experimenters took controlled doses of psilocybin and wrote down their experiences, and Leary believed this would end up revolutionising psychology, giving them insights unattainable by other methods. The experimenters included lecturers, grad students, and people like authors Allen Ginsberg and William Burroughs, jazz trumpeter Maynard Ferguson, and Alan Watts, who popularised Zen Buddhism in the West. Dass didn't join the project until early 1961 -- he'd actually been on the holiday with Leary, but had arrived a few days after the mushroom experiment, and nobody had been able to get hold of the old woman who knew where to find the mushrooms, so he'd just had to deal with Leary telling him about how great it was rather than try it himself. He then spent a semester as a visiting scholar at Berkeley, so he didn't get to try his first trip until February 1961. Dass, on his first trip, first had a revelation about the nature of his own true soul, then decided at three in the morning that he needed to go and see his parents, who lived nearby, and tell them the good news. But there was several feet of snow, and so he decided he must save his parents from the snow, and shovel the path to their house. At three in the morning. Then he saw them looking out the window at him, he waved, and then started dancing around the shovel. He later said “Until that moment I was always trying to be the good boy, looking at myself through other people's eyes. What did the mothers, fathers, teachers, colleagues want me to be? That night, for the first time, I felt good inside. It was OK to be me.” The Harvard Psilocybin Project soon became the Harvard Psychedelic Project. The term "psychedelic", meaning "soul revealing", was coined by the British psychiatrist Humphrey Osmond, who had been experimenting with hallucinogens for years, and had guided Aldous Huxley on the mescaline trip described in The Doors of Perception. Osmond and Huxley had agreed that the term "psychotomimetic", in use at the time, which meant "mimicking psychosis", wasn't right -- it was too negative. They started writing letters to each other, suggesting alternative terms. Huxley came up with "phanerothyme", the Greek for "soul revealing", and wrote a little couplet to Osmond: To make this trivial world sublime Take half a gramme of phanerothyme. Osmond countered with the Latin equivalent: To fathom hell or soar angelic Just take a pinch of psychedelic Osmond also inspired Leary's most important experimental work of the early sixties. Osmond had got to know Bill W., the founder of Alcoholics Anonymous, and had introduced W. to LSD. W. had become sober after experiencing a profound spiritual awakening and a vision of white light while being treated for his alcoholism using the so-called "belladonna cure" -- a mixture of various hallucinogenic and toxic substances that was meant to cure alcoholism. When W. tried LSD, he found it replicated his previous spiritual experience and became very evangelistic about its use by alcoholics, thinking it could give them the same kind of awakening he'd had. Leary became convinced that if LSD could work on alcoholics, it could also be used to help reshape the personalities of habitual criminals and lead them away from reoffending. His idea for how to treat people was based, in part, on the ideas of transactional analysis. There is always a hierarchical relationship between a therapist and their patient, and that hierarchical relationship itself, in Leary's opinion, forced people into particular game roles and made it impossible for them to relate as equals, and thus impossible for the therapist to truly help the patient. So his idea was that there needed to be a shared bonding experience between patient and doctor. So in his prison experiments, he and the other people involved, including Ralph Metzner, one of his grad students, would take psilocybin *with* the patients. In short-term follow-ups the patients who went through this treatment process were less depressed, felt better, and were only half as likely to reoffend as normal prisoners. But critics pointed out that the prisoners had been getting a lot of individual attention and support, and there was no control group getting that support without the psychedelics. [Excerpt: The Psychedelic Experience] As the experiments progressed, though, things were becoming tense within Harvard. There was concern that some of the students who were being given psilocybin were psychologically vulnerable and were being put at real risk. There was also worry about the way that Leary and Dass were emphasising experience over analysis, which was felt to be against the whole of academia. Increasingly it looked like there was a clique forming as well, with those who had taken part in their experiments on the inside and looking down on those outside, and it looked to many people like this was turning into an actual cult. This was simply not what the Harvard psychology department was meant to be doing. And one Harvard student was out to shut them down for good, and his name was Andrew Weil. Weil is now best known as one of the leading lights in alternative health, and has made appearances on Oprah and Larry King Live, but for many years his research interest was in mind-altering chemicals -- his undergraduate thesis was on the use of nutmeg to induce different states of consciousness. At this point Weil was an undergraduate, and he and his friend Ronnie Winston had both tried to get involved in the Harvard Psilocybin Project, but had been turned down -- while they were enthusiastic about it, they were also undergraduates, and Leary and Dass had agreed with the university that they wouldn't be using undergraduates in their project, and that only graduate students, faculty, and outsiders would be involved. So Weil and Winston had started their own series of experiments, using mescaline after they'd been unable to get any psilocybin -- they'd contacted Aldous Huxley, the author of The Doors of Perception and an influence on Leary and Dass' experiments, and asked him where they could get mescaline, and he'd pointed them in the right direction. But then Winston and Dass had become friends, and Dass had given Winston some psilocybin -- not as part of his experiments, so Dass didn't think he was crossing a line, but just socially. Weil saw this as a betrayal by Winston, who stopped hanging round with him once he became close to Dass, and also as a rejection of him by Dass and Leary. If they'd give Winston psilocybin, why wouldn't they give it to him? Weil was a writer for the Harvard Crimson, Harvard's newspaper, and he wrote a series of exposes on Leary and Dass for the Crimson. He went to his former friend Winston's father and told him "Your son is getting drugs from a faculty member. If your son will admit to that charge, we'll cut out your son's name. We won't use it in the article."  Winston did admit to the charge, under pressure from his father, and was brought to tell the Dean, saying to the Dean “Yes, sir, I did, and it was the most educational experience I've had at Harvard.” Weil wrote about this for the Crimson, and the story was picked up by the national media. Weil eventually wrote about Leary and Dass for Look magazine, where he wrote “There were stories of students and others using hallucinogens for seductions, both heterosexual and homosexual.” And this seems actually to have been a big part of Weil's motivation. While Dass and Winston always said that their relationship was purely platonic, Dass was bisexual, and Weil seems to have assumed his friend had been led astray by an evil seducer. This was at a time when homophobia and biphobia were even more prevalent in society than they are now, and part of the reason Leary and Dass fell out in the late sixties is that Leary started to see Dass' sexuality as evil and perverted and something they should be trying to use LSD to cure. The experiments became a national scandal, and one of the reasons that LSD was criminalised a few years later. Dass was sacked for giving drugs to undergraduates; Leary had gone off to Mexico to get away from the stress, leaving his kids with Dass. He would be sacked for going off without permission and leaving his classes untaught. As Leary and Dass were out of Harvard, they had to look for other sources of funding. Luckily, Dass turned William Mellon Hitchcock, the heir to the Mellon oil fortune, on to acid, and he and his brother Tommy and sister Peggy gave them the run of a sixty-four room mansion, named Millbrook. When they started there, they were still trying to be academics, but over the five years they were at Millbrook it became steadily less about research and more of a hippie commune, with regular visitors and long-term residents including Alan Ginsberg, William Burroughs, and the jazz musician Maynard Ferguson, who would later get a small amount of fame with jazz-rock records like his version of "MacArthur Park": [Excerpt: Maynard Ferguson, "MacArthur Park"] It was at Millbrook that Leary, Dass, and Metzner would write the book that became The Psychedelic Experience. This book was inspired by the Bardo Thödol, a book allegedly written by Padmasambhava, the man who introduced Buddhism to Tibet in the eighth century, though no copies of it are known to have existed before the fourteenth century, when it was supposedly discovered by Karma Lingpa. Its title translates as Liberation Through Hearing During the Intermediate State, but it was translated into English under the name The Tibetan Book of the Dead, as Walter Evans-Wentz, who compiled and edited the first English translation was, like many Westerners who studied Buddhism in the early part of the twentieth century, doing so because he was an occultist and a member of the Theosophical Society, which believes the secret occult masters of the world live in Tibet, but which also considered the Egyptian Book of the Dead -- a book which bears little relationship to the Bardo Thödol, and which was written thousands of years earlier on a different continent -- to be a major religious document. So it was through that lens that Evans-Wentz was viewing the Bardo Thödol, and he renamed the book to emphasise what he perceived as its similarities. Part of the Bardo Thödol is a description of what happens to someone between death and rebirth -- the process by which the dead person becomes aware of true reality, and then either transcends it or is dragged back into it by their lesser impulses -- and a series of meditations that can be used to help with that transcendence. In the version published as The Tibetan Book of the Dead, this is accompanied by commentary from Evans-Wentz, who while he was interested in Buddhism didn't actually know that much about Tibetan Buddhism, and was looking at the text through a Theosophical lens, and mostly interpreting it using Hindu concepts. Later editions of Evans-Wentz's version added further commentary by Carl Jung, which looked at Evans-Wentz's version of the book through Jung's own lens, seeing it as a book about psychological states, not about anything more supernatural (although Jung's version of psychology was always a supernaturalist one, of course). His Westernised, psychologised, version of the book's message became part of the third edition. Metzner later said "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions. The Tibetan Buddhists talked about the three phases of experience on the “intermediate planes” ( bardos) between death and rebirth. We translated this to refer to the death and the rebirth of the ego, or ordinary personality. Stripped of the elaborate Tibetan symbolism and transposed into Western concepts, the text provided a remarkable parallel to our findings." Leary, Dass, and Metzner rewrote the book into a form that could be used to guide a reader through a psychedelic trip, through the death of their ego and its rebirth. Later, Leary would record an abridged audiobook version, and it's this that we've been hearing excerpts of during this podcast so far: [Excerpt: The Psychedelic Experience "Turn off your mind, relax, float downstream" about 04:15] When we left the Beatles, they were at the absolute height of their fame, though in retrospect the cracks had already begun to show.  Their second film had been released, and the soundtrack had contained some of their best work, but the title track, "Help!", had been a worrying insight into John Lennon's current mental state. Immediately after making the film and album, of course, they went back out touring, first a European tour, then an American one, which probably counts as the first true stadium tour. There had been other stadium shows before the Beatles 1965 tour -- we talked way back in the first episodes of the series about how Sister Rosetta Tharpe had a *wedding* that was a stadium gig. But of course there are stadiums and stadiums, and the Beatles' 1965 tour had them playing the kind of venues that no other musician, and certainly no other rock band, had ever played. Most famously, of course, there was the opening concert of the tour at Shea Stadium, where they played to an audience of fifty-five thousand people -- the largest audience a rock band had ever played for, and one which would remain a record for many years. Most of those people, of course, couldn't actually hear much of anything -- the band weren't playing through a public address system designed for music, just playing through the loudspeakers that were designed for commentating on baseball games. But even if they had been playing through the kind of modern sound systems used today, it's unlikely that the audience would have heard much due to the overwhelming noise coming from the crowd. Similarly, there were no live video feeds of the show or any of the other things that nowadays make it at least possible for the audience to have some idea what is going on on stage. The difference between this and anything that anyone had experienced before was so great that the group became overwhelmed. There's video footage of the show -- a heavily-edited version, with quite a few overdubs and rerecordings of some tracks was broadcast on TV, and it's also been shown in cinemas more recently as part of promotion for an underwhelming documentary about the Beatles' tours -- and you can see Lennon in particular becoming actually hysterical during the performance of "I'm Down", where he's playing the organ with his elbows. Sadly the audio nature of this podcast doesn't allow me to show Lennon's facial expression, but you can hear something of the exuberance in the performance. This is from what is labelled as a copy of the raw audio of the show -- the version broadcast on TV had a fair bit of additional sweetening work done on it: [Excerpt: The Beatles, "I'm Down (Live at Shea Stadium)"] After their American tour they had almost six weeks off work to write new material before going back into the studio to record their second album of the year, and one which would be a major turning point for the group. The first day of the recording sessions for this new album, Rubber Soul, started with two songs of Lennon's. The first of these was "Run For Your Life", a song Lennon never later had much good to say about, and which is widely regarded as the worst song on the album. That song was written off a line from Elvis Presley's version of "Baby Let's Play House", and while Lennon never stated this, it's likely that it was brought to mind by the Beatles having met with Elvis during their US tour. But the second song was more interesting. Starting with "Help!", Lennon had been trying to write more interesting lyrics. This had been inspired by two conversations with British journalists -- Kenneth Allsop had told Lennon that while he liked Lennon's poetry, the lyrics to his songs were banal in comparison and he found them unlistenable as a result, while Maureen Cleave, a journalist who was a close friend with Lennon, had told him that she hadn't noticed a single word in any of his lyrics with more than two syllables, so he made more of an effort with "Help!", putting in words like "independence" and "insecure". As he said in one of his last interviews, "I was insecure then, and things like that happened more than once. I never considered it before. So after that I put a few words with three syllables in, but she didn't think much of them when I played it for her, anyway.” Cleave may have been an inspiration for "Norwegian Wood (This Bird Has Flown)". There are very strong rumours that Lennon had an affair with Cleave in the mid-sixties, and if that's true it would definitely fit into a pattern. Lennon had many, many, affairs during his first marriage, both brief one-night stands and deeper emotional attachments, and those emotional attachments were generally with women who were slightly older, intellectual, somewhat exotic looking by the standards of 1960s Britain, and in the arts. Lennon later claimed to have had an affair with Eleanor Bron, the Beatles' co-star in Help!, though she always denied this, and it's fairly widely established that he did have an affair with Alma Cogan, a singer who he'd mocked during her peak of popularity in the fifties, but who would later become one of his closest friends: [Excerpt: Alma Cogan, "Why Do Fools Fall in Love?"] And "Norwegian Wood", the second song recorded for Rubber Soul, started out as a confession to one of these affairs, a way of Lennon admitting it to his wife without really admitting it. The figure in the song is a slightly aloof, distant woman, and the title refers to the taste among Bohemian British people at the time for minimalist decor made of Scandinavian pine -- something that would have been a very obvious class signifier at the time. [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] Lennon and McCartney had different stories about who wrote what in the song, and Lennon's own story seems to have changed at various times. What seems to have happened is that Lennon wrote the first couple of verses while on holiday with George Martin, and finished it off later with McCartney's help. McCartney seems to have come up with the middle eight melody -- which is in Dorian mode rather than the Mixolydian mode of the verses -- and to have come up with the twist ending, where the woman refuses to sleep with the protagonist and laughs at him, he goes to sleep in the bath rather than her bed, wakes up alone, and sets fire to the house in revenge. This in some ways makes "Norwegian Wood" the thematic centrepiece of the album that was to result, combining several of the themes its two songwriters came back to throughout the album and the single recorded alongside it. Like Lennon's "Run For Your Life" it has a misogynistic edge to it, and deals with taking revenge against a woman, but like his song "Girl", it deals with a distant, unattainable, woman, who the singer sees as above him but who has a slightly cruel edge -- the kind of girl who puts you down when friends are there,  you feel a fool, is very similar to the woman who tells you to sit down but has no chairs in her minimalist flat. A big teaser who takes you half the way there is likely to laugh at you as you crawl off to sleep in the bath while she goes off to bed alone. Meanwhile, McCartney's two most popular contributions to the album, "Michelle" and "Drive My Car", also feature unattainable women, but are essentially comedy songs -- "Michelle" is a pastiche French song which McCartney used to play as a teenager while pretending to be foreign to impress girls, dug up and finished for the album, while "Drive My Car" is a comedy song with a twist in the punchline, just like "Norwegian Wood", though "Norwegian Wood"s twist is darker. But "Norwegian Wood" is even more famous for its music than for its lyric. The basis of the song is Lennon imitating Dylan's style -- something that Dylan saw, and countered with "Fourth Time Around", a song which people have interpreted multiple ways, but one of those interpretations has always been that it's a fairly vicious parody of "Norwegian Wood": [Excerpt: Bob Dylan, "Fourth Time Around"] Certainly Lennon thought that at first, saying a few years later "I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit." But the aspect of "Norwegian Wood" that has had more comment over the years has been the sitar part, played by George Harrison: [Excerpt: The Beatles, "Norwegian Wood"] This has often been called the first sitar to be used on a rock record, and that may be the case, but it's difficult to say for sure. Indian music was very much in the air among British groups in September 1965, when the Beatles recorded the track. That spring, two records had almost simultaneously introduced Indian-influenced music into the pop charts. The first had been the Yardbirds' "Heart Full of Soul", released in June and recorded in April. In fact, the Yardbirds had actually used a sitar on their first attempt at recording the song, which if it had been released would have been an earlier example than the Beatles: [Excerpt: The Yardbirds, "Heart Full of Soul (first version)"] But in the finished recording they had replaced that with Jeff Beck playing a guitar in a way that made it sound vaguely like a sitar, rather than using a real one: [Excerpt: The Yardbirds, "Heart Full of Soul (single)"] Meanwhile, after the Yardbirds had recorded that but before they'd released it, and apparently without any discussion between the two groups, the Kinks had done something similar on their "See My Friends", which came out a few weeks after the Yardbirds record: [Excerpt: The Kinks, "See My Friends"] (Incidentally, that track is sometimes titled "See My Friend" rather than "See My Friends", but that's apparently down to a misprint on initial pressings rather than that being the intended title). As part of this general flowering of interest in Indian music, George Harrison had become fascinated with the sound of the sitar while recording scenes in Help! which featured some Indian musicians. He'd then, as we discussed in the episode on "Eight Miles High" been introduced by David Crosby on the Beatles' summer US tour to the music of Ravi Shankar. "Norwegian Wood" likely reminded Harrison of Shankar's work for a couple of reasons. The first is that the melody is very modal -- as I said before, the verses are in Mixolydian mode, while the middle eights are in Dorian -- and as we saw in the "Eight Miles High" episode Indian music is very modal. The second is that for the most part, the verse is all on one chord -- a D chord as Lennon originally played it, though in the final take it's capoed on the second fret so it sounds in E. The only time the chord changes at all is on the words "once had" in the phrase “she once had me” where for one beat each Lennon plays a C9 and a G (sounding as a D9 and A). Both these chords, in the fingering Lennon is using, feel to a guitarist more like "playing a D chord and lifting some fingers up or putting some down" rather than playing new chords, and this is a fairly common way of thinking about stuff particularly when talking about folk and folk-rock music -- you'll tend to get people talking about the "Needles and Pins" riff as being "an A chord where you twiddle your finger about on the D string" rather than changing between A, Asus2, and Asus4. So while there are chord changes, they're minimal and of a kind that can be thought of as "not really" chord changes, and so that may well have reminded Harrison of the drone that's so fundamental to Indian classical music. Either way, he brought in his sitar, and they used it on the track, both the version they cut on the first day of recording and the remake a week later which became the album track: [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] At the same time as the group were recording Rubber Soul, they were also working on two tracks that would become their next single -- released as a double A-side because the group couldn't agree which of the two to promote. Both of these songs were actual Lennon/McCartney collaborations, something that was increasingly rare at this point. One, "We Can Work it Out" was initiated by McCartney, and like many of his songs of this period was inspired by tensions in his relationship with his girlfriend Jane Asher -- two of his other songs for Rubber Soul were "I'm Looking Through You" and "You Won't See Me".  The other, "Day Tripper",  was initiated by Lennon, and had other inspirations: [Excerpt: The Beatles, "Day Tripper"] John Lennon and George Harrison's first acid trip had been in spring of 1965, around the time they were recording Help! The fullest version of how they came to try it I've read was in an interview George Harrison gave to Creem magazine in 1987, which I'll quote a bit of: "I had a dentist who invited me and John and our ex-wives to dinner, and he had this acid he'd got off the guy who ran Playboy in London. And the Playboy guy had gotten it off, you know, the people who had it in America. What's his name, Tim Leary. And this guy had never had it himself, didn't know anything about it, but he thought it was an aphrodisiac and he had this girlfriend with huge breasts. He invited us down there with our blonde wives and I think he thought he was gonna have a scene. And he put it in our coffee without telling us—he didn't take any himself. We didn't know we had it, and we'd made an arrangement earlier—after we had dinner we were gonna go to this nightclub to see some friends of ours who were playing in a band. And I was saying, "OK, let's go, we've got to go," and this guy kept saying, "No, don't go, finish your coffee. Then, 20 minutes later or something, I'm saying, "C'mon John, we'd better go now. We're gonna miss the show." And he says we shouldn't go 'cause we've had LSD." They did leave anyway, and they had an experience they later remembered as being both profound and terrifying -- nobody involved had any idea what the effects of LSD actually were, and they didn't realise it was any different from cannabis or amphetamines. Harrison later described feelings of universal love, but also utter terror -- believing himself to be in hell, and that world war III was starting. As he said later "We'd heard of it, but we never knew what it was about and it was put in our coffee maliciously. So it really wasn't us turning each other or the world or anything—we were the victims of silly people." But both men decided it was an experience they needed to have again, and one they wanted to share with their friends. Their next acid trip was the one that we talked about in the episode on "Eight Miles High", with Roger McGuinn, David Crosby, and Peter Fonda. That time Neil Aspinall and Ringo took part as well, but at this point Paul was still unsure about taking it -- he would later say that he was being told by everyone that it changed your worldview so radically you'd never be the same again, and he was understandably cautious about this. Certainly it had a profound effect on Lennon and Harrison -- Starr has never really talked in detail about his own experiences. Harrison would later talk about how prior to taking acid he had been an atheist, but his experiences on the drug gave him an unshakeable conviction in the existence of God -- something he would spend the rest of his life exploring. Lennon didn't change his opinions that drastically, but he did become very evangelistic about the effects of LSD. And "Day Tripper" started out as a dig at what he later described as weekend hippies, who took acid but didn't change the rest of their lives -- which shows a certain level of ego in a man who had at that point only taken acid twice himself -- though in collaboration with McCartney it turned into another of the rather angry songs about unavailable women they were writing at this point. The line "she's a big teaser, she took me half the way there" apparently started as "she's a prick teaser": [Excerpt: The Beatles, "Day Tripper"] In the middle of the recording of Rubber Soul, the group took a break to receive their MBEs from the Queen. Officially the group were awarded these because they had contributed so much to British exports. In actual fact, they received them because the Prime Minister, Harold Wilson, had a government with a majority of only four MPs and was thinking about calling an election to boost his majority. He represented a Liverpool constituency, and wanted to associate his Government and the Labour Party with the most popular entertainers in the UK. "Day Tripper" and "We Can Work it Out" got their TV premiere on a show recorded for Granada TV,  The Music of Lennon and McCartney, and fans of British TV trivia will be pleased to note that the harmonium Lennon plays while the group mimed "We Can Work it Out" in that show is the same one that was played in Coronation Street by Ena Sharples -- the character we heard last episode being Davy Jones' grandmother. As well as the Beatles themselves, that show included other Brian Epstein artists like Cilla Black and Billy J Kramer singing songs that Lennon and McCartney had given to them, plus Peter Sellers, the Beatles' comedy idol, performing "A Hard Day's Night" in the style of Laurence Olivier as Richard III: [Excerpt: Peter Sellers, "A Hard Day's Night"] Another performance on the show was by Peter and Gordon, performing a hit that Paul had given to them, one of his earliest songs: [Excerpt: Peter and Gordon, "A World Without Love"] Peter Asher, of Peter and Gordon, was the brother of Paul McCartney's girlfriend, the actor Jane Asher. And while the other three Beatles were living married lives in mansions in suburbia, McCartney at this point was living with the Asher family in London, and being introduced by them to a far more Bohemian, artistic, hip crowd of people than he had ever before experienced. They were introducing him to types of art and culture of which he had previously been ignorant, and while McCartney was the only Beatle so far who hadn't taken LSD, this kind of mind expansion was far more appealing to him. He was being introduced to art film, to electronic composers like Stockhausen, and to ideas about philosophy and art that he had never considered. Peter Asher was a friend of John Dunbar, who at the time was Marianne Faithfull's husband, though Faithfull had left him and taken up with Mick Jagger, and of Barry Miles, a writer, and in September 1965 the three men had formed a company, Miles, Asher and Dunbar Limited, or MAD for short, which had opened up a bookshop and art gallery, the Indica Gallery, which was one of the first places in London to sell alternative or hippie books and paraphernalia, and which also hosted art events by people like members of the Fluxus art movement. McCartney was a frequent customer, as you might imagine, and he also encouraged the other Beatles to go along, and the Indica Gallery would play an immense role in the group's history, which we'll look at in a future episode. But the first impact it had on the group was when John and Paul went to the shop in late 1965, just after the recording and release of Rubber Soul and the "Day Tripper"/"We Can Work It Out" single, and John bought a copy of The Psychedelic Experience by Leary, Dass, and Metzner. He read the book on a plane journey while going on holiday -- reportedly while taking his third acid trip -- and was inspired. When he returned, he wrote a song which became the first track to be recorded for the group's next album, Revolver: [Excerpt: The Beatles, "Tomorrow Never Knows"] The lyrics were inspired by the parts of The Psychedelic Experience which were in turn inspired by the Tibetan Book of the Dead. Now, it's important to put it this way because most people who talk about this record have apparently never read the book which inspired it. I've read many, many, books on the Beatles which claim that The Psychedelic Experience simply *is* the Tibetan Book of the Dead, slightly paraphrased. In fact, while the authors use the Tibetan Book of the Dead as a structure on which to base their book, much of the book is detailed descriptions of Leary, Dass, and Metzner's hypotheses about what is actually happening during a psychedelic trip, and their notes on the book -- in particular they provide commentaries to the commentaries, giving their view of what Carl Jung meant when he talked about it, and of Evans-Wentz's opinions, and especially of a commentary by Anagarika Govinda, a Westerner who had taken up Tibetan Buddhism seriously and become a monk and one of its most well-known exponents in the West. By the time it's been filtered through so many different viewpoints and perspectives, each rewriting and reinterpreting it to suit their own preconceived ideas, they could have started with a book on the habitat of the Canada goose and ended with much the same result. Much of this is the kind of mixture between religious syncretism and pseudoscience that will be very familiar to anyone who has encountered New Age culture in any way, statements like "The Vedic sages knew the secret; the Eleusinian Initiates knew it; the Tantrics knew it. In all their esoteric writings they whisper the message: It is possible to cut beyond ego-consciousness, to tune in on neurological processes which flash by at the speed of light, and to become aware of the enormous treasury of ancient racial knowledge welded into the nucleus of every cell in your body". This kind of viewpoint is one that has been around in one form or another since the nineteenth century religious revivals in America that led to Mormonism, Christian Science, and the New Thought. It's found today in books and documentaries like The Secret and the writings of people like Deepak Chopra, and the idea is always the same one -- people thousands of years ago had a lost wisdom that has only now been rediscovered through the miracle of modern science. This always involves a complete misrepresentation of both the lost wisdom and of the modern science. In particular, Leary, Dass, and Metzner's book freely mixes between phrases that sound vaguely scientific, like "There are no longer things and persons but only the direct flow of particles", things that are elements of Tibetan Buddhism, and references to ego games and "game-existence" which come from Leary's particular ideas of psychology as game interactions. All of this is intermingled, and so the claims that some have made that Lennon based the lyrics on the Tibetan Book of the Dead itself are very wrong. Rather the song, which he initially called "The Void", is very much based on Timothy Leary. The song itself was very influenced by Indian music. The melody line consists of only four notes -- E, G, C, and B flat, over a space of an octave: [Demonstrates] This sparse use of notes is very similar to the pentatonic scales in a lot of folk music, but that B-flat makes it the Mixolydian mode, rather than the E minor pentatonic scale our ears at first make it feel like. The B-flat also implies a harmony change -- Lennon originally sang the whole song over one chord, a C, which has the notes C, E, and G in it, but a B-flat note implies instead a chord of C7 -- this is another one of those occasions where you just put one finger down to change the chord while playing, and I suspect that's what Lennon did: [Demonstrates] Lennon's song was inspired by Indian music, but what he wanted was to replicate the psychedelic experience, and this is where McCartney came in. McCartney was, as I said earlier, listening to a lot of electronic composers as part of his general drive to broaden his mind, and in particular he had been listening to quite a bit of Karlheinz Stockhausen. Stockhausen was a composer who had studied with Olivier Messiaen in the 1940s, and had then become attached to the Groupe de Recherche de Musique Concrète along with Messiaen, Pierre Boulez, Edgard Varese and others, notably Pierre Schaeffer and Pierre Henry. These composers were interested in a specific style of music called musique concrète, a style that had been pioneered by Schaeffer. Musique concrète is music that is created from, or at least using, prerecorded sounds that have been electronically altered, rather than with live instruments. Often this would involve found sound -- music made not by instruments at all, but by combining recorded sounds of objects, like with the first major work of musique concrète, Pierre Schaeffer's Cinq études de bruits: [Excerpt: Pierre Schaeffer, "Etude aux Chemins de faire" (from Cinq études de bruits)] Early on, musique concrète composers worked in much the same way that people use turntables to create dance music today -- they would have multiple record players, playing shellac discs, and a mixing desk, and they would drop the needle on the record players to various points, play the records backwards, and so forth. One technique that Schaeffer had come up with was to create records with a closed groove, so that when the record finished, the groove would go back to the start -- the record would just keep playing the same thing over and over and over. Later, when magnetic tape had come into use, Schaeffer had discovered you could get the same effect much more easily by making an actual loop of tape, and had started making loops of tape whose beginnings were stuck to their ending -- again creating something that could keep going over and over. Stockhausen had taken up the practice of using tape loops, most notably in a piece that McCartney was a big admirer of, Gesang der Jeunglinge: [Excerpt: Karlheinz Stockhausen, "Gesang der Jeunglinge"] McCartney suggested using tape loops on Lennon's new song, and everyone was in agreement. And this is the point where George Martin really starts coming into his own as a producer for the group. Martin had always been a good producer, but his being a good producer had up to this point mostly consisted of doing little bits of tidying up and being rather hands-off. He'd scored the strings on "Yesterday", played piano parts, and made suggestions like speeding up "Please Please Me" or putting the hook of "Can't Buy Me Love" at the beginning. Important contributions, contributions that turned good songs into great records, but nothing that Tony Hatch or Norrie Paramor or whoever couldn't have done. Indeed, his biggest contribution had largely been *not* being a Hatch or Paramor, and not imposing his own songs on the group, letting their own artistic voices flourish. But at this point Martin's unique skillset came into play. Martin had specialised in comedy records before his work with the Beatles, and he had worked with Peter Sellers and Spike Milligan of the Goons, making records that required a far odder range of sounds than the normal pop record: [Excerpt: The Goons, "Unchained Melody"] The Goons' radio show had used a lot of sound effects created by the BBC Radiophonic Workshop, a department of the BBC that specialised in creating musique concrète, and Martin had also had some interactions with the Radiophonic Workshop. In particular, he had worked with Maddalena Fagandini of the Workshop on an experimental single combining looped sounds and live instruments, under the pseudonym "Ray Cathode": [Excerpt: Ray Cathode, "Time Beat"] He had also worked on a record that is if anything even more relevant to "Tomorrow Never Knows". Unfortunately, that record is by someone who has been convicted of very serious sex offences. In this case, Rolf Harris, the man in question, was so well-known in Britain before his arrest, so beloved, and so much a part of many people's childhoods, that it may actually be traumatic for people to hear his voice knowing about his crimes. So while I know that showing the slightest consideration for my listeners' feelings will lead to a barrage of comments from angry old men calling me a "woke snowflake" for daring to not want to retraumatise vulnerable listeners, I'll give a little warning before I play the first of two segments of his recordings in a minute. When I do, if you skip forward approximately ninety seconds, you'll miss that section out. Harris was an Australian all-round entertainer, known in Britain for his novelty records, like the unfortunately racist "Tie Me Kangaroo Down Sport" -- which the Beatles later recorded with him in a non-racist version for a BBC session. But he had also, in 1960, recorded and released in Australia a song he'd written based on his understanding of Aboriginal Australian religious beliefs, and backed by Aboriginal musicians on didgeridoo. And we're going to hear that clip now: [Excerpt. Rolf Harris, "Sun Arise" original] EMI, his British label, had not wanted to release that as it was, so he'd got together with George Martin and they'd put together a new version, for British release. That had included a new middle-eight, giving the song a tiny bit of harmonic movement, and Martin had replaced the didgeridoos with eight cellos, playing a drone: [Excerpt: Rolf Harris, "Sun Arise", 1962 version ] OK, we'll just wait a few seconds for anyone who skipped that to catch up... Now, there are some interesting things about that track. That is a track based on a non-Western religious belief, based around a single drone -- the version that Martin produced had a chord change for the middle eight, but the verses were still on the drone -- using the recording studio to make the singer's voice sound different, with a deep, pulsating, drum sound, and using a melody with only a handful of notes, which doesn't start on the tonic but descends to it. Sound familiar? Oh, and a young assistant engineer had worked with George Martin on that session in 1962, in what several sources say was their first session together, and all sources say was one of their first. That young assistant engineer was Geoff Emerick, who had now been promoted to the main engineer role, and was working his first Beatles session in that role on “Tomorrow Never Knows”. Emerick was young and eager to experiment, and he would become a major part of the Beatles' team for the next few years, acting as engineer on all their recordings in 1966 and 67, and returning in 1969 for their last album. To start with, the group recorded a loop of guitar and drums, heavily treated: [Excerpt: "Tomorrow Never Knows", loop] That loop was slowed down to half its speed, and played throughout: [Excerpt: "Tomorrow Never Knows", loop] Onto that the group overdubbed a second set of live drums and Lennon's vocal. Lennon wanted his voice to sound like the Dalai Lama singing from a mountaintop, or like thousands of Tibetan monks. Obviously the group weren't going to fly to Tibet and persuade monks to sing for them, so they wanted some unusual vocal effect. This was quite normal for Lennon, actually. One of the odd things about Lennon is that while he's often regarded as one of the greatest rock vocalists of all time, he always hated his own voice and wanted to change it in the studio. After the Beatles' first album there's barely a dry Lennon solo vocal anywhere on any record he ever made. Either he would be harmonising with someone else, or he'd double-track his vocal, or he'd have it drenched in reverb, or some other effect -- anything to stop it sounding quite so much like him. And Geoff Emerick had the perfect idea. There's a type of speaker called a Leslie speaker, which was originally used to give Hammond organs their swirling sound, but which can be used with other instruments as well. It has two rotating speakers inside it, a bass one and a treble one, and it's the rotation that gives the swirling sound. Ken Townsend, the electrical engineer working on the record, hooked up the speaker from Abbey Road's Hammond organ to Lennon's mic, and Lennon was ecstatic with the sound: [Excerpt: The Beatles, "Tomorrow Never Knows", take one] At least, he was ecstatic with the sound of his vocal, though he did wonder if it might be more interesting to get the same swirling effect by tying himself to a rope and being swung round the microphone The rest of the track wasn't quite working, though, and they decided to have a second attempt. But Lennon had been impressed enough by Emerick that he decided to have a chat with him about music -- his way of showing that Emerick had been accepted. He asked if Emerick had heard the new Tiny Tim record -- which shows how much attention Lennon was actually paying to music at this point. This was two years before Tim's breakthrough with "Tiptoe Through the Tulips", and his first single (unless you count a release from 1963 that was only released as a 78, in the sixties equivalent of a hipster cassette-only release), a version of "April Showers" backed with "Little Girl" -- the old folk song also known as "In the Pines" or "Where Did You Sleep Last Night?": [Excerpt: Tiny Tim, "Little Girl"] Unfortunately for Emerick, he hadn't heard the record, and rather than just say so he tried bluffing, saying "Yes, they're great". Lennon laughed at his attempt to sound like he knew what he was talking about, before explaining that Tiny Tim was a solo artist, though he did say "Nobody's really sure if it's actually a guy or some drag queen". For the second attempt, they decided to cut the whole backing track live rather than play to a loop. Lennon had had trouble staying in sync with the loop, but they had liked the thunderous sound that had been got from slowing the tape down. As Paul talked with Ringo about his drum part, suggesting a new pattern for him to play, Emerick went down into the studio from the control room and made some adjustments. He first deadened the sound of the bass drum by sticking a sweater in it -- it was actually a promotional sweater with eight arms, made when the film Help! had been provisionally titled Eight Arms to Hold You, which Mal Evans had been using as packing material. He then moved the mics much, much closer to the drums that EMI studio rules allowed -- mics can be damaged by loud noises, and EMI had very strict rules about distance, not allowing them within two feet of the drum kit. Emerick decided to risk his job by moving the mics mere inches from the drums, reasoning that he would probably have Lennon's support if he did this. He then put the drum signal through an overloaded Fairfield limiter, giving it a punchier sound than anything that had been recorded in a British studio up to that point: [Excerpt: The Beatles, "Tomorrow Never Knows", isolated drums] That wasn't the only thing they did to make the record sound different though.  As well as Emerick's idea for the Leslie speaker, Ken Townsend had his own idea of how to make Lennon's voice sound different. Lennon had often complained about the difficulty of double-tracking his voice, and so Townsend had had an idea -- if you took a normal recording, fed it to another tape machine a few milliseconds out of sync with the first, and then fed it back into the first, you could create a double-tracked effect without having to actually double-track the vocal. Townsend suggested this, and it was used for the first time on the first half of "Tomorrow Never Knows", before the Leslie speaker takes over. The technique is now known as "artificial double-tracking" or ADT, but the session actually gave rise to another term, commonly used for a similar but slightly different tape-manipulation effect that had already been used by Les Paul among others. Lennon asked how they'd got the effect and George Martin started to explain, but then realised Lennon wasn't really interested in the technical details, and said "we take the original image and we split it through a double-bifurcated sploshing flange". From that point on, Lennon referred to ADT as "flanging", and the term spread, though being applied to the other technique. (Just as a quick aside, some people have claimed other origins for the term "flanging", and they may be right, but I think this is the correct story). Over the backing track they added tambourine and organ overdubs -- with the organ changing to a B flat chord when the vocal hits the B-flat note, even though the rest of the band stays on C -- and then a series of tape loops, mostly recorded by McCartney. There's a recording that circulates which has each of these loops isolated, played first forwards and then backwards at the speed they were recorded, and then going through at the speed they were used on the record, so let's go through these. There's what people call the "seagull" sound, which is apparently McCartney laughing, very distorted: [Excerpt: Tomorrow Never Knows loop] Then there's an orchestral chord: [Excerpt: Tomorrow Never Knows loop] A mellotron on its flute setting: [Excerpt: Tomorrow Never Knows loop] And on its string setting: [Excerpt: Tomorrow Never Knows loop] And a much longer loop of sitar music supplied by George: [Excerpt: Tomorrow Never Knows loop] Each of these loops were played on a different tape machine in a different part of Abbey Road -- they commandeered the entire studio complex, and got engineers to sit with the tapes looped round pencils and wine-glasses, while the Beatles supervised Emerick and Martin in mixing the loops into a single track. They then added a loop of a tamboura drone played by George, and the result was one of the strangest records ever released by a major pop group: [Excerpt: The Beatles, "Tomorrow Never Knows"] While Paul did add some backwards guitar -- some sources say that this is a cut-up version of his solo from George's song "Taxman", but it's actually a different recording, though very much in the same style -- they decided that they were going to have a tape-loop solo rather than a guitar solo: [Excerpt: The Beatles, "Tomorrow Never Knows"] And finally, at the end, there's some tack piano playing from McCartney, inspired by the kind of joke piano parts that used to turn up on the Goon Show. This was just McCartney messing about in the studio, but it was caught on tape, and they asked for it to be included at the end of the track. It's only faintly audible on the standard mixes of the track, but there was actually an alternative mono mix which was only released on British pressings of the album pressed on the first day of its release, before George Martin changed his mind about which mix should have been used, and that has a much longer excerpt of the piano on it. I have to say that I personally like that mix more, and the extra piano at the end does a wonderful job of undercutting what could otherwise be an overly-serious track, in much the same way as the laughter at the end of "Within You, Without You", which they recorded the next year. The same goes for the title -- the track was originally called "The Void", and the tape boxes were labelled "Mark One", but Lennon decided to name the track after one of Starr's malapropisms, the same way they had with "A Hard Day's Night", to avoid the track being too pompous. [Excerpt: Beatles interview] A track like that, of course, had to end the album. Now all they needed to do was to record another thirteen tracks to go before it. But that -- and what they did afterwards, is a story for another time. [Excerpt, "Tomorrow Never Knows (alternate mono mix)" piano tag into theme music]

In this episode I am joined by Pierre-Henri Chuet, callsign "Ate". He served on the Charles de Gaulle aircraft carrier, operating the Dassault Rafale fighter aircraft.Ate has an interesting story, both operating in the US Air Force and the French Navy. He is also a stroke survivor at a young age and has managed to regain his flying medical. Ate now flies Boeing B737 for Air Canada. He also started and continues to run Mach 3 Management, a consulting company using the techniques learned in aviation, to deliver in high stress environments.Contact Até - LinkedIn, Twitter, FacebookTEDx talk - https://www.youtube.com/watch?v=BHppH...www.dbrief.orgLinks to videos:https://www.youtube.com/watch?v=AZtyu…HIGH PERFORMANCE TEAMS:Do you want to improve your team performance? I will give your team the boost that is needed. The principle is called INCREMENTAL GAINS. Let me explain the 3 step process, in an exciting action-packed talk. A riveting discussion, tailored to your team needs,  covering formation aerobatics, international ultra-long haul flights and how it applies to your team.Get in touch with Alex: Email: alex@alexmacphail.co.zaTwitter: https://twitter.com/AlexMacPhail1LinkedIn: https://www.linkedin.com/in/flyingmogulWebsite: www.alexmacphail.co.za