Town in North Wales
POPULARITY
28 episodes with Rhyl
30 episodes with Rhyl
13 episodes with Rhyl
2 episodes with Rhyl
2 episodes with Rhyl
2 episodes with Rhyl
2 episodes with Rhyl
15 episodes with Rhyl
2 episodes with Rhyl
EP90 - The Cue and The Kite - James CrookIn a weathered static caravan in the sleepy seaside town of Rhyl, 24-year-old Tim Jones drifts through life, long removed from the days he was hailed as a snooker prodigy. Since the tragic death of his beloved grandad a decade ago, Tim has shelved his cue—and his dreams—trading them for a soul-sapping job on an assembly line. But when he's fired by his overbearing manager, Simon, Tim hits rock bottom. Back at the caravan, amidst a fog of frustration, Tim stumbles upon a secret panel containing his grandad's old birdwatching notebook. Inside lies a single unfulfilled wish: spotting the legendary and elusive Welsh Kite. Seeing this as a final chance to connect with the man who meant everything to him, Tim sets off on an unlikely adventure to the rugged peaks of Tryfan. But Tim's journey becomes more perilous than he ever imagined—especially with the strange and suspicious Chris Eubank (yes, that Chris Eubank) mysteriously tracking his every move. Now, Tim must face harsh terrain, his inner demons, and possibly an ex-professional boxer, all in pursuit of a bird that may not even exist. From snooker halls to mountaintops, cue balls to rare eggs, this is an all-made-up story like you've never heard before. Wanna follow James Crookhttps://www.instagram.com/jamescrookc... Wanna follow Harry Stachini…Insta: @HarrystandupFB: @HarrystachinicomedianYouTube: @HarrystachiniTwitter: @HstachiniThe Staff Room PodcastWanna follow Lewis Coleman…Insta: @lewiscolemanTwitter: @LewisColeman93Wanna follow Ben Hart…Insta: @benhartcomedyFB: @benhartactorTwitter: @benhart0592CreditsRecorded by Lewis ColemanEdited by Clementine Bogg-Hargroves Produced by @GetGiddierArtwork by Elliot @melodyleeart Soundtrack by @grahammccusker#NewPodcast #ComedyPodcast #Welsh #Birds #Birdwatching #Grief Hosted on Acast. See acast.com/privacy for more information.
Benno and JP catch up in a Spotlight proper as they talk AEW Forbidden Door's record gate, as well as the CMLL and AAA proxy war with WWE announcements for TripleMania.They also talk the WWE releases of Braun Strowman, Shayna Baysler and more, plus Naito leaving new Japan, some NOAH and lots more!SHOWNOTES0:00 Intro, Plugs13:09 AEW Forbidden Door sales, CMLL, ROH releases, Okada vs Omega1:02:51 WWE Releases, AAA contracts, Vince McMahon vs shareholders, Nick Khan1:44:30 Naito leaves New Japan, Callum Newman vs Goto, Wrestling Dontaku, Other NewsGRAPPL Spotlight is produced with support from our Patrons and YouTube members, with special thanks to Patreon Kings and Queen Of The Mountain - Conor O'Loughlin, Eddie Sideburns, Chris Platt, Carl Gac, Sophia Hitchcock & Simon Mulvaney! You can find all of our live shows on YouTube by becoming a Member at http://www.Youtube.com/@GRAPPL, or join us on Patreon for both live video and audio replays at http://www.patreon.com/GRAPPL! Get the the new line of GRAPPL merchandise with FREE SHIPPING to the UK, EU, US, Canada, Australia & New Zealand at https://chopped-tees.com/en-uk/collections/grapplYou can also join us on the GRAPPL Discord for free at https://discord.gg/KqeVAcwctS
Mae Mark Williams yn gyn-nofiwr Paralympaidd, fe yw sylfaenydd LIMB-art - cwmni sy'n cynhyrchu cloriau unigryw a hwyliog ar gyfer coesau prosthetig .Newidiodd bywyd Mark Williams o'r Rhyl un diwrnod ym Mehefin 1982 pan gollodd ei goes chwith mewn damwain ffordd wrth seiclo adref o'r ysgol. Roedd Mark yn 10 mlwydd oed.Mae'r ddamwain wedi siapio ei fywyd a'i yrfa mewn nifer o ffyrdd ac wedi arwain Mark i sefydlu cwmni yn 2018 o'r enw LIMB-art sy'n dylunio gorchuddion ar gyfer coesau prosthetig.Mae ei waith wedi cael ei gymeradwyo gan y Brenin yn 2024 gyda'r cwmni yn ennill un o Wobrau'r Brenin am ei fenter.Mae wedi ennill nifer o wobrau am ddyfeisio pethau a hefyd 30 mlynedd nol fe enillodd fedal aur, arian ac efydd ym Mhencampwriaethau'r byd i'r anabl fel nofiwr Paralympaidd. Mae ei stori yn anhygoel!
Keri Wallace is an amazing ultra-runner who has set several Fastest Known Times on some tough trails. Recently, she made headlines by achieving a new female solo, unsupported winter FKT on the West Highland Way! Keri took on the 154 km trail from Milngavie to Fort William and finished in an incredible 28 hours and 19 minutes. It's truly inspiring, especially since she faced 17 hours of darkness and freezing temperatures.Beyond her impressive running feats, Keri is passionate about supporting women in ultra-running. She's the co-founder of Girls on Hills, a fantastic organization that encourages more women to get involved in mountain and trail running. Keri's work is making a big difference in the running community!Pic Credit - B Chalmershttps://teaandtrails.com/https://www.patreon.com/teaandtrailshttps://www.youtube.com/@teaandtrailshttps://www.teaandtrailsultra.com/DonationsFAO Conor Mathieson.Recovery Runners.Kinmel Bay Church,83 St Asaph Avenue.Kinmel Bay,Rhyl.LL18 5EY.XMILES UK - https://xmiles.co.uk/SHOKZ - Use the Code TEA10 to receive £10 off your order.https://uk.shokz.com?sca_ref=7394994.MfsDQZBAeLQihiPrecision Fuel & Hydration - https://visit.pfandh.com/3GKxHjUPrecision Fuel & Hydration Planner - https://visit.pfandh.com/3RuP25zHarrier Trail Running - https://harrierrunfree.co.uk/Fenixlight Limited - https://www.fenixlight.co.uk/Protein Rebel - https://proteinrebel.com/Beta Run - https://www.betaoutdoorsports.com/The information in our content is provided as an information resource and is not to be used or relied on for diagnostic or treatment purposes. This information does not create a patient-physician/doctor relationship and should not be used as a substitute.Content may contain affiliate links which can help support and grow this channel at no extra cost to you. Thanks for your continued support.Brew with the Coaches - CLICK HEREKeeping Dry & Staying Warm - https://amzn.to/42JCexqFix Your Feet - https://amzn.to/3FE4nf0Running Challenges by Keri Wallace - https://amzn.to/3KGdU7eROAR - https://amzn.to/3WU7xB2NEXT LEVEL - https://amzn.to/3Hu15LrUltra Trails - https://www.ultratrails.co.uk/Greener Miles - https://greenermilesrunning.co.uk/Hannah Walsh - https://www.hannahwalsh.co.uk/Punk Panther - https://www.punkpanther.co.uk/Pen Llyn Ultra - https://penllyn.niftyentries.com/Survivor Trailchallenge.com - https://survivortrailchallenge.com/Centurion Running - https://centurionrunning.com/
“Takes a good eight minutes to burn a crumpet, I reckon” The panel of peril take an ill-advised detour to a town that they have been told to never visit, a town so run-down and dilapidated that man dare not tread: Rhyl. Still, they must go, for they have a film screening to catch: Silent Hill (Christophe Gans, 2006). Rose (Radha Mitchell), Christopher (Sean Bean) and Sharon (Jodelle Ferland) are a family troubled by nightmares of a ghost town named Silent Hill. When Rose decides the best course of action is to visit said town with Sharon, all hell breaks loose, quite literally. As ash ominously falls from the sky, they encounter bobble-headed nurses, lying figures, and Pyramid Head on the search through town, but can Rose and Sharon make it out in one piece? Watch the trailer here: https://www.youtube.com/watch?v=1mfnhu8sO5k ********PLOT SPOILER ALERT******** The cultish Brethren, led by Christabella (Alice Krige), who remain in the town sit at the root of the evil. They inadvertently created their own, everlasting Hell by creating their own witch trials, attempting to burn a child whose anger knows no bounds. Will Rose and Sharon be the next victims tied to the stake, or is there a bargain to be made with forces of the underworld? Just what did the panel think of this week's movie, pray tell? How can they improve upon Christabella's twisted scheme? And who will be christened this week's most diabolical? Alan Wake II's Herald of Darkness performed live at the Game Awards: https://www.youtube.com/watch?v=EMmU3mZ5gBc https://twitter.com/diabolicalpod https://www.instagram.com/diabolicalpod/ https://www.facebook.com/diabolicalpod Email diabolicalpod@gmail.com
MONEY FM 89.3 - Prime Time with Howie Lim, Bernard Lim & Finance Presenter JP Ong
On What's Trending, scientists have discovered a new type of fish called the "grumpy dwarfgoby" in the Arabian Red Sea. The name refers to the fish's unhappy appearance, with its upturned mouth. Also, a Disney-themed house in Rhyl, Denbighshire, has been sold to a Disney fan who has visited over 20 times. The house features large murals of Disney characters, including ET and Star Wars franchise characters.See omnystudio.com/listener for privacy information.
Welcome to The Football Historian Podcast, hosted by Peter Kenny Jones. Joining us for episode 14 is Finnlay Kulavuz, the former Rhyl goalkeeper who is now a producer on the 'Have a Word Podcast' and a musician. Finn shared stories from his pod, his footy career which included a love for Ali Al-Habsi. We also talk about the upcoming gig he has and his cycling trip around India! Finnlay K + Special Guests GIG: https://www.skiddle.com/whats-on/Liverpool/Jacaranda-Baltic/Finnlay-K--Special-Guests/39298815/ Fundraising for Zoe's Place: https://cycle4zoes.enthuse.com/pf/finnlay-kulavuz Don't forget to keep sending questions to: thefootballhistorianpodcast@gmail.com Hope this instalment of your soon to be favourite football podcast continues to impress! CHAPTERING 00:01 Part One - Have a Word and Music 13:23 Part Two - Rhyl and Ali Al-Habsi 31:49 Part Three - Football History 48:17 Part Four - The Debate Want more from The Football Historian Podcast? Listen or watch the exclusive FIFTH section of this interview via our Patreon. It's just £1 per month for the first 100 patrons! https://www.patreon.com/TheFootballHistorianPodcast Keep up to date with all our latest clips on our socials: Instagram: https://instagram.com/thefootballhistorianpod/ TikTok: https://tiktok.com/@thefootballhistorianpod X: https://twitter.com/TheFHPod
The UK general election is now in its final stages and while the union-wide result hardly seems in doubt, each constituency and candidate has a story to tell. Here at the Hiraeth Pod we are recording a series of short interviews with new candidates who are contesting constituencies across Wales. These are new faces on the national scene and will no doubt feature in the 2026 Senedd campaign even if unsuccessful this time around. We plan to speak to each of the main parties in Wales, which we consider to be the ones standing in every constituency at the start of the campaign (though since then some have fallen away, as you are no doubt aware). So we will be sharing interviews with Conservative, Plaid Cymru, Green, Reform, Liberal Democrat, and Labour candidates as we try to uphold the values of public service broadcasting in the digital age. In this pod we speak to Cllr Martyn Hogg, who is standing for the Greens in Clwyd North. A new constituency created out of the two Conservative strongholds of Clwyd West and Value of Clwyd that stretches toward the Clwydian Range to the north coast and includes the cathedral city of St Asaph, Denbigh, Rhyl and Colwyn. You can find the North West Greens on X/Twitter here: https://twitter.com/NWWGreenParty The candidates in Clwyd North are: Conservative and Unionist Party: Darren Millar MS England and Wales Green Party: Martyn James Hogg Liberal Democrats: David Wilkins Plaid Cymru: Paul Rowlinson Reform UK: Jamie Orange UK Labour: Gill German As always, you can find the latest from us @hiraethpod on most social media, including Twitter/X here: twitter.com/HiraethPod We hope you find this podcast interesting and useful. Please do send feedback, it's always great to hear what our audience thinks. Thank you for listening to the podcast. If you have enjoyed it, please leave us a nice rating or comment on your podcast app or on YouTube and, if you are able to do so, please consider supporting our work from just £3/month on Patreon: www.patreon.com/hiraethpod
The Euros are kicking off but Elis is sad. Because due to penalties, rather than being on the lash with the lads and girls of Swansea, Rhyl and Pontypridd, he's in a studio in London. But that's not to say he can't have a ruddy good time with his less Welsh pals.And they get down to some right old fun. Producer Dave doesn't have faith in a temporary sporting feature resurrection due to ‘topicality in a pre-recorded landscape' and one third of the greatest beans on Earth (excluding Sean Bean) joins to solve a dilemma.What's the means of contacting us with your great and good correspondence, chat and musings? Well it's mailto:elisandjohn@bbc.co.uk of course. Or it's WhatsApp on 07974 293 022 or whack it in a St Bernard's barrel and send them on their way.
Send us a Text Message.Welcome to this week's episode and we really cannot believe this is number 34 The boys are taking a break from health matters this week as another guest arrives in the Studio. This week its ex-professional football player Steve Wright (Charlie).Steve spent his professional career in the football league mainly playing for Colchester United in the UK.Years | Team | Apps | (Gls)1977–1982 | Colchester United | 117 | (3)1982 | HJK Helsinki | 9 | (1)1982–1983 | Braintree Town | ? | (?)1983 | Lappfjärds BK | ? | (2)1983–1985 | Wrexham | 76 | (0)1985–1986 | Torquay United | 33 | (0)1986–1988 | Crewe Alexandra | 72 | (3)1988–1989 | Rhyl | ? | (?)1989–1990 | Chelmsford City | 9 | (0)1990–1997 | Wivenhoe Town | 177 | (2)1997–1998 | Harwich & Parkeston | ? | (?)Total | | 316 | (9) Steve tells about his ups and downs, some funny moments, his time in Europe, and his thoughts on todays game and the technology being introduced.We don't get a chance for Martins Joke of the Week this time around but it will return in the next episodeFinally, next week we will be back on track at Mumma Bee's and discussing all things Cancer with some brave ladies who have been through Breast Cancer and come out the other side positively. #HeartTransplant#EbsteinsAnomaly#RareCondition#HealthJourney#LifeChangingDiagnosis#MentalHealth#Vulnerability#SelfCompassion#PostTraumaticGrowth#MedicalMiracle#BBCSports#Inspiration#Cardiology#Surgery#Podcast#Healthcare#HeartHealth#MedicalBreakthrough#EmotionalJourney#SupportSystem#HealthcareHeroes#PatientStories#CardiologyCare#MedicalJourney#LifeLessons#MentalWellness#HealthAwareness#InspirationalTalk#LivingWithIllness#RareDiseaseAwareness#SharingIsCaring#MedicalSupport#BBCReporter#HeartDisease#PodcastInterview#HealthTalk#Empowerment#Wellbeing#HealthPodcast#ChronicIllness#joepasquale#mywishcharity#comedy#funny#jokeCheck out our new website at www.whostomanddick.comCheck out our new website at www.whostomanddick.com
Travel with me to Nancy's Strip Club in Rhyl! I talk about the challenges a stripper lifestyle dictates as I'm on my work binge. But something a bit different tonight as I drive 3 hours to work at a pop up event with all the good vibes!Support this podcast at — https://redcircle.com/the6amclub/donations
Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are -- our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over. If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability. The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie. Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th
I'm joined today for this special bonus episode by my good friend and brand-new author, Rhyl Venning. If you're a long-time listener of the podcast, you've actually “met” Rhyl before, back in November of 2020, when she joined me to share the story of her daughter Kari-Lee. She has written an excellent new book, which will be launching on October 22nd, a very significant date for both Rhyl and me, as you'll hear in our interview. Today we chat about Kari, Rhyl's journey to becoming an author, and her objective in writing the book. She also shares some of the books that have been most helpful to her in her grief. Click HERE to listen to my previous episode with Rhyl, in which she shares Kari-Lee's complete story. Click HERE to order Sunlight on the Ocean from Amazon. Click HERE to order Sunlight on the Ocean from Barnes & Noble.All views expressed by guests on this podcast are theirs alone, and may not represent the Statement of Faith and Statement of Belief of the While We're Waiting ministry. We'd love for you to connect with us here at While We're Waiting! Click HERE to visit our website and learn about our free While We're Waiting Weekends for bereaved parentsClick HERE to learn more about our network of While We're Waiting support groups all across the country. Click HERE to follow our public Facebook pageClick HERE to follow us on Instagram Click HERE to follow us on Twitter Click HERE to make a tax-deductible donation to the While We're Waiting ministryContact Jill by email at: jill@whilewerewaiting.org
[True Crime Case] In this True Crime Case really is like a horror movie. We'll be looking at Redvers Bickley of Cardiff Wales.In May 2017 Redvers Bickley and Tyler Denton Started living together at 6 Llys Aderyn Du in Rhyl. Their living arrangements were that housemates, it was platonic and they were staying in separate rooms. And this wasn't the first time they lived together, they'd been doing so for years. They were good friends in-fact they've been described by several people as being like brother and sister.But then on Saturday the 9th of September 2017 Tyler was having a girls night in to celerbate her girlfriends 25th birthday. That's when everything changed.--------------DISCLAIMERThis is a real, True Crime Case, so it's important that if you share or comment you do so with the appropriate sensitivity. -Some of the images in this video have been edited with creative licence, namely the backgrounds. At no point has the subject of the images been altered nor the context of the image.--If you like my content please subscribe. - Click here - https://youtube.com/allimsayingis?sub_confirmation=1 All I'm Saying Is, is now in lots of places, Instagram, Twitter, TikTok and wherever you listen to your podcasts. For a full list please visit my Linktree: https://linktr.ee/itsallimsaying ........The reason my True Crime cases go into such detail is because i take them seriously.I see myself as an "Investigative journalist", although I don't like the term when referring to myself, it does very much explain what i do.However I only ever use Information and Images that are already in the public domain.I try my best at all times to be respectful and unbiased. With only good intentions.If you are close to a Case/Crime that i cover and you want me to remove it from my youtube/Podcast. That being a close relative. Then feel free to contact me at millvape49@gmail.com . However please be aware, I am not obligated to do so.................---Sources.Support the show
Many of us struggle with our faith in God after He didn't answer our prayers for our children. We may have prayed daily for protection, but he or she was in an accident that took their life. We may have prayed for healing from an addiction, or a mental illness like being bi-polar or manic […] The post 220: When You Believed God for a Healing (with Rhyl Venning) appeared first on GPS Hope.
Dyma stori yr Irate Eight: Bae Colwyn, Bangor, y Barri, Caernarfon, Casnewydd, y Drenewydd, Merthyr, a'r Rhyl. Mewn cyfres arbennig gan bodlediad Sgorio fyddwn ni'n olrhain hanes ein cynghrair cenedlaethol, a'r wyth clwb cafodd yr alwad i ddychwelyd i Gymru yn 1992. Fe glywn ni wrth y cefnogwyr a'r chwaraewyr oedd yno ar y pryd, newn ni ddilyn hanes yr wyth clwb hyd heddiw, a gofyn shwt ma pethe am newid i'r clybiau yn y dyfodol. Wedi 30 mlynedd wedi mynd ers dechrau Uwch-gynghrair Cymru, mae clybiau'r Irate Eight wedi dilyn wyth trywydd hollol wahanol erbyn hyn. Gyda'r Gymdeithas Bel-droed yn rhedeg arolwg o'r gynghrair yng Nghymru, sut mae perthynas yr wyth clwb gyda'r system ddomestig yng Nghymru am newid yn y dyfodol? Diolch i holl gyfrannwyr y gyfres am eu hamser nhw – eu stori nhw yw hwn. This is the story of the Irate Eight: Colwyn Bay, Bangor, Barry, Caernarfon, Newport, Newtown, Merthyr, and Rhyl. In a special series by the Sgorio podcast we trace the history of our national league, and the eight clubs that were called to return to Wales in 1992. We will hear from the fans and players who were there at the time, we will follow the story of the eight clubs up to this day, and ask what the future holds in store. 30 years have passed since the start of the League of Wales, with the Irate Eight clubs having all followed different paths. The FAW is currently reviewing the league, so how is the relationship of the eight clubs with the domestic system in Wales likely to change in the future? Thanks to all the contributors to the series for their time - this is their story.
Dyma stori yr Irate Eight: Bae Colwyn, Bangor, y Barri, Caernarfon, Casnewydd, y Drenewydd, Merthyr, a'r Rhyl. Mewn cyfres arbennig gan bodlediad Sgorio fyddwn ni'n olrhain hanes ein cynghrair cenedlaethol, a'r wyth clwb cafodd yr alwad i ddychwelyd i Gymru yn 1992. Fe glywn ni wrth y cefnogwyr a'r chwaraewyr oedd yno ar y pryd, newn ni ddilyn hanes yr wyth clwb hyd heddiw, a gofyn shwt ma pethe am newid i'r clybiau yn y dyfodol. Roedd 2019 yn flwyddyn fawr i rai o aelodau gogleddol yr Irate Eight, gyda Bae Colwyn yn penderfynu dychwelyd i Gymru, a chefnogwyr Bangor yn dechrau clwb protest - Bangor 1876. Blwyddyn yn ddiweddarach bu rhaid i gefnogwyr y Rhyl ddechrau clwb newydd hefyd... Diolch i holl gyfrannwyr y gyfres am eu hamser nhw – eu stori nhw yw hwn. This is the story of the Irate Eight: Colwyn Bay, Bangor, Barry, Caernarfon, Newport, Newtown, Merthyr, and Rhyl. In a special series by the Sgorio podcast we trace the history of our national league, and the eight clubs that were called to return to Wales in 1992. We will hear from the fans and players who were there at the time, we will follow the story of the eight clubs up to this day, and ask what the future holds in store. 2019 was a big year for some of the northern members of the Irate Eight, with Colwyn Bay deciding to return to Wales, and Bangor fans starting a protest club - Bangor 1876. A year later Rhyl fans also had to start their own new club... Thanks to all the contributors to the series for their time - this is their story.
Dyma stori yr Irate Eight: Bae Colwyn, Bangor, y Barri, Caernarfon, Casnewydd, y Drenewydd, Merthyr, a'r Rhyl. Mewn cyfres arbennig gan bodlediad Sgorio fyddwn ni'n olrhain hanes ein cynghrair cenedlaethol, a'r wyth clwb cafodd yr alwad i ddychwelyd i Gymru yn 1992. Fe glywn ni wrth y cefnogwyr a'r chwaraewyr oedd yno ar y pryd, newn ni ddilyn hanes yr wyth clwb hyd heddiw, a gofyn shwt ma pethe am newid i'r clybiau yn y dyfodol. Ar y bennod yma ni'n camu ymlaen at gyfnod 'Deuddeg Disglair' Uwch-Gynghrair Cymru. Roedd llwyddiant i rai o'r Irate Eight naill ochr i'r ffin yn ystod y cyfnod yma, ond roedd trwbwl ar y ffordd i rai arall. Diolch i holl gyfrannwyr y gyfres am eu hamser nhw – eu stori nhw yw hwn. This is the story of the Irate Eight: Colwyn Bay, Bangor, Barry, Caernarfon, Newport, Newtown, Merthyr, and Rhyl. In a special series by the Sgorio podcast we trace the history of our national league, and the eight clubs that were called to return to Wales in 1992. We will hear from the fans and players who were there at the time, we will follow the story of the eight clubs up to this day, and ask what the future holds in store. On this episode we step forward to the 'Super Twelve' period of the Welsh Premier League. There was success for some of the Irate Eight on either side of the border during this period, but trouble was on the way for others. Thanks to all the contributors to the series for their time - this is their story.
Dyma stori yr Irate Eight: Bae Colwyn, Bangor, y Barri, Caernarfon, Casnewydd, y Drenewydd, Merthyr, a'r Rhyl. Mewn cyfres arbennig gan bodlediad Sgorio fyddwn ni'n olrhain hanes ein cynghrair cenedlaethol, a'r wyth clwb cafodd yr alwad i ddychwelyd i Gymru yn 1992. Fe glywn ni wrth y cefnogwyr a'r chwaraewyr oedd yno ar y pryd, newn ni ddilyn hanes yr wyth clwb hyd heddiw, a gofyn shwt ma pethe am newid i'r clybiau yn y dyfodol. Ers dechrau'u brwydr yn erbyn y Gymdeithas Bel-droed, bu Bae Colwyn, Caernarfon, a Chasnewydd yn chwarae eu gemau “cartref” dros y ffin yn Lloegr. Ond ar yr 11eg Ebrill 1995, roedd penderfyniad ar fin cael ei gyhoeddi yn yr Uchel Lys yn Llundain... Diolch i holl gyfrannwyr y gyfres am eu hamser nhw – eu stori nhw yw hwn. This is the story of the Irate Eight: Colwyn Bay, Bangor, Barry, Caernarfon, Newport, Newtown, Merthyr, and Rhyl. In a special series by the Sgorio podcast we trace the history of our national league, and the eight clubs that were called to return to Wales in 1992. We will hear from the fans and players who were there at the time, we will follow the story of the eight clubs up to this day, and ask what the future holds in store. Since their battle started against the FAW, Colwyn Bay, Caernarfon, and Newport played their "home" games over the border in England. But on the 11th April 1995, a decision was about to be announced in the High Court in London... Thanks to all the contributors to the series for their time - this is their story.
Dyma stori yr Irate Eight: Bae Colwyn, Bangor, y Barri, Caernarfon, Casnewydd, y Drenewydd, Merthyr, a'r Rhyl. Mewn cyfres arbennig gan bodlediad Sgorio fyddwn ni'n olrhain hanes ein cynghrair cenedlaethol, a'r wyth clwb cafodd yr alwad i ddychwelyd i Gymru yn 1992. Fe glywn ni wrth y cefnogwyr a'r chwaraewyr oedd yno ar y pryd, newn ni ddilyn hanes yr wyth clwb hyd heddiw, a gofyn shwt ma pethe am newid i'r clybiau yn y dyfodol. Yn y bennod yma, ni am ddilyn hanes y Barri yn y 90au, y cynta o'r alltudion i symud yn ol i Gymru. Mae yna ddyrchafiad, pencampwriaethau, a thripiau i Ewrop nid yn unig i'r Barri ond i glybiau arall yr Irate Eight yn y cyfnod yma hefyd. Diolch i holl gyfrannwyr y gyfres am eu hamser nhw – eu stori nhw yw hwn. This is the story of the Irate Eight: Colwyn Bay, Bangor, Barry, Caernarfon, Newport, Newtown, Merthyr, and Rhyl. In a special series by the Sgorio podcast we trace the history of our national league, and the eight clubs that were called to return to Wales in 1992. We will hear from the fans and players who were there at the time, we will follow the story of the eight clubs up to this day, and ask what the future holds in store. In this chapter, we follow Barry's story in the 90s - the first of the exiled clubs to move back to Wales. There is promotion, championships, and trips to Europe not only for Barry but for the other Irate Eight clubs in this period as well. Thanks to all the contributors to the series for their time - this is their story.
Dyma stori yr Irate Eight: Bae Colwyn, Bangor, y Barri, Caernarfon, Casnewydd, y Drenewydd, Merthyr, a'r Rhyl. Mewn cyfres arbennig gan bodlediad Sgorio fyddwn ni'n olrhain hanes ein cynghrair cenedlaethol, a'r wyth clwb cafodd yr alwad i ddychwelyd i Gymru yn 1992. Fe glywn ni wrth y cefnogwyr a'r chwaraewyr oedd yno ar y pryd, newn ni ddilyn hanes yr wyth clwb hyd heddiw, a gofyn shwt ma pethe am newid i'r clybiau yn y dyfodol. Yn y bennod yma, trown ein sylw at dymor cynta'r Uwch-gynghrair yng Nghymru. Pa fath o gynghrair oedd hi? Sawl un o'r Irate Eight oedd yn cystadlu? Beth oedd ymateb y chwaraewyr oedd yn rhan o'r fenter newydd? Diolch i holl gyfrannwyr y gyfres am eu hamser nhw – eu stori nhw yw hwn. This is the story of the Irate Eight: Colwyn Bay, Bangor, Barry, Caernarfon, Newport, Newtown, Merthyr, and Rhyl. In a special series by the Sgorio podcast we trace the history of our national league, and the eight clubs that were called to return to Wales in 1992. We will hear from the fans and players who were there at the time, we will follow the story of the eight clubs up to this day, and ask what the future holds in store. In this chapter, we turn our attention to the first season of the League of Wales. What kind of league was it? How many of the Irate Eight were competing? What was the reaction of the players who were part of the new venture? Thanks to all the contributors to the series for their time - this is their story.
Dyma stori yr Irate Eight: Bae Colwyn, Bangor, y Barri, Caernarfon, Casnewydd, y Drenewydd, Merthyr, a'r Rhyl. Mewn cyfres arbennig gan bodlediad Sgorio fyddwn ni'n olrhain hanes ein cynghrair cenedlaethol, a'r wyth clwb cafodd yr alwad i ddychwelyd i Gymru yn 1992. Fe glywn ni wrth y cefnogwyr a'r chwaraewyr oedd yno ar y pryd, newn ni ddilyn hanes yr wyth clwb hyd heddiw, a gofyn shwt ma pethe am newid i'r clybiau yn y dyfodol. Yn ail bennod y gyfres, edrychwn ni ar y cyfnod yn arwain at ddechrau'r gynghrair newydd yng Nghymru. Pwy oedd yr Irate Eight? Sut lwyddiant gath y clybiau yn y ddegawd cynt? Pam brwydro yn erbyn yr alwad i ddod nol? Diolch i holl gyfrannwyr y gyfres am eu hamser nhw – eu stori nhw yw hwn. This is the story of the Irate Eight: Colwyn Bay, Bangor, Barry, Caernarfon, Newport, Newtown, Merthyr, and Rhyl. In a special series by the Sgorio podcast we trace the history of our national league, and the eight clubs that were called to return to Wales in 1992. We will hear from the fans and players who were there at the time, we will follow the story of the eight clubs up to this day, and ask what the future holds in store. In the second episode of the series, we look at the period leading up to the start of the new league in Wales. Who were the Irate Eight? How successful were the clubs in the previous decade? Why fight the call to come back to Wales? Thanks to all the contributors to the series for their time - this is their story.
Dyma stori yr Irate Eight: Bae Colwyn, Bangor, y Barri, Caernarfon, Casnewydd, y Drenewydd, Merthyr, a'r Rhyl. Mewn cyfres arbennig gan bodlediad Sgorio fyddwn ni'n olrhain hanes ein cynghrair cenedlaethol, a'r wyth clwb cafodd yr alwad i ddychwelyd i Gymru yn 1992. Fe glywn ni wrth y cefnogwyr a'r chwaraewyr oedd yno ar y pryd, newn ni ddilyn hanes yr wyth clwb hyd heddiw, a gofyn shwt ma pethe am newid i'r clybiau yn y dyfodol. Yn y bennod gynta, yr hanesydd Mei Emrys sy'n gosod y cyd-destun. Pam bod clybiau o Gymru yn chwarae yn Lloegr yn y lle cynta? Pa gynghreiriau oedd yn bodoli ar gyfer y clybiau oedd yn aros i chwarae yn y system ddomestig yma? Pam newid y drefn ar ddechrau'r 90au, a chyflwyno cynghrair cenedl-gyfan cynta yng Nghymru? Diolch i holl gyfrannwyr y gyfres am eu hamser nhw – eu stori nhw yw hwn. This is the story of the Irate Eight: Colwyn Bay, Bangor, Barry, Caernarfon, Newport, Newtown, Merthyr, and Rhyl. In a special series by the Sgorio podcast we trace the history of our national league, and the eight clubs that were called to return to Wales in 1992. We will hear from the fans and players who were there at the time, we will follow the story of the eight clubs up to this day, and ask what the future holds in store. In the first chapter, the historian Mei Emrys sets the context. Why did clubs from Wales play in England in the first place? What leagues existed for the clubs playing in the domestic system here? Why change the system at the beginning of the 90s, and introduce the first all-Wales league? Thanks to all the contributors to the series for their time - this is their story.
In this episode, Paul sits down with Neil Roberts.Roberts started his career in 1994 when he played for Wrexham. After signing for the club as a trainee, he made his debut on 27 September 1997 during a 0–0 draw with Chesterfield before going on to score five goals in his next four games. He became an established first-team player at the Racecourse Ground, making 75 appearances and scoring 17 goals. He left Wrexham in 2000 to join Wigan Athletic, where he made 125 appearances and scoring 19 goals. He also spent time on loan at Hull City and Bradford City, scoring on his debut for the latter against Bristol City. He then made a permanent move to Doncaster Rovers in 2004.In 2006 Roberts came back to his hometown club Wrexham, where he became the team captain. He is a Welsh international with four caps. Roberts had a good start to the 2006–07 season by scoring two goals in the first two games. These goals were very important during this period as they were a penalty in a 2–1 away victory against local rivals Chester City on 20 August 2006 and the opening goal in Wrexham's 4–1 League Cup victory at Championship side Sheffield Wednesday on 23 August 2006.However, in their 2–1 victory against Swindon Town on 9 September 2006, Roberts picked up an injury. He made his comeback in a 2–1 defeat against Milton Keynes Dons scoring the opening goal. However, Roberts suffered more injuries throughout the course of the season. On 21 April 2007 he came on as a second-half substitute in a game against Torquay United and scored his first goal since October 2006 and Wrexham's winning goal to ensure a vital 1–0 win in Wrexham's bid for survival in the Football League Two. He was released by Wrexham in May 2008 following the club's relegation to the Football Conference.[6]On 24 June 2008, Roberts signed for Welsh Premier League side Rhyl, where he combined playing with coaching opportunities and his business interests. After one season at Rhyl, Roberts left to take over as a project manager at Premier League side Manchester CityFollow us on Instagram, YouTube & Twitter - @UpTheTownShow
Mae'r Parchedig John Owain Jones yn ymddeol fel Gweinidog ar Ynys Bute yn mis Chwefror 2023 ar ôl treulio 12 mlynedd fel Gweinidog yno. Cafodd ei eni yn Llanelwy a'i fagu yn Rhyl nes roedd yn 13 oed, cyn symud i Gaernarfon. Roedd ei Dad yn gweithio i'r Swyddfa Bost a chafodd swydd fel Post feistr yn Nghaernarfon. Mae cysylltiad Owain â'r Alban wedi bod yno bron o'r cychwyn. Wedi i'w rieni ddyweddïo roedd ei Dad eisiau arian i brynu tŷ felly aeth i weithio am gyfnod i'r Swyddfa Bost yn Rhodesia. Ar y llong ar ei ffordd draw yno rhannodd fync ar y llong gyda David Walker a oedd yn dod o Ynys Bute. Daeth ei Dad ac yntau'n ffrindiau pennaf a bu'n was priodas i'w Dad. Priododd ei fam a'i dad yn Salisbury, Rhodesia (Harare bellach). Priodwyd y ddau yn y Second Presbyterian Church ac roedd y Gweinidog yn dod yn wreiddiol o St Andrews (lle bu Owain yn y Brifysgol), a dychwelodd David yn ôl i Ynys Bute yn ddiweddarach. David hefyd oedd tad bedydd Owain a'i frawd Gethin. Bob haf roedd y teulu'n mynd draw i Ynys Bute ar wyliau. Roedd hynny yn un o'r rhesymau pam y dewisodd Owain Brifysgol St Andrews. Yn ddiweddarach fe aeth Owain i Rhodesia am gyfnod i weinidogaethu. Mae Owain yn cyfrannu'n gyson i'r slot Thought for Today Radio Alban ac wedi cyfrannu hefyd i'r Daily Service ar Radio 4. Fe fydd hefyd yn cyfrannu ar Munud i Feddwl, Radio Cymru. Mae'n rhannu straeon am ei fywyd ac yn dewis ambell i gân.
Ryan is joined by Tomi Caws and Rhodri to talk South Wales derby, Oli Cooper and Bangor vs Rhyl before chatting with Football Manager YouTuber, USA fan and international football expert, Zealand Shannon, on how the USA are shaping up ahead of our clash at the World Cup. We also have an update from the world of Agent Phillips. This week's Alternative Wales Soundtrack is picked Promises & Secrets by Ceri Collins. --- If you want to help support the podcast, the best way to do that is to purchase a fanzine, pin badge, t-shirt or stickers from our online shop - alternativewales.com/shop Subscribe, follow, rate and leave a comment - it all helps. Diolch for your support and thank you for listening,. --- www.alternativewales.com Twitter: www.twitter.com/alt_wales Instagram: www.instagram.com/altwales Facebook: www.facebook.com/altwales
An archive of the DragonTalk podcast, which ran from 2008-2011.
Rhyl, 1880. A young man stands on the shore about to resume a voyage he hopes will change his life and the world of seafaring forever. The sea might have other ideas. https://www.facebook.com/CoastalStoriesPod https://twitter.com/PodcastCoastal https://ko-fi.com/coastalstories Come and see Charlie interviewing Bobby Gillespie: https://www.glasgowlife.org.uk/event/1/bobby-gillespie-tenement-kid
In episode 84, Rhyl and Ember have got this, don't worry.
Craig K was joined in the Sound Radio 103.1 studio by Alex Bowen to talk about the new community bakery called “Use Your Loaf” based on Abbey Street in Rhyl. Use Your Loaf offers free course for people in the community from 16+ to learn how to bake delicious artisan bread and cakes with expert […]
1) Cofio 02/01/22 Dyn ni'n aml iawn yn edrych yn ôl ar y flwyddyn flaenorol ddechrau Ionawr, on'd dyn ni? A dyma'n union ddigwyddodd ar Cofio yr wythnos diwetha wrth i nifer o glipiau gwych o'r archif gael eu hail-ddarlledu. Dyma un o'r goreuon, T Glynne Davies yn holi Mrs Hannah Jones am ei hatgofion o gadw gwesty yn y Rhyl am dros 40 o flynyddoedd... Y flwyddyn flaenorol The previous year Ail-ddarlledu To rebroadcast Atgofion Memories Ddaru Wnaeth Gweithwyr cyffredin Ordinary workers Enwogion Celebrities Digri Doniol Tynnu gwynebau Pulling faces 2) Rhaglen Beti a'i Phobol - 09/01/22 ...a chafodd y clip yna ei recordio'n wreiddiol yn 1982. Buodd Beti George yn sgwrsio gyda Samuel Kurtz, Aelod Ceidwadol Gorllewin Caerfyrddin a De Sir Benfro yn Senedd Cymru. Mae'n weithgar iawn gyda'r Ffermwyr Ifanc ac yn cefnogi elusen DPJ. Elusen iechyd meddwl yng Nghymru ydy DPJ sydd yn helpu'r rhai sydd â phroblemau iechyd meddwl mewn ardaloedd gwledig ac mewn amaethyddiaeth. Dyma Samuel yn esbonio wrth Beti pa effaith cafodd y cyfnod clo ar ei iechyd meddwl e... Ceidwadol Conservative Elusen Charity Gweithgar Active Gwledig Rural Amaethyddiaeth Agriculture Digalon Depressed Egni Energy Cysgod Shadow Hala Treulio Sicrhau To ensure 3) Aled Hughes 04/01/22 – Mawrth Samuel Kurtz yn dweud wrth Beti George ei bod yn bwysig siarad am unrhyw broblemau iechyd meddwl. Mae gan Aled Hughes bodlediad o'r enw "Siarad Moel" a bore Mawrth diwethaf cafodd e sgwrs gyda Heledd Iago sy'n gweithio ym maes geneteg. Gyda ffilm Spiderman yn boblogaidd iawn yn y sinemâu ar y foment gofynnodd Aled i Heledd fasai hi'n bosib rhyw ddydd i rywun allu cael pwerau fel rhai "Spiderman"? Genynnau Genes Pryfaid cop Corynod Ymbelydredd Radioactivity Gwyddonwyr Scientists Bwlch Gap Plentynnaidd Childish 4) Trystan ac Emma 07/01/22 – Gwener Dych chi'n meddwl bod Aled yn ffansïo'i hyn fel Spiderman? Swnio felly, on'd yw e? Ar Ionawr 1af, roedd y nofel Winnie The Pooh yn y newyddion gan ei bod erbyn hyn yn rhan o'r ‘parth cyhoeddus', sy'n golygu nad oes hawlfraint arni hi bellach.' ac ar eu rhaglen fore Gwener cafodd Trystan ac Emma sgwrs gyda Rhian Nash o Lwydcoed ger Merthyr Tudful, sydd yn ffan mawr o'r cymeriad Winnie the Pooh ….. Parth Cyhoeddus Public Domain Hawlfraint Copyright Casglu To collect Enfawr Huge Addas Suitable Hudolus Magical Rhinweddau Virtues 5) Aled Hughes 03/01/22 – Llun – Dyna i chi gwestiwn da gan Emma on'd ife – pa gymeriad o Winnie the Pooh dych chi'n debyg iddo tybed? Bore Llun y 3ydd o Ionawr roedd hi'n 45 mlynedd yn union I'r diwrnod ers i Radio Cymru ddod i fodloaeth ac un o'r cyflwynwyr cynta y bore hwnnw oedd Hywel Gwynfryn a dyma fe'n sôn am y darllediad cyntaf hwnnw... Bodolaeth Existence Cyflwynwyr Presenters Darllediad Broadcast Cyfrifoldeb Responsibilty Cynulleidfa Audience Gweddill y diwrnod The rest of the day Annog To encourage O ddifri Seriously Deugain a phump Pedwar deg pump 6) Dros Ginio - 06/01/21 – Iau - Llaeth Hywel Gwynfryn oedd hwnna'n sôn am ddarllediad cynta Radio Cymru pedwardeg pump o flynyddoedd yn ôl. Yn yr wythdegau, cyflwynwyd y ‘cwotâu llaeth' oedd yn rheoli faint o laeth oedd ffermwyr yn cael ei gynhyrchu. I nifer yng nghefn gwlad Cymru, roedd hyn yn creu problemau mawr a buodd yna lawer o brotestiadau. . Dyma'r newyddiadurwr Alun Lenny, oedd yn gweithio ar y stori ar y pryd, yn sôn wrth James Williams ar Dros Ginio am y protestiadau, ond hefyd yn sôn fel mae rhai wedi elwa wrth arallgyfeirio oherwydd y cwotâu.... Llaeth Llefrith Cynhyrchu To produce Elwa To profit Arallgyfeirio To diversify Ffynnu To prosper Rhewgell Freezer Argyfyngus Critical
Martin Edwards was a Royal Marine and went on to be an operator in the elite 14th Intelligence unit. Originally from Rhyl, Martin escaped a horrific childhood to forge out a successful and varied career, managing to retire as a multi-millionaire. His best-selling book, 'Ultimate Survivor' tells a mind-blowing story of IRA ambushes, run-ins with Sinn Fein politicians, military coups and being a bodyguard to royalty. Read 'Eating Smoke: One Man's Descent into Crystal Meth Psychosis in Hong Kong's Triad Heartland.' Paperback UK: https://amzn.to/2YoeaPx Paperback US: https://www.amazon.com/dp/0993543944 Support the podcast at: https://www.patreon.com/christhrall (£2 per month plus perks) https://www.gofundme.com/f/support-our-veterans-to-tell-their-story https://paypal.me/TeamThrall Sign up for my NON-SPAM newsletter and FREE books: https://christhrall.com/mailing-list/ Social media Links: https://facebook.com/christhrall https://twitter.com/christhrall https://instagram.com/chris.thrall https://linkedin.com/in/christhrall https://youtube.com/christhrall https://discord.gg/yqvHRUN https://christhrall.com
The patrons have spoken. This year's Halloween Special looks at the classic New English Library killer critter classic, Night of the Crabs by Guy N Smith. Death... Destruction... Rumpy pumpy... Knobhead crabs... It has it all. And sorry to Rhyl (again). Follow us on Twitter and Instagram. Check out our Patreon for exclusive updates and content. Our banner art and logo is by Simon Perrins. Follow him on Twitter and check out his new store. Our avatar is by Wyrmwalk. Follow him on Instagram.
Gary Carr had a special guest, Tansy Rogerson joined him on Drive Time sponsored by Instant Explorers. Tansy came in to break some very SPOOKY news! Ghosts have escaped in Rhyl Town Centre and its up to you to help find them this Saturday as part of the Halloween Ghostly Scavenger Hunt. Listen again to […]
Kieran Barlow is manager of The RSPCA Veterinary Clinic in Vaughan St, Rhyl came into the Sound Radio 103.1 studio to talk live to John Daly. John spoke to Kieran about how the fund raising is going, as the clinic is currently in the process of fundraising £12,000 for an X-ray machine and how you […]
Sound Radio 103.1’s Craig K spoke to Lisa Williams who has written a chapter for a new book called SEEN, you can listen again to the full interview below. https://www.soundradio.wales/audio/CraigK_LisaSEEN.mp3 Lisa, from Rhyl is one of 15 female entrepreneurs who have found the courage to come together and share their stories with you. In their […]
In episode 76, Rhyl tries to make friends and the gods are getting weirder.
In episode 74, Rhyl calls his dad, Trick explains, and the horse is a horse.
Reel Rhyl is a new cinema project dedicated to sharing the past of Rhyl and the surrounding areas. Craig K spoke to festival director Rhiannon Wynn Hughes MBE about Wicked Wales and how it benefits the community by giving creative opportunities to youth in our area, from creating video and film content to running a […]
S'mae... Dych chi'n gwrando ar Pigion - podlediad wythnosol Radio Cymru i'r rhai sy'n dysgu ac sydd wedi dysgu Cymraeg. Tomos Morse dw i, ac i ddechrau'r wythnos yma … COFIO Mae llawer mwy o bobl yn dewis cael gwyliau yng Nghymru eleni a gwyliau oedd them ‘Cofio' wythnos diwetha. Yn y clip nesa mae T Glynne Davies yn holi Mrs Hannah Jones fuodd yn cadw gwesty yn y Rhyl am dros bedwar deg o flynyddoedd... Rhyfel - War Dogni - Rations Gwerthfawrogi - To appreciate Enwogion - Celebraties Digri - Funny Tynnu wynebau - Pulling faces Maldodi - To pamper POD DYSGWYR Dipyn o hanes Morecambe and Wise a Tony the Wonder Horse yn aros yn y Rhyl yn fan'na ar Cofio. Mae Nick Yeo, dyn ifanc o Gaerdydd wedi dechrau podlediad o'r enw Sgwrsio ar gyfer y rhai sy'n dysgu – ac sy'n rhugl yn y Gymraeg. Hannah Hopwood, oedd yn cyflwyno Bore Cothi, a hi gafodd “sgwrs” gyda Nick… Creu - To create Bodoli - To exist Anffurfiol - Informal Rhithiol - Virtual AmGen - Alternative Profad arbennig - A special experience GARMON RHYS Ie, cofiwch droi mewn i‘r podlediad ‘Sgwrsio' pan gewch chi gyfle. Mae Garmon Rhys wedi cael rhan yn y sioe Tina – sioe gerdd am fywyd yr anhygoel Tina Turner. Dyma fe'n sôn am y profiad o gymryd rhan yn Tina gyda Caryl a Huw ar y Sioe Frecwast Sioe gerdd - Musical Llwyfannu - To stage Newid wedd - Transformation Ailagor - To reopen Anhygoel - Incredible Am wn i - I suppose Llwgu - To starve Ailymweld - To revisit Cyn hired - So long Celfyddydau - Arts GWNEUD BYWYD YN HAWS Mae hi'n swnio'n sioe gyffrous iawn on'd yw hi? Ar Gwneud Bywyd yn Haws nos Fawrth buodd Hanna Hopwood yn holi Sian Files am ei phrofiadau fel aelod o'r 'sandwich generation'. Sut mae jyglo bod yn riant, cael gyrfa a gofalu am aelodau hŷn o'r teulu? Dyma Sian yn esbonio sut mae dechrau'r cyfrif Instragam Mamgu Mamgu wedi gwneud bywyd yn haws iddi hi… Cyfrif - Account Sawl rhaglen - Several programmes Gofalu am - To care for Sylweddolais i - I realised Bachu ar y cyfle - Grasped the chance Cofnodi - To record Talu sylw - To pay attention RICHARD HOLT Sian Files oedd honna'n sôn am ei chyfrif Instragram Mamgu Mamgu. Weloch chi'r gyfres Richard Holt a'i Felyn Felys ar S4C? Os weloch chi h, byddwch yn gwybod bod Richard yn gogydd patisserie gwych iawn. Nawr mae e wedi agor bwyty bwyd melys mewn melin wynt ar Ynys Môn ac fel clywodd Nia Griffiths mae ei fenter newydd yn un sy'n cael dipyn o sylw ar yr ynys… Cyfres - Series Melin wynt - Windmill Dw i'm be - I don't know what Cynhyrchu - To produce Erioed wedi gweld - Never seen Nod - Aim Blawd - Flour Gwenith - Wheat Malu - To grind MARED WILLIAMS A phob lwc i Rich Holt gyda'i fenter newydd on'd ife? Mae'r gantores Mared Williams wedi perfformio ar sawl llwyfan yng Nghymru dros y blynyddoedd ac wedi perfformio yn y West End fel un o gast Les Miserable. Clywodd hi'r wythnos diwetha bod ei halbwm Cymraeg cynta wedi ennill gwobr Albym Cymraeg y Flwyddyn eleni. Ifan Davies a Sian Eleri wnaeth longyfarch Mared a gofyn iddi sut oedd hi'n teimlo ar ôl clywed y newyddion. Dyma i chi sut wnaeth hi ymateb… Coelio - Credu Cyfrinach - Secret Rhannu - To share Rhestr fer - Shortlist Yn freintiedig - Privileged Haeddu - To deserve Golygu - To mean Beirniaid - Judges Aeddfedrwydd - Maturity Coroni - To crown
Craig K spoke to Steve Pugh from Crest Cooperative based in Llandudno Junction about they support people with disabilities and the unemployed increase their skills and gain employment – either within the co-operative or to move on to sustainable employment within the community. Steve also speaks about the new community store in Rhyl on Wellington […]
In episode 69, Rhyl has a body, and Felicity has a body, and there is some disagreement beyond that point.
MINT are joined by Portland, Pete Hoppins; an Evertonian who recently left a dream role as Senior Design Director for Global Football Apparel at Nike (Football) to open the Toffee Club (@toffeeclubpdx), Away Day Brewing (@awaysdaysbrewingco) and the Toffee League (@toffeeleague). A self confessed instigator, Pete invites us all into his world from designing kits for Inter, Barca, PSG and more for Nike Football to what it takes to create an inclusive culture within grassroots "sport". An insight deep into the process of kit design within the world of artistic impression in football. Including all you want to hear about what it takes for collaborations; Hoopin' references by Hoppins as Air Jordan x PSG collabs are discussed. All your favourite kits are dropped in, Nigeria 98', Brazil 70' and Classic 90's Everton, the "revolution" or "reverse revolutions" of retro and the Everton rebrand reluctancy. The lack of strategy and vision from the blues, and what positives and methods we can take from the monopolies of modern football. Not only that but as an Evertonian, Pete was given the task to design Liverpools first kit with Nike. Revenue led tiering systems, Pete explains what clubs get from brands at their level on the tier and in a world of global economics their revenue is the biggest pull for partnerships. There is no such thing as becoming "cool overnight". Is Hummel the answer? We also discuss grassroots culture in Oregon. Pete tells us about his learning curve with LGBTQ and CO-ED leagues for players within an "exclusive inclusive" league environment. The difficulties developing an environment to encourage change. What tactical approaches can be made to partner with community leaders, business and communities for leagues at the lower tier of local football and how football is a springboard. The facade of messages from the corporate football & how the people can be the change. Including mental imagery of Big Nev on Instagram donning brand releases in Rhyl. If you didn't know, Pete tells us Brazils kit is yellow, thanks. How he can't explain his disgust at Evertons attempted rebrand in 2017 & some Portlandians thinking his Toffee Club Pub, was a confectionary shop and he's added to the admirers of The West Derby Rui Costa club. Running Order: - Introduction - 00m 40s - Time at Nike - 03m 45s - Kit Design process - 06m 10s - Design your rivals kit - 11m 55s - Collaborations & Brands - 19m 05s - Evertons lack of awareness - 25m 04s - MLS and Beyond - 33m 45s - Toffee Club Community - 35m 30s - The Toffee League (No D*ckheads & rules) - 41m 25s - Creating a greater grassroots platform - 50m 35s - QuickFire Q & A - 59m 44s Search 'mintisculture' on social media to find us, or email: mintisculture@gmail.com. Check out the MINT store, www.mintisculture.com ***Please take the time to rate and review us on Apple Podcast or wherever you get your pods.
In this episode Stuart and William attempt to tackle a tough question from listener Wayne in Rhyl, North Wales, "The abolition of slavery faced barriers from people with vested interests wanting it maintained. What can be learnt from this period history, and to put towards the climate and ecological emergency we now face?". --- Send in a voice message: https://podcasters.spotify.com/pod/show/thepeoplescountryside/message
Hello all! You’re back again? Well it’s great to see and or be heard by you. DredgeLand return this week in their audio podcast format, broadcast 100 leagues beneath the … Continue reading "The DredgeLand Sponsorship and or Visit Rhyl Spectacular"
Our long-time friends and colleagues Alli Bostedt and Davey Naylor were married last Friday, May the 4th (Be With You), 2018, in the Sebastiani Theatre in Sonoma, CA (where we filmed The Complete History of America (abridged)) and, just days before the ceremony, they took time to talk about how their romance overcame early tour awkwardness and problematic venues (thank you, Rhyl!). Featuring knockout predictions, comments from Best Man Matt Rippy, origin stories, canal canoodling, romantic Berkhamsted opportunities, memories of our UK tour of The Complete World of Sports (abridged) and New Zealand tour of Completely Hollywood (abridged), and the inspiring story of how romance can blossom even during a theatrical tour. (Length 19:01).
A few sides are on the edge of glory in the Dafabet WPL this week. TNS could take the title , Airbus, Rhyl and Aberystwyth have make or break games. Webber and Jonah preview all the action with the Dafabet odds.
A few sides are on the edge of glory in the Dafabet WPL this week. TNS could take the title , Airbus, Rhyl and Aberystwyth have make or break games. Webber and Jonah preview all the action with the Dafabet odds.
Webber and Jonah are H-A-P-P-Y as they listen to Adrian Cieslewicz speak after his injury return, and delight in good news for Newtown, Rhyl, Nomads and there's a chance to win in the Mitre competition. Plus the Dafabet odds for the coming weekend.
The heavyweights enter the cup and it's a knockout podcast with the chance to win JD Sports vouchers for your club. Plus there are interviews with Ton Pentre, Prestatyn Town, Penybont & Rhyl and every game rated with Dafabet odds from Jonah.
© 2020-2025 Ivy Podcast Discovery LLC
