Podcasts about Richard Condon

Bill Richert - Winter KillsWinter Kills is a 1979 satirical black comedy thriller film written and directed by William Richert, based on the eponymous novel of 1974 by Richard Condon. A fiction inspired by the assassination conspiracy theories about President John F. Kennedy, its all-star cast includes Jeff Bridges, John Huston, Anthony Perkins, Eli Wallach, Richard Boone, Toshirō Mifune, Sterling Hayden, Dorothy Malone, Belinda Bauer, Ralph Meeker, Elizabeth Taylor, Berry Berenson and Susan Walden.The film simplifies the plot of the book somewhat, emphasizing humor. It follows the events surrounding the assassination of the fictional President Kegan (based on John F. Kennedy). Several years later, Kegan's half-brother Nick (Bridges) discovers leads which suggest there may have been a plot to kill the President.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

During the holiday season we are giving all non-Patrons a gift, from AG and our Patrons to you, the non-Patrons. It is the gift of knowledge that Patrons are gaining in such quantities that their tummies hurt.    Here is another episode that they highly recommended for you. In this episode, the first installment of many, historian Richard Condon joins Matt to begin the daunting task of learning about Reconstruction, which, you may know, probably has more to do with our understanding of the Civil War than the war itself, at least what's known officially as The Reconstruction Era which begins in 1865. But, it began in 1861 and Rich explains how.    Still stinging from that whopper of a guide exam? Ya didn't believe us when we said that our Patreon content would help you. Did ya? Well, prepare for the next one by finally joining our community. Become a Patron at www.patreon.com/addressinggettysburg today and make the Yuletide bright for yourself.    Happy Holidays!

Our political thriller series comes to an exciting Election Day conclusion with writer and actor Dan Chamberlain (Have I Got News for You) joining to discuss John Frankenheimer's THE MANCHURIAN CANDIDATE starring Frank Sinatra, Laurence Harvey, Angela Lansbury and Janet Leigh. Based on Richard Condon's novel, this 1962 classic concerns a Korean War veteran Raymond Shaw (Harvey), who is brainwashed by communists to become an unwilling killer in an international conspiracy. One of the defining films of the Kennedy-era Cold War, THE MANCHURIAN CANDIDATE has earned a reputation as the quintessential political thriller, but can its dark paranoid fantasy possibly outdo the tension of the current political moment? Find out on a special 2024 Election Day episode of Mama Needs a Movie that also takes diversions into The Ghost Writer, James Carville, libertarianism, Brian Wilson, the Nixon Library, Joycelyn Elders, Parade Magazine, Queer, Conclave, and much, much more! THE MANCHURIAN CANDIDATE is currently streaming for free on Tubi, PlutoTV, Kanopy, Hoopla, and the Roku Channel.

Welcome back to Say Whats Reel! This week, your hosts Dom Cruze, ILL, and Q delve into the political thriller The Manchurian Candidate (2004).In this episode, we explore the chilling narrative, standout performances, and the film's relevance to today's sociopolitical climate. Join us as we dissect the mind-bending plot twists and the powerful performances by Denzel Washington and Meryl Streep.

Today I want to share with you a book written near the end of his life, by Richard Condon. Richard had sat in front of thousands of people supporting them in living their best life over many years. He was a pivotal part of our restaurant's mission and a dear friend. I believe there is great wisdom in the lives of those close to crossing over and am sharing this book based on that belief. Listen in and share this episode with anyone you love and care for. I recommend that you relate to this as his “final words” a gift to us all.  I want to remind you that I am offering sessions on Tuesday mornings, if you would like someone to hold space for you and reflect back just how amazing you are, you can sign up on my website. I am always happy to hear from you and you can reach me at terces@tercesengelhart.com and I will reply. Also if you would like to order my book directly from me, I am happy to send you a signed copy, just email me and I'll get it in the mail. ($15 plus shipping) If you know of anyone who might benefit from listening in, share a link to an episode with them, in other words be an invitation to join us.  Connect with me on social media @terces and @unreasonablygrateful

In this mini-episode, Talia shares the light of a truly bright soul who has profoundly impacted many people's lives and triumphs over adversity, including her own. This tribute to Richard Condon, to whom we are sending immense love during a life-threatening health crisis, includes a reading of his wonderful book, The Way Out. Thank you for joining us from the Love Medals Studio in beautiful Victoria, BC, and celebrating perseverance, purpose, and love today! We invite you to join our community and find inspiration from victories big and small, by subscribing now. Your engagement and support means the world to us, enabling us to grow and inspire even more people.Find Love Medals: ⁠https://www.lovemedals.com/⁠ ⁠https://www.instagram.com/lovemedals/⁠ ⁠https://www.instagram.com/talesoftriumphpodcast/⁠ ⁠https://www.youtube.com/@talesoftriumphpodcast/

Welcome to the Instant Trivia podcast episode 1113, where we ask the best trivia on the Internet. Round 1. Category: State Capital Nicknames 1: "The Bluegrass Capital". Frankfort. 2: "The Charter Oak City". Hartford. 3: "Arkopolis". Little Rock. 4: "The Gateway to Glacier Bay National Park". Juneau (Alaska). 5: "The Cradle of the Confederacy" and "The Birthplace of Civil Rights". Montgomery, Alabama. Round 2. Category: Actors In Political Films 1: In 1993 he was "In the Line of Fire" as Secret Service agent Frank Horrigan. Clint Eastwood. 2: This star of "Grumpy Old Men" played a grumpy Supreme Court justice in "First Monday in October". Walter Matthau. 3: Laurence Harvey and Frank Sinatra starred in this 1962 political thriller based on a novel by Richard Condon. The Manchurian Candidate. 4: In "All the President's Men", Hal Holbrook played this informer whose true identity is still a mystery. "Deep Throat". 5: This British actor, JFK's brother-in-law, played a U.S. senator in "Advise and Consent". Peter Lawford. Round 3. Category: One-Word Film Titles 1: Ice Cube gave rise to a catchphrase with the dismissive "Bye, Felicia" in this 1995 comedy. Friday. 2: If Keanu Reeves' bus went under 50 mph in this flick, it'd like, totally explode. Speed. 3: This 2009 film is the all-time top-grossing movie in the U.S. and the world. Avatar. 4: Sly Stallone knocks the stuffing out of a slab of beef and Apollo Creed in this movie. Rocky. 5: (I'm Mario Andretti.) In 1967 I drove a Ford Fairlane to win the Daytona 500; almost 40 years later I played a Ford Fairlane who was at the racetrack in this Pixar film. Cars. Round 4. Category: -Mancy Pants 1: What's that giant talking octopus smoking a cigar mean? Use oneiromancy, the practice of interpreting these. dreams. 2: A necromancy can mean this 5-letter magical word that is "cast" by wizards. a spell. 3: Tasseomancy, the reading of these, must be popular in England in the late afternoon. tea leaves. 4: A state of temporary inactivity like hibernation. dormancy. 5: Chiromancy is this method of telling someone's fortune. palm reading. Round 5. Category: Letters In Sequence 1: 18-19-20:Explode, in air, perhaps. burst. 2: 7-8-9:A type of hyena. laughing. 3: 4-5-6:Transfer one's allegiance to another nation. defect. 4: 8-9-10:Forcibly seize control of a moving vehicle. hijacking. 5: 19-20-21:Dampness. moisture. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

To take your salon business to the NEXT LEVEL, go to ⁠https://linktr.ee/nlsleadership⁠ and sign up for the course! Follow @NLSalonLeadership on Facebook and Instagram, and be sure to check out the full interview on our YouTube channel! https://youtu.be/MKrS6fOZLtA David Kinigson is an award-winning hairdresser, national educator, editorial stylist, inspirational speaker and the author of two renowned books. The Haircutter's Handbook - his critically acclaimed education manual - includes a preface by Vidal Sassoon and thoughtful comments from your favorite industry icons, leaders, and legends. Among them: Stephen Moody, Nick Arrojo, Charlie Price, Tabatha Coffey, Howard McLaren, Vivienne Mackinder, Winn Claybaugh, Dwight Miller, Van Council and Gerard Scarpaci. His new book The Power of Asking What? Overcoming Challenges and Fears - A Conversation for Mindset In Action has a preface by Richard Condon and includes praise from Mary Wilson, Geno Stampora, Jay Williams, Joe Santy and Maria Fontana. As an independent educator, David's passion is mentoring hairdressers to overcome their challenges and fears associated with haircutting and life. In every Haircutting Think & Learn workSpace, David shares “Wet & Dry Fusion Haircutting" because there are benefits to both. Throughout his 50-year career, David's editorial work has appeared in magazines such as, Vogue, Harper's Bazaar, Allure, Elle, Glamour, Marie Claire, Self, Seventeen, Esquire, GQ and Interview. His original haircutting concepts, styles and philosophies have been featured in Modern Salon, American Salon, Beauty Launchpad, Independent Beauty Professional, Salon Today and Estetica magazines. An inspirational keynote speaker, David has been featured at conferences that include: Intercoiffure, Serious Business, Arrojo Expo, Eufora VisionQuest and Global Connection, Van Michael Salons Annual Conference, Visible Changes Team Conference and the Florida Foster and Adoptive Parents Association (FAPA) Educational Conference.

The Rack (1956), directed by Arnold Laven and written by Rod Serling (originally for television) tells the story of a decorated war hero Captain Edward W. Hall, Jr. (played by Paul Newman), who returns home after being captured and held prisoner in the Korean War. While a POW, Hall was subjected to mental torture and collaborated with his captors. Hall is court-martialed; his attorney (Lt Col. Frank Wasnick, played by Edmond O'Brien) tries to justify his conduct by showing the pressure he was under. Hall, however, is found guilty because he concedes could have resisted more, as soldiers who experienced physical torture did. The Manchurian Candidate (1962), was directed and produced by John Frankenheimer from a screenplay by George Axelrod, based on Richard Condon's 1959 novel. The film centers on a decorated soldier, Sergeant Raymond Shaw (played by Laurence Harvey) who was captured during the Korean War. During captivity, Shaw and other members of his army platoon, including Maj. Bennett Marco (played by Frank Sinatra) were psychologically manipulated or “brainwashed” by their Chinese Communist captors. Shaw was programmed to serve as a sleeper agent and a pawn in a communist plot to take over the U.S. and impose martial law by exploiting a wave of anti-communist hysteria. The twist is that his handler in the U.S. is none other than his mother, Eleanor Shaw (played by Angela Lansbury), who schemes to have her alcoholic and McCarthyite husband, Sen. John Iselin (played by James Gregory) become Vice President and then President, courtesy of a well-timed assassination by Raymond (acting under her spell).  Our guest is Lisa Hajjar, Professor of Sociology at the University of California, Santa Barbara.Timestamps: 0:00     Introduction5:12     Two films about the Korean War7:23     Psychological manipulation of POWs10:59   Mental torture and the new duress15:36   A soldier's breaking point21:41   The U.S. Army's distorted view of torture as limited to physical pain25:35   The SERE and MK-Ultra programs28:24   The mind as a Cold War battlefield36:38   A satire of America's Cold War fears of communist domination39:01   Hyper-patriotism is the perfect foil for treason44:17   The remake of The Manchurian Candidate47:10   Conspiracy theories48:40   Psychological torture resurfaces after 9/11Further reading:Dougherty, Sara Harrison, “Early Cold War Combat Films and the Religion of Empire.” (PhD dissertation, Dep' of History, Univ. of Rochester, 2012)Hafetz, Ben, “The Glitz and Glam of Ideology: How the CIA and Department of Defense Use Hollywood Blockbusters as a Way of Propagating the Ideology of the American War Machine,” (B.A. thesis 2019)Hajjar, Lisa, “From The Manchurian Candidate to Zero Dark Thirty: Reading the CIA's History of Torture through Hollywood Thrillers,” Film & History: An Interdisciplinary Journal, v. 47, no. 2 (Winter 2017), 41-54 Seed, David, Brainwashing: The Fictions of Mind Control: A Study of Novels and Film (Kent State Univ. Press 2004)Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/faculty/full-time/jonathan-hafetz.cfmYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilm

This week Erin A. Craig joins us to talk about HOUSE OF ROOTS AND RUIN, the sequel to HOUSE OF SALT AND SORROW. Find out more at https://www.erinacraig.com/ and follow her on Twitter at https://twitter.com/penchant4words, on Facebook at https://www.facebook.com/Penchant4Words/, on Instagram at https://www.instagram.com/penchant4words/, and on TikTok at https://www.tiktok.com/@penchantforwords. Thank you to all of our amazing listeners for your continued support, including our Patrons at https://Patreon.com/BeyondTheTrope. Don't miss out on exclusive Beyond The Trope merch over at https://BeyondTheTrope.Redbubble.com. Mentioned in this episode: SMALL FAVORS by Erin A. Craig The Brontë sisters The Witcher book series by Andrzej Sapkowski Jack Nicholson Snow White The Twelve Dancing Princesses STRANGE CASE OF DOCTOR JEKYLL AND MR. HYDE by Robert Louis Stevenson THE ISLAND OF DOCTOR MOREAU by H. G. Wells FRANKENSTEIN by Mary Shelley THE MANCHURIAN CANDIDATE by Richard Condon (and movie adaptations) Frank Sinatra Bluebeard Bambi (movie) THE THIRTEENTH CHILD (upcoming) by Erin A. Craig

Richard Condon Talks: Getting into radio, first gig and staying consistent throughout the years / Corporate promotions and backlash of LGBTQ+ / Swimming's "Open Category" / Success of Kim Mulkey and Jay Johnson at LSU Kaare Talks: The region is a sauna / World Aquatics including "Open Category" for transgender swimmers / Trump arrested in DC / The Superdome's transformative impact on New Orleans / Potential break-out seasons for LSU and Tulane football / Reserve, La couple arrested for killing infant daughter, abusing 13 mo old son

In hour three of After Further Review, Matt relives Super Bowl XLIV with RIchard Condon. We react to LSU missing on a portal target. Larry Holder joins the show to talk NFL. Otter Locks wraps the show.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5591967/advertisement

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. 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. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

In today's edition of Sunday Book Review: ·      The Manchurian Candidate by Richard Condon   ·      Day of the Jackal by Frederick Forsythe ·      Pursuit by James Stewart Thayer  ·      Three Hours in Paris by Cara Black ·      Night Work by David C. Taylor Resources Missed Targets: Seven Attempted Assassination Thrillers by William Martin Learn more about your ad choices. Visit megaphone.fm/adchoices

Suzanne Lyall disappeared IN 1998 from a bus stop in Albany New York. Her debit card was used the next day at an ATM located 2.7 miles away. Richard Condon, her boyfriend was the only other person who knew the pin code, Suzanne's parents believe Richard Condon knows more her disappearance...Please Subscribe to our YouTube channel to make sure you don't miss new episodes of the Solvable Mysteries Podcast, we upload on a weekly basis.Music:Ice Demon by Kevin MacLeod

To trust involves this risk of vulnerability, being betrayed, hurt, heartbroken…all of it. We don't have to look far to discover experiences that have trained us to be distrusting. There are countless examples of it. So, what is one to do? Join us as we look at trust in all facets of our lives and business. We look at how it is the foundation for creating alliances, partnerships, getting complete, and creating our futures. Can trust really be an access to unpredictable and extraordinary results?    Highlights:  Trust as a self preservation method Trust as a living breathing thing Distinguishing trust from an ontological perspective Giving trust with eyes wide open Trust as a foundation for creating alliances, partnerships, getting complete, and creating futures Contact Info: Guests:  Jeff Willmore (IG, LinkedIn, FB) & Richard Condon (IG, LinkedIn, FB) @jeff_willmore & @rgcondon www.autonomycourse.com Reinventing Entrepreneurship, Reimagining Career, Discovering Connection   Host:  Elizabeth Upton (on IG, LinkedIn, FB)  @myobpodcast, @elizabethuptoncoaching www.elizabethupton.com https://linktr.ee/MYOBsocial   Original music by Adrian Vaca (on IG, FB)  @adrianvaca adrianvacamusic@gmail.com   TRT: 55:13

Summary: Join us while we discuss what it means to really slow down and how that simple act, can profoundly impact our lives and our businesses. Together we look at the paradox; you have to slow down to speed up. It's no wonder that in the Buddhist tradition, it's called the ‘sacred act of pausing'. We invite you to take the next week and slow down and see what happens for you. Highlights:  Our brains are not designed to slow down  A new access for performance Beginning to start a practice for yourself Paradox: You have to slow down to speed up The power of Intent  Quotes: “If I'm not slowing down, I'm missing out on life. In the Buddhist tradition it's called the ‘sacred act of pausing'.” “With alignment comes unpredictable results, flow, power, velocity”  “The moment you connect, that moment is no longer mundane.”  “Very rarely are we present to and articulating, ok, here, what is my intention?"    00:00 - Intro  01:11 - What is it that you're always reminding us to slow down 02:40 - Our brains are not designed to slow down   03:31 - The way things occur for champions - gives us a new access for performance 04:40 -  Everyone is “too busy to…” 04:50 - Slowing down beyond moments of challenge & difficulty 06:20 - making choices that align me with what's most important to me, vs. just react, react, react…. 07:00 - Beginning to start a practice for yourself …Just STOP 08:26 - 100 mile per hour serve 10:10 - The way the ball occurred 13:40 - Paradox: You have to slow down to speed up 15:23 - What happens when you slow down 17:30 - recognition and how things happen in conversations 29:25 - Why live an aligned life?  19:45 - Challenge: Take the next week and slow down. See what happens for you. Take several moments a day and STOP for a moment and connect with yourself. 21:19 - There's nothing worse than the realization that “I missing my life. The thing about it you got to be there for it.” 22:00 - Slowing down in the business world; inquire into what is my intention for what I'm about to do.   Contact Info: Guests:  Jeff Willmore (IG, LinkedIn, FB) & Richard Condon (IG, LinkedIn, FB) @jeff_willmore & @rgcondon www.autonomycourse.com Reinventing Entrepreneurship, Reimagining Career, Discovering Connection   Host:  Elizabeth Upton (on IG, LinkedIn, FB)  @myobpodcast, @elizabethuptoncoaching www.elizabethupton.com https://linktr.ee/MYOBsocial   Original music by Adrian Vaca (on IG, FB)  @adrianvaca adrianvacamusic@gmail.com   TRT: 27:34

Highlights:  Gain access to aspects of your life that are hidden from view Being unique in the marketplace Discover 3 fundamental principles Ultimate Intent & Your Calling Ways to find Joy inside the world of business An intro into "The Forcefield of Business" Common vs. Uncommon Knowledge   00:00 - Intro  01:11 - What is uncommon knowledge? 02:30 - 1) Inquiring authentically and deeply into a subject. 2) Rooted in your own commitment to evolve, invent, or reinvent your career or business (or your entire industry) to live true to something you've committed to.  06:11 - When you're willing to do the work and the thinking to access your own unique vision, we found most professionals have a vision but they haven't been able to articulate it.  07:15 -  “Give language to something that's beyond language”.  08:54 - Why would you want to be unique in the marketplace? 12:33 - 3 fundamental principles - intention, architecture, and environment (not from what your company does, but from why does your company exist)  15:14 -Ultimate intent  - what does your company exist for? Infusing the world in which that company exists. Hint: It starts with your life.  17:00 - Your calling - what are you saying is the ultimate intent of your life?  20:00 - Ex: Joy in the world of business inside of a Noodle Co.  23:16 - Connecting to your heart and soul - and then having it be consistent! Look at the way we do business (that's the opportunity and the challenge)  24:32 - The Forcefield of Business - I've got to work hard, I've got to cut corners, I have to be tough, I have to sacrifice.  25:45 - Elizabeth's work on her calling - that's uncommon knowledge  29:25 - Why live an aligned life?  43:05 - Discover and articulate your calling  44:44 - What is the ultimate intent of your life?   Contact Info: Guests:  Jeff Willmore (IG, LinkedIn, FB) & Richard Condon (IG, LinkedIn, FB) @jeff_willmore & @rgcondon www.autonomycourse.com Reinventing Entrepreneurship, Reimagining Career, Discovering Connection   Host:  Elizabeth Upton (on IG, LinkedIn, FB)  @myobpodcast, @elizabethuptoncoaching www.elizabethupton.com https://linktr.ee/MYOBsocial   Original music by Adrian Vaca (on IG, FB)  @adrianvaca adrianvacamusic@gmail.com   TRT: 49:13

Welcome back to the Mind Your Own Business Podcast! For the entirety of Season 2 we are exploring one central question –  What does it take to live an “Aligned Life” (and what would it allow for)? Join us at the beginning of a very deep conversation with thought leaders, Jeff Willmore & Richard Condon, who collectively have lead over 350,000 people in transformational programs and who have a profound understanding of what it means to be a human being and live an extraordinary life. They are active seekers and investigators of our human design, ontology, and have a keen understanding of how you too can live an aligned life. Together we discuss the fundamental concerns of what it means to be human. We look at ways to gain access to our blindspots and discuss principles that can get you freed up, so you can live a life filled with power, joy, synchronicity, and experience the miraculous as a regular phenomenon. Get to know them, this uncommon knowledge, and why they do what they do, here on the MYOB Podcast, Season 2. Welcome back to the show! Highlights:  Gaining access to aspects of your life that are hidden from view Creating power, joy, synchronicity, and experiencing the miraculous Understanding how your life can get in the way Discovering the 2 points of our life What we “inherited” and how that shapes everything around us (and yet we're not aware of it) The experience of inspiration and living true Common vs. Uncommon Knowledge   Show Notes:  00:00 - Intro  07:00 - Why live an aligned life?  12:21 - What do you do when you you have no more runway? 14:11 - Richard's conversations with his Father  15:12 - Living True to something NOW  17:13 - Before you came to planet Earth   18:20 - Inspired vs. Expired 19:38 - “You have never been inauthentically inspired” 20:30 -  Inspiration vs. Motivation  21:40 - What is the most important thing that inspires me? What am I going to say is important to me? What ultimately inspires you?  25:36 - It's important to say that someone doesn't have to live an aligned life - it's not a have to. The choice to commit to take it on, is the beginning of being someone who's up to the challenge of Living True. What did my life fulfill? What was it really about? What did I live true to?  26:06 - I wish I lived more true to myself  29:30 - what we mean by autonomy  34:08 - The origin of the Autonomy Course. Success as defined as working your ass off (“the Game of Business”) 36:22 -  Common Knowledge - the more you use it, the more it makes you like everyone else 44:14 - the question of how to live a meaningful life   47:30 - An Inquiry; More inquiry, less certainty - not to get an answer, but to engage with what emerges as I'm asking that question!   49:45 - If you look in the landscape of our World, the impact businesses are making on society is way greater than an individual  Episode Exercise: Start to explore into the moments (in your real life) that inspire you: Look into your real life (not a book or a theory)  What you get inspired by is absolutely trustworthy    Contact Info: Jeff Willmore & Richard Condon IG: @jeff_willmore & @rgcondon www.autonomycourse.com Reinventing Entrepreneurship, Reimagining Career, Discovering Connection   Host: Elizabeth Upton IG: @myobpodcast, @elizabethuptoncoaching www.elizabethupton.com https://linktr.ee/MYOBsocial   Original music by Adrian Vaca  IG: @adrianvaca adrianvacamusic@gmail.com   Duration : 60 minutes

Welcome back to the Mind Your Own Business Podcast! For the entirety of Season 2 we are  exploring one central question –  What does it take to live an aligned life (and what would it allow for)?    Get ready…this is the beginning of a very deep conversation. So deep, we decided to focus the entire season on it! Between the two of them, both Jeff Willmore & Richard Condon have lead over 350,000 people in transformational content. They are active seekers and investigators of our human design, ontology, uncommon knowledge, and have a profound understanding of how you can live an aligned and extraordinary life.   Together we discuss the fundamental concerns of what it means to be a human being. We look at ways to gain access to our blindspots and discuss principles that can get you freed up, so you can live a life filled with power, joy, synchronicity, and experience the miraculous as a regular phenomenon. Get to know them and why they do what they do, right here on the MYOB Podcast. Highlights:  Gaining access to aspects of your life that are hidden from view Creating power, joy, synchronicity, and experiencing the miraculous Understanding how your life can get in the way Discovering the 2 points of our life What we “inherited” and how that shapes everything around us (and yet we're not aware of it) The experience of inspiration Show Notes: S2, E1: 00:00 - Intro  04:26 - What is ontological work?  09:00 - One of the principles - People never do anything that isn't in their self interest - even the most noble things are done out of self interest.  11:00 - A critical piece of Living an Aligned Life includes telling the truth about what has it been aligned with, which very often the answer of that question  has not been an answer that's made me proud. “ ie.  getting  approval, being  comfortable, making $ at any cost.  12:07 - The things that I can't see, that are hidden from my view I have no access to.  13:00 - Introducing the central question - what does it take to live an aligned life?  13:50 - For the most part, we're living “an inherited life”. The life we were born into was inherited. Culture, language, family, lineage, history, our biology, the way our brain works, beliefs, world views (and we're not aware that we inherited them).  20:05 - The constraints of living life - life got in the way! 22:58 - The 2 points of our life. Any idea what they are?  25:25 - What's the nature of what I would want to align my life with? Exercise for this week: Ask yourself  – What is the nature of what I would want to align my life with?  **Join us as we continue the conversation with Richard and Jeff next week on the MYOB Podcast.    Quotes: “Bringing unseen blindspots from the background to the foreground in which you now have access to an infinity of actions you can take from seeing that.”  Contact Info: Guests:  Jeff Willmore (IG, LinkedIn, FB) & Richard Condon (IG, LinkedIn, FB) @jeff_willmore & @rgcondon www.autonomycourse.com Reinventing Entrepreneurship, Reimagining Career, Discovering Connection   Host:  Elizabeth Upton (on IG, LinkedIn, FB)  @myobpodcast, @elizabethuptoncoaching www.elizabethupton.com https://linktr.ee/MYOBsocial   Original music by Adrian Vaca (on IG, FB)  @adrianvaca adrianvacamusic@gmail.com   TRT: 32:34

Richard Condon wrote sophisticated thrillers that were as pulpy as they were smart, and influenced everyone who ever tried to turn conspiracy theories into entertainments. One of his best, WINTER KILLS, centers around the youngest member of the most wealthy and influential family in America… as he tries to figure out who assassinated his brother, the President. Ripped-from-the-headlines catharsis; a pulp model as old as Oedipus Rex. --Please leave us a rating on Apple Podcasts/iTunes!-- Website: pendantaudio.com Twitter: @pendantweb Facebook: facebook.com/pendantaudio Tumblr: pendantaudio.tumblr.com YouTube: youtube.com/pendantproductions

In this episode I talk to former Forensic Psychologist Kate about a case that has captivated me for a very long time...it's sort of a hometown case for Kate, in that she went to University in upstate NY, so she knows lots of details. Suzanne Lyall would disappear in the infancy of the internet age on March 2, 1998. Suzanne was very gifted with computers from a young age and there will be multiple threads that tie in to the burgeoning technology of the day and her boyfriend at the time Richard Condon. Was this someone close to Suzie? or was this an opportunistic stranger abduction? Sources: https://poststar.com/police-rethinking-missing-girl-case/article_0cd66990-ba82-5fae-ab92-e8c001064c77.htmlhttps://www.timesunion.com/news/article/Cold-Case-What-Happened-to-Karen-Wilson-15289401.phphttps://cbs6albany.com/news/local/state-police-cold-case-tuesday-suzanne-lyallhttps://www.fbi.gov/wanted/kidnap/suzanne-g.-lyallhttps://www.nytimes.com/1999/04/18/nyregion/in-brief-campus-safety.htmlhttps://www.cbsnews.com/news/suzanne-lyall-missing-since-1998-after-leaving-her-job/https://poststar.com/search-for-missing-suny-student-draws-few-clues/article_09fdb725-9b52-57ec-8fbd-a88f4fc53da0.htmlhttps://www.nysenate.gov/newsroom/press-releases/william-j-larkin-jr/larkin-announces-passage-suzannes-lawhttps://dailygazette.com/2016/07/02/0702_lyall/https://cbs6albany.com/news/local/20-years-after-daughters-disappearance-suzanne-lyalls-mother-still-searches-for-answersDisappeared-Season 5, episode 11https://www.timesunion.com/local/article/Douglas-Lyall-father-of-missing-UAlbany-student-6469179.phphttps://www.chillingcrimes.com/blogs/news/suzanne-lyallThis Reddit Thread was interesting reading if you want to go further down the rabbit hole:https://www.reddit.com/r/UnresolvedMysteries/comments/eg9726/vanished_into_thin_airwhat_happened_to_19_year/

Filippo Monge"Spie & Romanzi"“L'impoverimento della mente e dello spirito è pericoloso e nuoce anche alla salute del corpo”. Con queste premesse e partendo proprio da alcuni passaggi di una lettera di Riccardo Muti al Corriere della Sera torna a Savigliano, Cuneo, ma si potrebbe dire da Savigliano (collegamento diretto al link https://unito.webex.com/meet/filippo.monge), sabato 27 novembre 2021 ore 10, la quarta edizione di “Spie & Romanzi”, rassegna letteraria nazionale sul romanzo di spionaggio.Nato da una idea di Paolo Bertinetti, già Preside della Facoltà di Lingue e Letterature Straniere dell'Università di Torino e professore emerito di Letteratura Inglese, il festival intende creare occasioni di contaminazione culturale, aprendo il dibattito su temi di assoluta attualità.L'evento, organizzato in collaborazione con il Dipartimento di Lingue e Letterature Straniere e Culture Moderne dell'Università degli Studi di Torino e con la Fondazione Cassa di Risparmio di Savigliano avrà inizio, dopo i saluti di indirizzo di Matteo Milani (Direttore Dipartimento di Lingue) e Sergio Soave, alle ore 10 di sabato con un convegno dal titolo “Cybercrime tra finzione e realtà: spionaggio, sicurezza e letteratura”. Al “salotto virtuale” introdotto e moderato da Filippo Monge (Università di Torino) parteciperanno, come relatori oltre a Paolo Bertinetti anche Valerio D'Alessandro vicedirettore generale di Confindustria Cuneo, Paolo Gerbaldo, storico e saggista, Piermaria Monasterolo, informatico, esperto di cybersecurity. Concluderà i lavori Andrea Purgatori, giornalista di La 7 e del Corriere della Sera, autore del romanzo di spionaggio “Quattro piccole ostriche” edito da HarperCollins Italia.“Negli ultimi anni della mia attività didattica a Torino ho registrato particolare interesse su questo nuovo filone letterario.” riferisce lo stesso Bertinetti “Ho così deciso di proporre, proprio qui a Savigliano, sede decentrata dell'Università degli Studi di Torino, questo progetto, quest'anno in modalità mista (in presenza e a distanza), per coltivare aggregazione su queste tematiche narrative. Ringrazio tutti i sostenitori della manifestazione e in particolare il Presidente della Fondazione Cassa di Risparmio di Savigliano, Sergio Soave per la sensibilità dimostrata su un nuovo prodotto culturale che potrà esser ulteriormente sviluppato nei prossimi anni. Ringrazio, infine, Filippo Monge, direttore della rassegna, per l'impegno dimostrato nelle varie fasi organizzative di questo importante evento per il territorio”Accesso libero collegandosi direttamente a https://unito.webex.com/meet/filippo.mongeInformazioni al 349.8640343Andrea Purgatori"Quattro piccole ostriche"Harper & Collinshttps://www.harpercollins.it/2019. Alpi Svizzere. Nell'albergo di lusso dove vive, un uomo di nome Wilhelm Lang riceve una lettera inattesa, una lettera che apre la porta su un passato che pensava sepolto, quando il suo nome era Markus Graf. Il mittente è Greta, la sua amante del tempo, la sua collega del tempo in cui era una spia della STASI.Nello stesso momento, nel parco del Tiergarten di Berlino, un diplomatico russo viene ucciso da un colpo di pistola.A indagare arriva Nina Barbaro, Kriminalhauptkommissar di origine italiana, che non crede che dietro il delitto ci sia l'ISIS, nonostante stia ricevendo forti pressioni politiche per chiudere in fretta il caso trovando i colpevoli più comodi.Ma per risolvere il mistero si deve andare indietro nel tempo, tornare ai giorni della caduta del muro. Nella sera del 9 novembre 1989, mentre il mondo assiste commosso al fiume umano che da est cerca di passare a ovest, le strade di Berlino sono percorse proprio da Markus, Nina e Greta, chiamati a scelte decisive destinate a condizionare per sempre le loro vite. E non solo.Intanto Yuri, un ambizioso agente del KGB destinato a diventare presidente della Russia, e Leo Kasprik, uno psichiatra esperto di ipnosi, cercano di impadronirsi dei dossier legati al progetto segreto cui hanno dedicato anni: il progetto "Walrus", in onore del malvagio tricheco della canzone di John Lennon e Paul McCartney e dell'inquietante favola nera di Alice nel Paese delle Meraviglie. Un progetto che avrebbe dovuto creare quattro micidiali "agenti dormienti", addestrati per uccidere e invincibili sul campo.Andrea Purgatori, uno dei più amati sceneggiatori e giornalisti investigativi italiani, fa il suo debutto nel romanzo. Il risultato è un grande libro, che ricorda i migliori thriller spionistici internazionali, da La cruna dell'ago di Ken Follett, a Il candidato della Manciuria di Richard Condon o La spia che venne dal freddo di John Le Carré. La perfetta documentazione e ricostruzione storica va di pari passo con una trama emozionante, che tiene il lettore avvinto dalla prima all'ultima pagina.Quattro piccole ostriche è un libro indimenticabile, come la notte di trent'anni fa in cui cadde il muro e inizia la storia messa in scena da Andrea Purgatori.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

William Richert's adaptation of Richard Condon's assassination novel is the star-studded pinnacle of 1970's paranoid cinema crossed with a very dark and dry and dirty comedy. Directed by William Richert. Starring Jeff Bridges, John Huston, Anthony Perkins, Belinda Bauer, Eli Wallach, Richard Boone, Ralph Meeker, Sterling Hayden, Toshiro Mifune, Dorothy Malone and Elizabeth Taylor How is the world wrong about this movie? From Andras: “Winter Kills” works a lot better for those steeped in JFK assassination lore which made it hip upon release in 1979 and incredibly obscure now. Add to this the film's insistence on being funny and I guess most people don't know what to make of it. So, is the world wrong or just plain ignorant? Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod Follow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXag Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod Follow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXag The World Is Wrong theme written, produced and performed by Andras Jones Check out: The Director's Wall with Bryan Connolly & AJ Gonzalez & The Radio8Ball Show hosted by Andras Jones See omnystudio.com/listener for privacy information.

Andy and Alyssa read Goosebumps #50: Calling All Creeps. Along the way, they discuss bullying, phone creeps, Warren G. Harding and the Teapot Dome scandal, the Caldecott and Newbery Medals, the Weather Channel, giving props to lunch ladies, the Face-Heel Turn, Saint Maud (2019), the "Earshot" episode of Buffy the Vampire Slayer (1999), Jennifer's Body (2009), conspiracy theories, Dr. Strangelove (1964), invasion plots, Them (Ils, 2006), Bruce Coville's My Teacher is an Alien series (1989 - 1992), James Tiptree, Jr.'s "The Screwfly Solution" (1977), secret cabals, Ira Levin's The Boys from Brazil (novel 1976, film 1978), Richard Condon's The Manchurian Candidate (novel 1959, film 1962), Eyes Wide Shut (1999), The Conspiracy (2012), BlacKkKlansman (2018), contaminated food, Sweeney Todd, workplace revenge, not being believed, The Invisible Man (2020), Duncan (2020), The Bailey School Kids series (1999-2006), colonialism, the competing alien species of the Gooseverse, the alpha male fallacy, identity seeds, the Weather Underground, H.P. Lovecraft, and lizard people. // Music by Haunted Corpse // Follow @saypodanddie on Twitter and Instagram, and get in touch at saypodanddie@gmail.com

Welcome to the Instant Trivia podcast episode 140, where we ask the best trivia on the Internet. Round 1. Category: Sing! 1: Wham!. George Michael. 2: Dire Straits. Mark Knopfler. 3: The Talking Heads. David Byrne. 4: Smashing Pumpkins. Billy Corgan. 5: The Clash. Joe Strummer. Round 2. Category: Movie Thrillers 1: In 1988 this 1962 Frank Sinatra film based on Richard Condon's novel was re-released to the theatres. The Manchurian Candidate. 2: Joe Eszterhas received a record $3 million for his script of this 1992 Michael Douglas-Sharon Stone film. Basic Instinct. 3: Joseph Wiseman played the lanky title villain in this 1962 James Bond movie, the first in the series. Dr. No. 4: The finale of Alfred Hitchcock's "Saboteur" takes place on this national landmark. Statue of Liberty. 5: Barbara Stanwyck got an Oscar nomination for her role in this 1948 thriller based on a 1943 radio play. Sorry, Wrong Number. Round 3. Category: Mssng Vwls 1: One of the planets:"RNS". Uranus. 2: A U.S. state:"TH". Utah. 3: It's a gas!( and an element): "NN". neon. 4: A Native American people:"PCH". Apache. 5: A country in Africa:"THP". Ethiopia. Round 4. Category: "No" Way 1: In recipes, it often comes between "tuna" and "casserole". Noodle. 2: This head movement can indicate approval or sleepiness. Nodding. 3: 167 died in a 1988 oil rig explosion off Britain in this sea. North Sea. 4: Adjacent border towns in Arizona and Mexico share this name. Nogales. 5: Last name of noted sculptor Isamu or celebrity coroner Thomas. Noguchi. Round 5. Category: Cowboys 1: Because they often prodded cattle with sticks, cowboys were also known by this term. cowpokes. 2: This synonym for a cowboy's lasso is from the Spanish word "reata", meaning rope. lariat. 3: By 1870 this hatmaker was the leading producer of cowboy hats. Stetson. 4: In 1871 cowboys drove a record number of cattle, 600,000, from Texas to Kansas along this trail. the Chisholm Trail. 5: In the days of Wyatt Earp and Bat Masterson, this Kansas town was the "Cowboy Capital of the World". Dodge City. Thanks for listening! Come back tomorrow for more exciting trivia!

Transformation. According to this week's guest that's what we need to know our calling in life. Richard Condon has been interested in thinking, living, examining and exploring different things to align his life to something that is worthy of it and that has also helped him become skilled at recognizing the calling of others. That directed him to a well-renowned self-development and transformation company that has brought him to different countries like the United States, Europe, China, Japan, Thailand, Peru and India to deliver programs for over 150,000 people. He devised and presented innovative views on leadership, corporate culture, communication, productivity, teamwork and elevating performance that assisted individuals and companies. During this interview, you'll discover… The importance of knowing your personal calling in life & company's mission What is the human potential movement Why you must have integrity & why it matters To find out more about Richard, visit https://www.thethoughtleaderrevolution.com/.

Hey everybody!! Episode 34 of the show is out. In this show, I spoke with my friend Richard Condon. Richard and I met at the Amazonian plant healing center, The Temple of the Way of Light, where he came to drink medicine and began offering his work to help align, deepen, and bring distinctions to the organization. I have learned a lot from Richard and consider him a teacher. His work with ontology, distinctions, language, alignment, and integrity has taught me a lot and helped me to deepen the work that I do. One of the questions I'm often asked is about plant medicine integration, and Richard's work is an excellent tool in aiding in this. His work is really powerful outside of this field as well. I really enjoyed this conversation. To me, Richard really embodies what an inquisitive, clear, and focused mind is able to accomplish, as well as a big heart. I always enjoy speaking with and learning from Richard and I think you all will get a lot out of this episode. To view bonus material and extended conversations, check out my Patreon page below.“From a very young age I have been interested in thinking and living from a quote by Buckminster Fuller:“How can a single individual make a difference in the world.”My own evolution traversed from my early career as a drummer in a rock band opening for some of the preeminent bands of the 60's to being an entrepreneur, primarily, in the restaurant and nightclubs...In the middle of my life I asked myself the question at the end of my life, what is it that I want to have fulfilled? The answer was having made a difference in people's lives in a profound way and to have elevated our own humanity…As I enter the last act of my life I have been even more deeply engaged in Bucky's question. This has given rise to a deeper exploration of a new access to living, “Living an Aligned Life.”Currently I have also partnered with Jeff Willmore to deliver The Entrepreneurship, Accomplishment & Autonomy Course. This unique structure and methodology deliberately steps away from the “tips and techniques” kind of business knowledge that betrays top performance and instead, allows you to embody the advanced knowledge of a market leader and allows you to design leading edge practices based on your own original thinking.”Richard's full bio: https://www.universewithinpodcast.com/podcast/richard-condonRichard's website: https://www.missionb.coThis episode is sponsored by the Temple of the Way of Light: https://templeofthewayoflight.org/Share the show, Subscribe or Follow, leave comments, and go on Apple Podcasts and leave a starred-rating and a short review. That would be super helpful with the algorithms and getting this show out to more people. Thank you!For more information my work and upcoming plant medicine retreats, visit my site at: https://www.NicotianaRustica.orgSupport this podcast on Patreon: https://www.patreon.com/UniverseWithinDonate directly with PayPal: https://www.paypal.me/jasongrechanikMusic courtesy of Nuno Moreno. See his work at: https://m.soundcloud.com/groove_a_zen_sound and https://nahira-ziwa.bandcamp.com/https://www.facebook.com/UniverseWithinPodcasthttps://www.instagram.com/UniverseWithinPodcast

Politics! Intrigue! Brainwashing! Frank Sinatra! In this episode of Adapt or Perish, we discuss The Manchurian Candidate! In this episode we look at: Richard Condon's original 1959 novel. The 1962 movie, directed by John Frankenheimer, written by George Axelrod, and starring Frank Sinatra, Laurence Harvey, Janet Leigh, and Angela Lansbury. The 2004 remake, directed by Jonathan Demme, written by Daniel Pyne and Dean Georgaris, and starring Denzel Washington, Liev Schreiber, and Meryl Streep. Footnotes: An introduction to Malory Archer A history of the term "fridging" coined by comics writer Gail Simone, along with her website Women in Refrigerators You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. We're also on Patreon! You can find us at patreon.com/adaptcast. We have multiple reward levels, which include access to a patron-only community and a patron-only, biweekly bonus show! We hope to see you there. If you want to send us a question or comment, you can always email us at adaptorperishcast@gmail.com.

#18- Mitch Verma w/ Verma Systems & Rob Wise w/ IT Inspired discuss the IT Industry Response to Covid-19 Crisis and Segment 2 Brian Haldane & Richard Condon use Zoom28Mar2020

The boys stumble into conversation about the whole Ray Fisher and Joss Whedon debacle about Zack Snyder's Justice League and as always talk movies. This week the movie of choice is 2004's The Manchurian Candidate. Synopsis: In the midst of the Gulf War, soldiers are kidnapped and brainwashed for sinister purposes. Directed by: Jonathan Demme Written by: Richard Condon (novel), George Axelrod (1962 screenplay), Daniel Pyne (screenplay), and Dean Georgaris (screenplay). Starring: Denzel Washington, Liev Schreiber, Meryl Streep.

JFK -The Final Solution, John Bevilaqua, Manchurian Candidate, Richard Condon, John Frankenheimer, Winnipeg airport incident, JFK, Kennedy assassination, Lincoln, Wickliffe Preston Draper, Count Anastase A. Vonsiatsky, Gerald L.K. Smith, Robert J. Morris, George Sokolosky, Joseph McCarthy, McCarthyism, blacklisting, American Security Council, Council for National Policy, Roy Cohn, Trump, William Dudley Pelley, Michael A. Hoffman II, William Grimstead, twilight language, George Hunt Williamson, Sirius tradition, Alice Bailey, Philip. J. Corso, Douglas MacArthur, Charles Willoughby, Robert Anton Wilson, Illuminatus Trilogy, The Cosmic Trigger, ancient astronauts, Sovereign Order of Saint John

On today's episode, we talk to veteran Baton Rouge radio personality, Richard Condon. Richard has made a career of “running his mouth” on the Louisiana airwaves for over 30 years and is currently the host of “Condon Uncensored” on Eagle 98.1. He made us laugh when we were growing up in Baton Rouge, so we invited him to talk with us on his first podcast appearance ever! We enter the “Danger Zone” with Richard (8:08) and he talks about growing up and making his way to broadcast journalism. He talks about going into radio and his various shows (16:25). We ask him about some of his influences, how he got his style, and how controversy can sometimes follow him around (23:54). He goes into his work ethic and the process on producing a show (31:06). We hear a couple of his infamous stories about Alex Box Stadium (34:04) and Jamie Howard (38:34). We wrap up our talk with Richard on how he's matured over the years (43:33).

Book Vs Movie “The Manchurian Candidate” The Richard Condon Novel Vs. the 1962 John Frankenheimer Cult Classic   The Margos have a thing for espionage and intrigue in this ep talking about the Richard Condon 1959 novel The Manchurian Candidate which was bought by Frank Sinatra and United Artists films and made into a controversial movie in 1962. Detailing the life of former infantrymen who are brainwashed by the Soviet Union while captured in the Korean War and who later aim to overthrow the United States via a presidential election--it was considered a classic “bad book” by Time magazine (which meant it as a compliment) and seems prescient considering what is happening in politics today. The story of Major Bennett Marco and Sergeant Raymond Shaw and their recurring nightmares over what they experienced makes up the rest of the book. In short, Shaw can become an assassin when given a “posthypnotic trigger” and his mother is married to Senator Johnny Iselin. She and Ray have an incestual relationship and she is working with the Communists to get her husband elected president. The movie stars Sinatra as Marco and was directed by John Frankenheimer to little excitement in 1962 (go figure!) One year later President Kennedy was assassinated and the film was pulled from the public with fears it influenced Lee Harvey Oswald who was known to be a regular movie-goer. The Margos discuss the book and the movie and decide which we like better. (Spoiler--it’s not even close here!) Check out the link below to listen to the episode. In this ep the Margos discuss: The backstory about the author Richard Condon who went from Hollywood publicist to bestselling author How the brainwashing theme was new in the late 1950s when it was introduced here. The charges of plagiarism that came out years after he died. How Sinatra helped put together a masterpiece of a film by working a short day (Frank never showed up before 11 am on a set!) The cast of the 1962 film including Laurence Harvey (Raymond Shaw,) Janet Leigh (Eugenie Rosie Chaney,) Angela Lansbury (Mrs. Eleanor Shaw Iselin,) James Gregory (Senator Iselin,) Leslie Parrish (Jocie,) and John McGiver (Senator Jordan) Why the film was considered so controversial, it was not considered a classic until a 1987 re-release. Clips Featured: “I Wanted a Killer” (Angela Lansbury & Laurence Harvey) “52 Red Queens” (Frank Sinatra & Laurence Harvey) “The Killing of Senator Jordan and Jocie” (Laurence Harvey, John McGiver, and Leslie Parrish” “Meeting Rosie on a train” (Frank Sinatra & Janet Leigh) “The Assassination scene” (Frank Sinatra & Laurence Harvey) “The Garden Club Scene” Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie  Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Brought to you by Audible.com You can sign up for a FREE 30-day trial here http://www.audible.com/?source_code=PDTGBPD060314004R Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama https://coloniabook.weebly.com/   

Betcha didnt know that...We came up with a slur for every letter of the alphabetBetcha didnt know that...If you subscribe to our patreon your dad will finally say i love youBetcha didnt know that...If you share this episode, your crush will go down on youBetcha didnt know that...Richard Condon got kicked off the air a few years ago for inciting violence against muslims

Swamp Stinkers Devin Thibodeaux and Chet Kolder to talk Epstein, Condon, and their band.featured song: Christize by Swamp Stank

  Book Vs Movie “The Manchurian Candidate” The Richard Condon Novel Vs. the 1962 John Frankenheimer Cult Classic   The Margos have a thing for espionage and intrigue in this ep talking about the Richard Condon 1959 novel The Manchurian Candidate which was bought by Frank Sinatra and United Artists films and made into a controversial movie in 1962. Detailing the life of former infantrymen who are brainwashed by the Soviet Union while captured in the Korean War and who later aim to overthrow the United States via a presidential election--it was considered a classic “bad book” by Time magazine (which meant it as a compliment) and seems prescient considering what is happening in politics today. The story of Major Bennett Marco and Sergeant Raymond Shaw and how deal with recurring nightmares over what they experienced makes up the rest of the book. In short, Shaw can become an assassin when given a “posthypnotic trigger” and his mother is married to Senator Johnny Iselin. She and Ray have an incestual relationship and she is working with the Communists to get her husband elected president. The movie stars Sinatra as Marco and was directed by John Frankenheimer to little excitement in 1962 (go figure!) One year later President Kennedy was assassinated and the film was pulled from the public with fears it influenced Lee Harvey Oswald who was known to be a regular movie-goer. The Margos discuss the book and the movie and decide which we like better. (Spoiler--it’s not even close here!) Check out the link below to listen to the episode. This episode is once again sponsored by Penguin Random House! FOUR DEAD QUEENS by Astrid Scholte A divided nation. Four Queens. A ruthless pickpocket. A noble messenger. And the murders that unite them.   Seventeen-year-old Keralie Corrington may seem harmless, but she’s, in fact, one of Quadara’s most skilled thieves and a liar. Varin, on the other hand, is an honest, upstanding citizen of Quadara’s most enlightened region, Eonia. He runs afoul of Keralie when she steals a package from him, putting his life in danger. When Varin attempts to retrieve the package, he and Keralie both find themselves entangled in a conspiracy that leaves all four of Quadara’s queens dead. With no other choices and on the run from Keralie’s former employer, the two decide to join forces, endeavoring to discover who has killed the queens and save their own lives in the process. Four Dead Queens is one of the most anticipated YA novels of 2019! Get your copy today! Four Dead Queens is one of the most anticipated YA novels of 2019 and a stand-alone that will answer all of your questions! You can follow her on social media @AstridScholte and follow the hashtag #fourdeadqueens In this ep the Margos discuss: The backstory about the author Richard Condon who went from Hollywood publicist to bestselling author How the brainwashing theme was new in the late 1950s when it was introduced here. The charges of plagiarism that came out years after he died. How Sinatra helped put together a masterpiece of a film by working a short day (Frank never showed up before 11 am on a set!) The cast of the 1962 film including Laurence Harvey (Raymond Shaw,) Janet Leigh (Eugenie Rosie Chaney,) Angela Lansbury (Mrs. Eleanor Shaw Iselin,) James Gregory (Senator Iselin,) Leslie Parrish (Jocie,) and John McGiver (Senator Jordan) Why the film was considered so controversial, it was not considered a classic until a 1987 re-release. Clips Featured: “I Wanted a Killer” (Angela Lansbury & Laurence Harvey) “52 Red Queens” (Frank Sinatra & Laurence Harvey) “The Killing of Senator Jordan and Jocie” (Laurence Harvey, John McGiver, and Leslie Parrish” “Meeting Rosie on a train” (Frank Sinatra & Janet Leigh) “The Assassination scene” (Frank Sinatra & Laurence Harvey) “The Garden Club Scene” Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Brought to you by Audible.com You can sign up for a FREE 30-day trial here http://www.audible.com/?source_code=PDTGBPD060314004R Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama http://thechingonahomesteader.weebly.com/  

Spy thrillers may not be for everyone, but the genre is getting a shot in the arm -- thanks to Trump and the Russians.

JOHN BEVILAQUA joined S.T. Patrick to discuss the assassination of President John F. Kennedy through the lens of the far right wing of American politics. The focus of the interview centers on Richard Condon's "dirty dozen," the Winnipeg airport incident, and the Raleigh phone call. However, Bevilaqua also traces the far right movement from the eugenics movement of the early 20th century through the 1980s. In what is an episode of amazing links that touch on many of the seminal events of the century,  Bevilaqua touches on the 1936 Olympic games, the Back-to-Africa movement, the American Nazi conference at Madison Square Garden in 1939, the Koch family, the assassination of Sen. Huey Long, Alton Ochsner, Sr., the fathers of Pat Buchanan and Pat Robertson, the Texas oil connections, the coup attempts against FDR, Gen. Smedley Butler and the Asheville Conference, Ike's Farewell Address, Gen. Pershing & Pancho Villa, Skull & Bones, the deeds of Roy Hargraves, personal encounters with FBI agent James Hosty and Marina Oswald, the role of Catholicism in the case, Francis Cardinal Spellman, escaping Nazis, a conversation Bevilaqua had with Fletcher Prouty at the 1994 COPA conference, the role of LBJ, and so much more! Our free archives are at www.MidnightWriterNews.com.  

Richard Condon returns to the studio with a lot to say. Be warned.

Based on the 1974 novel by Richard Condon, William Richert's Winter Kills (1979) tells the tale of Nick Kegan (Jeff Bridges), half brother of President Tim Kegan who was assassinated in Philadelphia in February 1960. When he receives a deathbed confession from the man who allegedly shot President Kegan, Nick goes down the rabbit-hole, trying sort out the truth from the lies and obfuscations of everyone around him, including his father, Pa Kegan (John Huston).William Richert discusses the making of the film -- a story which rivals the on-screen antics. Matthew Socey and Jeff Meyers join Mike to talk about comic conspiracy films.Learn more about your ad choices. Visit megaphone.fm/adchoices

Special Guest: William RichertGuest Co-Hosts: Jeff Meyers, Matthew SoceyBased on the 1974 novel by Richard Condon, William Richert's Winter Kills (1979) tells the tale of Nick Kegan (Jeff Bridges), half brother of President Tim Kegan who was assassinated in Philadelphia in February 1960. When he receives a deathbed confession from the man who allegedly shot President Kegan, Nick goes down the rabbit-hole, trying sort out the truth from the lies and obfuscations of everyone around him, including his father, Pa Kegan (John Huston).William Richert discusses the making of the film -- a story which rivals the on-screen antics. Matthew Socey and Jeff Meyers join Mike to talk about comic conspiracy films. 

Nineteen year old Suzanne Lyall was an accomplished poet and computer whiz attending the State University of New York at Albany. Majoring in computer science, she was cutting the path for a bright future full of joy and love. Along with her boyfriend, Richard, she was setting her goals high and looking to achieve all of her dreams. On March 2nd, 1998, Suzanne took an important mid-term and then reported to her job for her 4pm shift. She seemed a little more relaxed this day and was focused on getting her work done. She had another mid-term the next day. She left the Crossgates Mall at 9:20pm, boarding a bus to drop her off on campus at 9:45. A witness saw Suzanne exiting the bus that night, but she was never seen again. Over the next twenty years, investigators have struggled to solve her bizarre disappearance with little evidence and even less witnesses. Everyone in her life would become a suspect with many zeroing in on her long time boyfriend, Richard Condon. In the wake of her disappearance, her broken family found a way to fight through and developed a non profit charity designed to help the families of missing persons. They have also helped usher in several laws which change the way Universities handle violent crimes and disappearances. The one question on everyone's mind is, what happened to Suzanne Lyall? Did she elect to run away and start a new life? Does her boyfriend Richard know more than he is telling police? Or could Suzanne have been the victim of a random act of violence for which an unknown killer has evaded justice for more than twenty years? Join host Steven Pacheco as he explores this bizarre and frustrating case, asking the question: What happened to Suzanne Lyall? For more information please visit: https://www.trace-evidence.comhttps://www.patreon.com/traceevidence Social Media:https://twitter.com/TraceEvPodhttps://www.instagram.com/traceevidencepod/https://www.facebook.com/groups/traceevidencepodMusic Courtesy of: "Lost Time" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/Sources: https://www.podomatic.com/podcasts/unfoundpodcast/episodes/2016-09-24T09_43_11-07_00 | https://www.timesunion.com/news/article/20-years-later-hope-for-Suzanne-Lyall-lives-on-12720764.php | http://charleyproject.org/case/suzanne-gloria-lyall | https://www.wamc.org/post/cold-case-suzanne-lyall-missing-20-years | http://www.suzannelyall.com/ | https://cbs6albany.com/news/local/20-years-after-daughters-disappearance-suzanne-lyalls-mother-still-searches-for-answers | https://www.dailymail.co.uk/news/article-6513801/Photographer-series-focuses-20-year-search-Suzanne-Lyall.html | https://saratogaliving.com/capital-region-cold-case-the-disappearance-of-suzanne-lyall-still-haunts-the-albany-area/

In the year of our Lord, 2004, the world was beginning to turn on the War in Iraq, shadowy organizations were seemingly taking over politics, and the late, great Jonathan Demme released his vision for The Manchurian Candidate.  We Vote for the Manchurian Candidate Welcome back to your favorite film analysis podcast, the GenreCast from GoodTrash Media. This week, on the GoodTrash GenreCast, we kick off our Denzel Watch-a-thon, #ABWD—Always Be Watching Denzel. On our Devil in a Blue Dress episode, we realized the GenreCast has long overlooked Denzel. However, we are in the process of remedying that. Over the next few weeks, we will look at films from each part of Denzel's career. We will also look at many of his long time collaborations—Fuqua, Lee, Scott—and we begin with Jonathan Demme. The Manchurian Candidate is based on the 1959 Richard Condon novel of the same name. In 1962, John Frankenheimer directed a version starring Angela Lansbury, Frank Sinatra and Janet Leigh. Demme's version follows the same basic plot, but updates it for a modern setting. The film tells the tale of Major Bennett Marco (Washington) and Senator Raymond Shaw (Schreiber) who served together in the Gulf War. Shaw won the Medal of Honor for his heroic exploits, but Marco came home with nightmares. Marco begins to unveil a conspiracy that will rattle the political world. The gang gets together this week to look back at this somewhat overlooked Denzel piece from 2004. After their reviews, the hosts play the weekly game. This week, the game is a discussion of underrated films from great directors. Finally, the team get down to analysis and talk about the timeliness of the film, the political discourse at work and whether the film works as strongly against capitalism as last week's film, Robocop. So, dear listener, tune in now to find out which of our hosts is a sleeper cell, and which ones are just sleepy. GET IN TOUCH If you haven’t yet, you can connect with us through our various means of social media. Also, it would mean a lot if you left a review on iTunes after you finish subscribing. Like our page on Facebook.Follow Us on Twitter.Subscribe and Review us on iTunes.

John Frankenheimer's political thriller, based on Richard Condon's novel, is as riveting today as it ever was, remakes notwithstanding. Frank Sinatra is riveting, Angela Lansbury is incredibly evil, and Laurence Harvey plays the ultimate walking dead man as Raymond Shaw.

He's not changing. Radio personality Richard Condon returns with opinions only he could give.

Mark, Aaron and Paul Cobb look at John Frankenheimer's political thriller, The Manchurian Candidate. We explore the originality and how it influenced other paranoia films, how it spoke to the spirit of the 1960s, as a satire towards McCarthyism, and how it has remained relevant throughout the years. About the film: The name John Frankenheimer became forever synonymous with heart-in-the-throat filmmaking when this quintessential sixties political thriller was released. Set in the early fifties, this razor-sharp adaptation of the novel by Richard Condon concerns the decorated U.S. Army sergeant Raymond Shaw (Laurence Harvey), who as a prisoner during the Korean War is brainwashed into becoming a sleeper assassin in a Communist conspiracy, and a fellow POW (Frank Sinatra) who slowly uncovers the sinister plot. In an unforgettable performance, Angela Lansbury plays Raymond's villainous mother, the controlling wife of a witch-hunting anti-Communist senator with his eyes on the White House. The rare film that takes aim at the frenzy of the McCarthy era while also being suffused with its Cold War paranoia, The Manchurian Candidate remains potent, shocking American moviemaking. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes Special Guest: Paul M. Cobb from the Blogue Cinéastique. You can find him on Twitter. 0:00 – Intro and welcome Paul 2:55 – Paul's Criterion Connection 11:20 – Don Hertzfeldt Revisit 12:20 – August 2016 Criterion Releases 31:10 – The Manchurian Candidate Criterion Collection: The Manchurian Candidate Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: The War Room

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You'll never believe what Richard Condon has to say about his fellow media colleagues or his radio co-host Anna. Download the MP3 here

Richard Condon makes his return with lots to say. What else is new? Check it out now! Download the MP3 here

Guess who’s back? Hide the women and children. Richard Condon returns to the Clay Young Show. Download the MP3 here

Richard Condon returns to speak with Clay about sports, politics and family. Download the MP3 here

“****Explicit Content********* This week Clay sits down with Baton Rouge media personality Richard Condon for a conversation about media, society and the future of sports in America. Its a podcast like none you’ve heard before. Some material may not be suitable for children or a work environment. Discretion is advised.” Download the MP3 here

In which we pass the time by playing a game of Solitaire....Illustration by Dana Miller. Check out her deviantART page.Download MP3 (2:01:31)A huge thank you to the bearded Weston for joining us this episode. Follow him on Twitter and check out his weekly writings at Deconstructing Moya: A Farscape Re-Watch.Films Discussed:The Manchurian Candidate (1962). IMDB. Wikipedia.The Manchurian Candidate (2004). IMDB. Wikipedia.Both films originate from the 1959 novel by Richard Condon.

This week, Zach gets a little freaked out over the number of Communists running around, and what they might be doing to our heads. Frank Sinatra stars in the 1962 classic, Manchurian Candidate. The Manchurian Candidate is a 1962 American Cold War suspense thriller film directed by John Frankenheimer from a screenplay by George Axelrod based on Richard Condon's 1959 novel. It stars Frank Sinatra, Laurence Harvey and Janet Leigh and features Angela Lansbury, Henry Silva, and James Gregory. The central concept of the film is that the son of a prominent right-wing political family has been brainwashed as an unwitting assassin for an international Communist conspiracy. The Manchurian Candidate was nationally released on Wednesday, October 24, 1962, at the height of the Cuban Missile Crisis. The film was well received and gained nominations for two Academy Awards.

This week, Zach gets a little freaked out over the number of Communists running around, and what they might be doing to our heads. Frank Sinatra stars in the 1962 classic, Manchurian Candidate. The Manchurian Candidate is a 1962 American Cold War suspense thriller film directed by John Frankenheimer from a screenplay by George Axelrod based on Richard Condon's 1959 novel. It stars Frank Sinatra, Laurence Harvey and Janet Leigh and features Angela Lansbury, Henry Silva, and James Gregory. The central concept of the film is that the son of a prominent right-wing political family has been brainwashed as an unwitting assassin for an international Communist conspiracy. The Manchurian Candidate was nationally released on Wednesday, October 24, 1962, at the height of the Cuban Missile Crisis. The film was well received and gained nominations for two Academy Awards.

Recorded 8 March 2013. You can download the m4a file. We talk about changing your mind. Fantastical adds a date badge — when Michael said he was against it. He explains why. This episode is sponsored by Windows Azure Mobile Services, which makes it easy to add a backend to your iOS app — you can store data in a SQL database, run periodic scripts, send push notifications, and more. You write code in JavaScript. You don’t have to get Visual Studio. It’s lightweight in the best sense possible — and very easy to get started. A note about the audio: I (Brent) screwed up Michael’s audio — I had my headphones on and didn’t realize Michael’s audio was playing through my computer speakers. Oops. It’s due to Michael’s Awesome Audio Editing Prowess (tm) that the episode is salvaged. You mostly don’t hear any echo. Mostly. (Sorry about that!) Some things we mention: Fantastical 1.1 for iPhone Microsoft Olga Korbut Google Reader Microsoft investing in Apple Pirates of Silicon Valley Weird Domino’s Pizza Thing on YouTube Vocaloids Letterpress release notes HockeyApp Prizzi's Honor In the podcast, Brent erroneously credited Mario Puzo as the author of Prizzi’s Honor. It was Richard Condon. (Puzo wrote The Godfather.) We regret the error. Nowhere in the podcast do we mention Jerzy Kosinski, who wrote Being There. We bring it up now just because we like it. Another random note: Daniel Jalkut has a nice piece on indie podcasts. While we love 5by5, Mule Radio Syndicate, and Mobile Nations, like Daniel and Marco Arment we’re proud to be indie. We enjoy having sole control of the things we make.

It's Valentine's Day, and what better way to end our current John Huston series than with his 1985 romantic mafia comedy, Prizzi's Honor? Huston was struggling with his health in the 80s but still a vibrant and essential director when he made this film that garnered 8 Oscar nominations. Join us — Pete Wright and Andy Nelson — as we celebrate love and death in this quirky film. We chat about what works and what doesn't with the performances in the film, particularly Jack Nicholson's and Anjelica Huston's, and how essential they are in a film with such a variety of characters like this film has. We discuss what Huston was trying to say with the film and how it fits into his body of work. We talk about the amazing crew and what they bring to the table as well as the kudos they received for their work. And we chat about the nature of the story — a mafia comedy — and what Richard Condon, who wrote the novel on which it was based, was saying with the story. It's a fun film and we have a great time talking about it. Check it out!

It's Valentine's Day, and what better way to end our current John Huston series than with his 1985 romantic mafia comedy, Prizzi's Honor? Huston was struggling with his health in the 80s but still a vibrant and essential director when he made this film that garnered 8 Oscar nominations. Join us — Pete Wright and Andy Nelson — as we celebrate love and death in this quirky film. We chat about what works and what doesn't with the performances in the film, particularly Jack Nicholson's and Anjelica Huston's, and how essential they are in a film with such a variety of characters like this film has. We discuss what Huston was trying to say with the film and how it fits into his body of work. We talk about the amazing crew and what they bring to the table as well as the kudos they received for their work. And we chat about the nature of the story — a mafia comedy — and what Richard Condon, who wrote the novel on which it was based, was saying with the story. It's a fun film and we have a great time talking about it. Check it out!

It's Valentine's Day, and what better way to end our current John Huston series than with his 1985 romantic mafia comedy, Prizzi's Honor? Huston was struggling with his health in the 80s but still a vibrant and essential director when he made this film that garnered 8 Oscar nominations. Join us — Pete Wright and Andy Nelson — as we celebrate love and death in this quirky film. We chat about what works and what doesn't with the performances in the film, particularly Jack Nicholson's and Anjelica Huston's, and how essential they are in a film with such a variety of characters like this film has. We discuss what Huston was trying to say with the film and how it fits into his body of work. We talk about the amazing crew and what they bring to the table as well as the kudos they received for their work. And we chat about the nature of the story — a mafia comedy — and what Richard Condon, who wrote the novel on which it was based, was saying with the story. It's a fun film and we have a great time talking about it. Check it out!

It's Valentine's Day, and what better way to end our current John Huston series than with his 1985 romantic mafia comedy, Prizzi's Honor? Huston was struggling with his health in the 80s but still a vibrant and essential director when he made this film that garnered 8 Oscar nominations. Join us — Pete Wright and Andy Nelson — as we celebrate love and death in this quirky film. We chat about what works and what doesn't with the performances in the film, particularly Jack Nicholson's and Anjelica Huston's, and how essential they are in a film with such a variety of characters like this film has. We discuss what Huston was trying to say with the film and how it fits into his body of work. We talk about the amazing crew and what they bring to the table as well as the kudos they received for their work. And we chat about the nature of the story — a mafia comedy — and what Richard Condon, who wrote the novel on which it was based, was saying with the story. It's a fun film and we have a great time talking about it. Check it out!

Half a century old, how well is John Frankenheimer's adaptation of Richard Condon's best-selling conspiracy thriller holding up? The post 49. The Manchurian Candidate appeared first on Steven Benedict.

Richard Condon has written 23 novels since becoming a full-time writer at the age of 42. These include The Manchurian Candidate and Prizzi's Honour. In conversation with Michael Parkinson, he talks about his upbringing in Manhattan, his career in the film world where he ended up as a publicity executive for Walt Disney, and his escape into writing.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Baubles, Bangles and Beads by Peggy Lee Book: Boy Scout manual Luxury: Calendar watch

Richard Condon has written 23 novels since becoming a full-time writer at the age of 42. These include The Manchurian Candidate and Prizzi's Honour. In conversation with Michael Parkinson, he talks about his upbringing in Manhattan, his career in the film world where he ended up as a publicity executive for Walt Disney, and his escape into writing. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Baubles, Bangles and Beads by Peggy Lee Book: Boy Scout manual Luxury: Calendar watch