Podcast appearances and mentions of Richard Hamilton

In Locust Radio episode #30, Tish Turl interviews fellow Locust comrade, Adam Turl, on their new book, Gothic Capitalism: Art Evicted from Heaven and Earth (Revol Press, May 2, 2025). You can order the book from Revol Press, Amazon, or find it at other booksellers.Artists, ideas, books, writers, artworks and other stuff discussed in this episode: Adam Turl, Gothic Capitalism: Art Evicted from Heaven and Earth (Revol Press 2025); Ernst Fischer, The Necessity of Art (Verso, 2020); Boris Groys, “The Weak Universalism,” e-flux (2010); Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1936); Walter Benjamin, “Theses on History” (1940); John Berger, Ways of Seeing (1972); Mark Fisher, Capitalist Realism: Is There No Alternative (2009); Mark Fisher, Flatline Constructs: Gothic Materialism and Cybernetic Theory-Fiction (2018); Donna Harraway, “A Cyborg Manifesto” (1985); Karl Marx and Friedrich Engels, The Communist Manifesto (1848); Rena Rädle & Vladan Jeremić; Joseph Beuys; John Heartfield; Anupam Roy; Richard Hamilton; R. Faze; Born Again Labor Museum; Amiri Baraka; Omnia Sol; Sister Wife Sex Strike; Dada; Judy Jordan; Bertolt Brecht; Claire Bishop; The Sublime; “Third Places;” Fluxus; Abstract Expressionism; The Sopranos; The Wire; Surrealism; Charlie Jane Anders; Emily St. John Mandel; Pier Paolo Pasolini, La Ricotta (1963) and The Hawks and the Sparrows (1966); Boots Riley; Federal Arts Project; Luis Buñuel, The Exterminating Angel (1962); The Artists Union; Voltaire, Candide (1759); Gabriel García Márquez, One Hundred Years of Solitude (1967); Public Enemy, Fear of a Black Planet (1989); Beethoven, Symphony #9 (1822-1824); Sam Esmail, Leave the World Behind (2023); David Cronenberg, Videodrome (1983); Richard Seymour, Disaster Nationalism (2024)Produced by Tish Turl, Adam Turl, Omnia Sol and Alexander Billet. Theme by Omnia Sol, Drew Franzblau and Adam Turl. Hosts include Tish Turl, Laura Fair-Schulz and Adam Turl.

Political commentator Robert Godden returns to examine how Trump's policies ripple through South Australian vineyards and shipyards, while introducing us to diverse local voters shaping our electoral landscape - from climate-conscious Ellie in Goodwood to disillusioned Mick in Morphett Vale. Robert's record for calling elections correctly stands firm as he reveals which South Australian electorates might swing in the upcoming federal vote. Though Labor appears headed for a reduced majority, the real question is how our vote might influence America's orange-tinted decisions affecting our exports and defence agreements. In the Musical Pilgrimage, Lizzie Hosking's soulful track "Can't Figure You Out" perfectly captures the electoral indecision many South Australians face heading into the May 3rd poll, while a Good Friday interview with Richard Pascoe uncovers the gruesome history buried at St. Mary's Anglican Church. There is no SA Drink Of The Week this week. You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We're here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concisepage. Running Sheet: From Trump to Two Wells - SA's Political Crossroads In AusVotes 2025 00:00:00 Intro Introduction 00:00:00 SA Drink Of The Week No South Australian Drink Of The Week, this week. 00:03:41 Robert Godden Robert Godden, our regular political analyst who correctly called the 2018 South Australian election before Antony Green, joins us to examine the upcoming federal election through a South Australian lens. With the shadow of Donald Trump's presidency louring over international relations, the conversation begins with the "Trump factor" and its potential impacts on our state. "We can look at what happened with China when they put tariffs on us," Robert explains when discussing Trump's trade war implications for South Australian exports like beef, wine, and seafood. "Remember Christmas before last when people were indulging in lobster who'd never had it before because it was so cheap?" He suggests diversification of markets is essential, noting how Australia pivoted successfully during the China tariff challenge. The conversation takes a more serious turn when examining the AUKUS agreement, with Robert noting that America's treatment of Australia has drawn criticism even from US politicians like Democratic Senator Mark Warner. "He spent a good half hour listing all the reasons... anyone with brains and shame would've gone, 'He's right, let's help Australia out.' But Trump hasn't shown great quantities of either." Robert's assessment of climate policy delivers perhaps the episode's most cutting insight: "The easiest way for the Liberals to have a chance at getting back in power would be to embrace the climate cause." He argues that the six Teal candidates in parliament are essentially "liberals with climate views," representing votes the Coalition has surrendered to independents. When Steve asks whether anything Australia does could influence Trump's policies, Robert responds with characteristic frankness: "He doesn't understand international trade. I mean, look, he doesn't understand shoelaces." The interview shifts to a fascinating examination of voter personas Robert has created, representing different South Australian demographics and their voting intentions. These include Ellie from Goodwood (a 29-year-old non-binary arts worker voting Green), Tyler from Lightsview (a 21-year-old apprentice electrician leaning Liberal), Andrew from Aldgate (a 45-year-old high school teacher supporting Rebecca Sharkie), Mick from Morphett Vale (a 53-year-old injured truck driver voting One Nation), and Jade from Christies Beach (a financially stretched childcare worker who remains undecided). When discussing cost of living concerns, Robert delivers one of the episode's most provocative statements: "If Peter Dutton wants to win this election at all costs, all he has to do is chuck money at people. If he said to the electorate, 'If you vote for me, I'll give you $300 a week from now until the next election' – job done." Robert heartily recommends using the ABC Vote Compass to help you see where you sit idealogically, and how that aligns to the parties. 01:04:04 St Mary's Anglican Church Cemetary Steve shares a recording from his Good Friday conversation with Richard Pascoe on FiveAA, discussing the upcoming cemetery tour at St. Mary's Anglican Church on Saturday, May 17, 2025, from 10am to 2pm. The segment reveals fascinating South Australian history, including the burial sites of Richard Hamilton (father of South Australia's wine industry) and Benjamin Herschel Babbage (son of computing pioneer Charles Babbage). The conversation takes a macabre turn as Steve describes university researchers' discoveries in the cemetery's pauper section, including bodies broken to fit into smaller coffins, teeth ravaged by untreated cavities, and even evidence of leprosy in early South Australia. "It just fires up gratitude for me of what we've actually been able to achieve," Steve reflects, noting how easily we forget the harsh realities our ancestors faced. 01:16:06 Musical Pilgrimage In the Musical Pilgrimage, we feature Can't Figure You Out by Lizzie Hosking. Steve praises her "breathy and hearty voice" with its "clear, clean, strong" qualities that draw listeners in. The song's sultry jazz feel and title perfectly mirror the electoral indecision many South Australians feel approaching the May 3rd federal poll. As Steve notes, "I chose it because frankly, I can't figure out who is worthy of my vote."Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/See omnystudio.com/listener for privacy information.

Send us a textIn this episode I give updates from the Marrakech International Storytelling Festival and share two short stories from the region.The stories are of a character famed through the Arab world, the wise fool, often known as Hodja, or the Mullah Nasruddin, but in North Africa he is known as 'Djoha'.I recently told one of these stories at a school in the Atlas Mountains to the delight of many school pupils............Stay in the loop with my storytelling offerings through the year via:sandfox.com/dougiemackaystoryInstagram: @dougie.mackay.storystoryconnection.org.......Read about the Marakesh international storytelling festival here:https://worldstorytellingcafe.com/marrakech-international-storytelling-festival/or our Guiness world record success:https://www.moroccoworldnews.com/2025/01/367971/marrakech-breaks-guinness-world-record-for-longest-storytelling-sessionThe Last Storytellers by Richard Hamilton:https://www.richard-hamilton.com/the-last-storytellers/Cafe Clockhttps://www.cafeclock.com/marrakech

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Learn about the history of Indianapolis Recorder's midnight Christmas benefit concerts at the Walker Theatre.  The concerts featured up to 60 acts and ran from midnight until 6 in the morning. Some of the greatest jazz, funk, and R&B musicians in Naptown performed at the midnight Christmas shows — including Wes Montgomery, Thurston Harris and Slide Hampton. But the entertainment wasn't limited to music alone — there were drag queens, burlesque dancers, fire-eaters, snake handlers, body builders and comedians. The concerts developed from the Indianapolis Recorder Cheer Fund. Established in 1929, the Cheer Fund was an annual holiday fundraiser that supported families in financial need. During the 1930s the Cheer Fund evolved into a benefit concert. These concerts attracted star performers, including the legendary tap dancer Bill “Bojangles” Robinson who performed at the Recorder's 1938 benefit show. The Recorder's midnight Christmas benefit concerts thrived until the 1980s. Listen to interviews with Indianapolis musicians and media personalities who performed at the Christmas benefit shows, including Henry Hinch, Josephine Cheatham, Rodney Stepp, Reggie Gammon, Debbie Nelson, Tyrone Caldwell, Richard Hamilton, Eunice Trotter, Geno Shelton and the late Joe Trotter.

Ep 250 Roland Sarria Career & Controversy 0:00 plugs/ promotions 0:42 Lytes out intro 1:01 guest introduction 1:25 interview start 2:03 beginnings in Jiu Jitsu 3:35 Gracie Challenge matches 9:41 relationship with Rickson Gracie 11:35 opening up first Gym 12:36 experience with Richard Hamilton14:34 Richard Hamilton leaving the Phoenix fight scene 16:54 Trainer Steve Owen's 17:54 interactions with Erik Paulson 21:37 Erik Paulson taking private lessons from the Gracie's 23:30 thoughts on John Perretti 25:10 John Lober's reputation in the LA scene 29:33 leaving Rickson Gracie's gym 33:14 self promoting to black belt 34:58 frustrations for not receiving belt promotion  36:47 Rickson Gracie instructor course 38:04 Rickson Gracie never attending classes 43:41 Rockson Gracie and Kron Gracie's relationship with Rickson 46:14 beginning Rage in the Cage 47:58 difficulties balancing work 50:32 John McCain attending Rage in the cage event 52:09 receiving bad comments from fighters 53:57 training with Chris Saunders 55:40 early business partner Gino Lucadamo 57:02 Gracie Barra gym owner Marc Zee 59:44 Commissioner John Montano1:01:55 accused of hosting Pro boxing events1:03:31 Todd Medina Arm bar controversy 1:05:27 John Petrelli 1:07:14 Shannon Rich 1:07:30 Homer Moore 1:09:01 Gilbert Aldana 1:11:25 Gustavo Dantas 1:12:28 Asher Lutz 1:13:55 Rick Roufus 1:15:35 ring announcer Rick Reyes  1:16:40 Drew Fickett 1:20:34 former students getting in trouble 1:23:35 Dominick Cruz 1:25:19 Henry Cejudo 1:27:26 interview wrap up/ outro Roland Sarria has promoted more MMA events than any other promotion outside of the UFC. Rage in the Cage has sent over 30 fighters to the big show. Roland' Sarria's story starts as being a Rickson Gracie student and has quite a few controversies associated with his career and promotion. Roland does not shy away from any topic; this is a fantastic listen Ep 250 Roland Sarria Career & ControversySubscribe to the Lytes Out Podcast:https://www.youtube.com/@LytesOutClipsSocials: Facebook -https://www.facebook.com/groups/1027449255187255/?mibextid=oMANbwInstagram - https://www.instagram.com/lytesoutpodcast/iTunes - https://podcasts.apple.com/us/podcast/lytes-out-podcast/id1568575809 Spotify - https://open.spotify.com/show/3q8KsfqrSQSjkdPLkdtNWb Mike - The MMA Detective - @mikedavis632 Cash App - $mikedavis1231Venmo - Mike-Davis-63ZELLE: Cutthroatmma@gmail.com / ph#: 773-491-5052 Follow the #LOP team on Instagram: Chris - Founder/Owner - @chrislightsoutlytle Mike - MMA Detective - @mikedavis632 Joey - Assistant - @aj_ventitreTyson - Producer - @ty.green.weldingAndrew - Timestamps - @ambidexstressAndy - Social Media Manager - @martial_mindset_Outro song: Power - https://tunetank.com/t/2gji/1458-power#MMA #UFC #NHB #LytesOutPodcast #LytesOut #MixedMartialArts #ChrisLytle #MMADetective #MikeDavis #MMAHistory #OldSchoolMMA #FiftyFightClub #MMAPodcast #fightpodcast 250 Roland Sarria Career & Controversy Roland Sarria has promotes more MMA events than any other promotion outside of the UFC. Rage in the Cage has sent over 30 fighters to the big show. Roland' Sarria's story starts as being a Rickson Gracie student and has quite a few controversies associated with his career and promotion. Roland does not shy away from any topic; this is a fantastic listen Ep 250 Roland SarriSupport the show

Kate Adie presents stories from the US, Lebanon, Spain, Morocco and GreenlandDonald Trump won a resounding victory in the US election, heralding an imminent return to the White House. This was achieved through a new coalition of support - especially among African-American and Hispanic voters. Anthony Zurcher has followed the campaign from the outset, and reflects on how, despite a well-funded Harris campaign, Donald Trump pulled off a decisive win.Israel's invasion of Lebanon has continued, sparked by almost a year of cross-border hostilities. This latest conflict began with Hezbollah firing rockets across the border into Israel last October, in support of its ally Hamas in Gaza. Orla Guerin has been there since the conflict intensified six weeks ago.In Spain, thousands of troops, civil guards and police helped with the relief effort following flash floods in Valencia that killed more than 200 people. Amid a febrile atmosphere of blame and recrimination, Nick Beake has been building a picture of how events unfolded - and heard how tragedy hit one family.Morocco is a launch pad for many Africans trying to make the dangerous journey across the Mediterranean into Europe. Now, it's coming under increased pressure due to political instability in the Sahel. Richard Hamilton was in Tangier.In Greenland, an Inuit community living in the island's most remote settlement is facing profound changes to their traditional way of life amid melting sea ice. Mark Stratton went to hear about the challenges facing the community, such as climate change, tourism and polar bears.Series Producer: Serena Tarling Editor: Richard Fenton-Smith Production Coordinators: Katie Morrison and Sophie Hill

Richard Hamilton from Victims of Nicheliving joins Alex Whisson once again to discuss the latest twists and turns in the long-running saga.

Today in 1935, the birthday of Walter De Maria, an artist behind one of the most unusual art installations you'll ever come across: a loft in New York that he filled with dirt. Plus: the Morris Arboretum and Gardens at the University of Pennsylvania is now home to an immersive audio installation by artist Richard Hamilton. Inside The SoHo Apartment That's Been Filled With Dirt Since 1977 (Gothamist) Take a Journey of Sound Through the Morris (Morris Arboretum & Gardens) Our Patreon backers fill our show with support every day --- Support this podcast: https://podcasters.spotify.com/pod/show/coolweirdawesome/support

After construction company Nicheliving failed to have its building license renewed in July, hundreds of home builders were in line for insurance claims and therefore the possible completion of their homes. Now, however, the State Administative Tribunal has approved a stay on that order, allowing the conpany to continue its operations for the time being, and once again leaving dozens of families in the lurch, with seemingly no one to support them. RIchard Hamilton joined Alex Whisson to discuss the implications of the SAT's ruling, and where matters might proceed from here in this long-running saga.

It's time for new, vibrant, colourful (well, as colourful as an audio-only-podcast can be) episode of Fans On The Run!   Joining me on today's show is Brooklyn artist, silent-film-enthusiast, Saturday Night Live graphic-design-alumni, counterculture Xerox artist and personal friend - Marlene Weisman!   We talk "Sprockets", the first and only album from The Fool, Keith Haring, a private Paul McCartney concert at the Saturday Night Live studios, Mary Quant, Mary Quant knockoffs in the windows of New York department stores, the let-down of the real Carnaby Street, Richard Hamilton's designs for the White Album, the "computer room" of the NBC Art Department, Ben Weisman (Marlene's songwriter cousin), and the pop-art genius of Peter Blake.   All that and more; you won't want to miss it!   This episode is available to stream wherever good podcasts can be heard!   Keep up with Marlene: https://www.marleneweismandesign.com/ https://www.marleneweisman.com/ https://www.instagram.com/marleneweisman   Follow us elsewhere: https://linktr.ee/fansontherun   Contact: fansontherunpodcast@gmail.com

This week we welcome J.B. Bickerstaff to the show - the new head coach of the Detroit Pistons! We had a really great convo with J.B., where he talked about his NBA head coaching journey, the Cleveland Cavaliers playoff series against Orlando Magic and his best friend head coach Jamahl Moseley, his approach to coaching Cade Cunningham and a young Pistons team, they history of Detroit basketball (the Bad Boys era, Chanucey Billups, Richard Hamilton, Rasheed Wallace), what draws him to coaching, and more!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Long suffering home builder Richard Hamilton joined Alex Whisson to discuss the latest chapter in the Nicheliving saga, the construction company which has become a byword for everything wrong with the Western Australian housing industry.

 @LockedOnUConn   Show Summary In today's episode of Locked On UConn, we dive into “Mahaney Mania” as we discuss Aidan Mahaney's impressive transition from St. Mary's to UConn. We break down his stats, impact, and what he brings to the Huskies' roster. In the second segment, we compare Mahaney to recent college basketball standouts, highlighting his scoring ability and versatility. Finally, we take a nostalgic look back at UConn's thrilling Elite Eight victory over Gonzaga in the 1998-99 season, examining key moments and standout performances that led to their national championship run. Show Notes Segment 1: Aidan Mahaney at St. Mary's: Impactful Transition to UConn • Discuss Mahaney's stellar career at St. Mary's:• Freshman Year (2022-23): Averaged 13.9 points, 2.1 rebounds, and 2.0 assists per game.• Sophomore Year (2023-24): Averaged 13.9 points, 2.6 rebounds, and 2.6 assists per game.• Career Statistics: 69 games, averaging 13.9 points, 2.4 rebounds, and 2.3 assists per game.• Why Mahaney is a valuable addition to UConn:• Offensive prowess, versatility, and championship experience.• Expected seamless transition and immediate impact. Ad Spot: FanDuel • Highlight FanDuel's daily boosts and bonuses for all customers this summer.• Call to action: Visit FanDuel.com to start making the most out of your summer. Segment 2: Player Comparisons and Expectations • Compare Mahaney to recent college basketball standouts like Jimmer Fredette, CJ McCollum, Malachi Flynn, and Markus Howard.• Highlight similarities in scoring ability, shooting efficiency, playmaking, and versatility.• Comparison Insights:• Scoring consistency and shooting efficiency.• Playmaking abilities and all-around game.• Close with a note on Mahaney's potential to excel at UConn with better program support. Ad Spot: Ibotta • Promote Ibotta as a free app that offers real cash back on everyday purchases.• Call to action: Use code Locked on College to get $5 just for trying Ibotta. Download from the App Store or Google Play Store and start earning cash back today. Ad Spot: Factor • Personal note about preparing for a new baby and the convenience of Factor's no-prep, no-mess meals.• Call to action: Use code LOCKEDONCOLLEGE50 at FACTORMEALS.com to get 50% off your first box plus 20% off your next month. Segment 3: Blast from the Past – Elite Eight Game: UConn vs. Gonzaga (1998-99) • Recap the thrilling Elite Eight game where UConn defeated Gonzaga 67-62.• Key details:• UConn as the No. 1 seed, Gonzaga as the No. 10 seed.• Leading scorers: Richard Hamilton (UConn) with 21 points, Richie Frahm (Gonzaga) with 16 points.• Halftime score: UConn 32, Gonzaga 31.• Key moments and standout performances from Richard Hamilton, Khalid El-Amin, Kevin Freeman, and Jake Voskuhl.• Analysis of UConn's resilience and Gonzaga's grit, highlighting the importance of star performances and defensive adjustments. Outro • Thank listeners for making Locked On UConn their first listen of the day.• Promote Locked On College Football podcast for more college sports content.• Sign off: Stay locked in, stay connected, make sure your toughness meter is always rising, and as always, Go Huskies!   #LockedOnUConn, #UConnHuskies, #AidanMahaney, #MahaneyMania, #CollegeBasketball, #UConnBasketball, #FanDuel, #Ibotta, #FactorMeals, #NCAABasketball, #BasketballRecruiting, #UConnNation, #GoHuskies, #CollegeSports, #BasketballHighlights, #NCAATournament, #GonzagaBasketball, #Podcast, #SportsPodcast, #UConnEliteEight

Tad is joined by Richard Hamilton!Consider becoming a patron!Support the Show.

You: running your hands through warm sand at the beach. Also you: finding out it might have passed through the anus of a fish. Meet the Bumphead Parrotfish: beach-making "bulldozer of the sea" and gargantuan coral-chomping champion. Our guests are Richard Hamilton with The Nature Conservancy and Alan Friedlander from the Hawaii Institute of Marine Biology and National Geographic's Pristine Seas.

UConn's basketball program is making subtle but strategic moves that could pave the way for a historic third consecutive national title. The team's coaching staff, led by Dan Hurley, has been instrumental in retaining talent and adapting to new challenges. Despite losing key players, UConn is focused on reevaluating and strengthening its roster through careful recruitment and a sophisticated offensive system. The coaching staff's ability to develop players and maintain a winning formula sets UConn apart from other programs facing significant roster turnover and coaching changes due to the transfer portal. Player Analysis: Detailed breakdown of UConn's potential lineup and the strengths of key players like Tarris Reed Jr., Samson Johnson, and Youssef SingareCoaching Advantage: Emphasis on Dan Hurley's coaching philosophy and its impact on UConn's sustained success.Recap of Top 5 UConn Players: A nostalgic segment discussing notable former UConn players like Khalid El Amin and Richard Hamilton. 

James Werme UFC Dark Era James Werme was a UFC employee from the Ultimate Ultimate 1995 to UFC 35. James Werme was originally hired by SEG's David Isaaks as an assistant; behind the scenes Werme quickly developed into bigger rolls eventually becoming an on air personality. James takes us through the Wild West of the No Holds bar era and its transition into becoming “Mixed Martial Arts”.  James Werme UFC Dark Era 0:00 Lytes out intro0:19 guest introduction0:30 interview start 0:35 background working for SEG1:59 chaos that goes on behind the scenes 2:44 family reaction after joining the UFC4:44 working with David Isaacs6:29 attending first UFC event 7:37 UFC 8 being cancelled 11:03 Buddy Albin IFC controversy 14:46 UFC 9 issues 16:09 Art Davie and Bob Meyrowitz relationship 21:32 UFC 10 23:49 Bruce Buffer UFC announcing debut 24:57 finding an opponent for Mark Coleman 25:56 wanting Igor Vovchanchyn in the UFC27:37 talks of replacing Art Davie 28:58 extreme fighting battlecade 2 fighter arrest issues30:32 manager Robert DePersia pressuring Mark Hall33:07 experience with Richard Hamilton 34:41 Charlie Anzalone rumors 35:26 John Perretti getting the blame for New York not wanting MMA 37:28 moving UFC 12 to Dothan Alabama on 24 hour notice 40:07 moving the cage on an airplane 46:38 dealings with Dana White 47:35 Mark Coleman vs Maurice Smith 54:07 Bruce Beck UFC departure 55:08 Art Davie fired after UFC 15 57:43 fighters leaving to fight in Japan 58:30 working with the Yakuza for UFC 15.51:01:25 Conan Silveira vs Kazushi Sakuraba 1:04:21 reactions to John Perretti hiring 1:06:00 Coining the phrase “mixed martial arts” 1:08:22 Pat Miletich losing outside of the UFC1:09:38 Tito Ortiz vs Guy Mezger 1:11:11 Frank Shamrock retiring to get out of his contract 1:13:14 UFC champions retiring while still having the belt 1:17:00 UFC Japan 1:20:29 Kevin Randleman vs Pedro Rizzo 1:23:19 Dana White at UFC 27 1:24:25 negotiations of selling the UFC 1:29:14 Dan Lambert helping fund the UFC1:30:30 John Perretti fired after UFC 29 1:35:56 issues at the weigh ins at UFC Japan 1:37:12 Dana White introduced to fans at UFC 301:40:39 UFC 33 being the worst event 1:46:58 staff getting food poisoning at UFC 351:48:16 UFC working behind the scenes with WWE 1:51:40 interview wrap up/ outroInstagram - https://www.instagram.com/lytesoutpodcast/iTunes - https://podcasts.apple.com/us/podcast/lytes-out-podcast/id1568575809 Spotify - https://open.spotify.com/show/3q8KsfqrSQSjkdPLkdtNWb Mike - The MMA Detective - @mikedavis632 Cash App - $mikedavis1231Venmo - Mike-Davis-63ZELLE: Cutthroatmma@gmail.com / ph#: 773-491-5052 Follow the #LOP team on Instagram: Chris - Founder/Owner - @chrislightsoutlytle Mike - MMA Detective - @mikedavis632 Joey - Assistant - @aj_ventitreAndrew - Timestamps - @ambidexstressOutro song: Power - https://tunetank.com/t/2gji/1458-power#MMA #UFC #NHB #LytesOutPodcast #LytesOut #MixedMartialArts #ChrisLytle #MMADetective #MikeDavis #MMAHistory #OldSchoolMMA #FiftyFightClub #MMAPodcast Support the Show.

Ep 214 John Perretti MMA Pioneer Deep Dive Former UFC Matchmaker John Perretti joins us in order to discuss the Contenders Grappling Event and its impact on modern Jiu Jitsu. John Perretti addresses a lot of the rumors and backstage issues during his tenure with the UFC and does NOT sugarcoat what took place. Perretti is a man that has been scrubbed from the UFC's history books and in this interview you will find out why.John Perretti, a man that deserves to be in the UFC Hall of Fame  0:00 Lytes out intro0:19 Joey Venti's guest introduction0:52 interview start 2:04 deciding to accept interviews 3:36 4th Black Belt under Gene LeBell5:01 Gokor Chivichyan vs Bill Maeda5:55 Pat Miletich UFC career 9:04 Rickson Gracie not wanting to fight10:57 offering Royce Gracie $1 million to fight11:50 training Igor Zinoviev 13:12 losing $200k on The contenders show16:04 thoughts on the Lions Den19:35 Vision for matchmaking 20:26 allowing wrestlers to wear shoes 24:11 jiu jitsu vs wrestling 28:04 Igor Zinoviev vs Murilo Bustamante cancelled bout 30:40 being critical of the UFC33:26 thoughts on Chuck Liddell 36:04 quitting the UFC37:17 Kevin Jackson vs Frank Shamrock38:30 Frank Shamrock retiring to get out of contract 39:20 Richard Hamilton 41:40 thoughts on Jeff Osborne 42:09 promoter Jamie Lavine43:53 Frederico Lapenda44:55 Monte Cox46:21 giving Wanderlei Silva his nickname “The Axe Murderer”47:59 wrestler Bob Anderson 48:45 Ron van Clief story 51:55 Art Davie getting fired from UFC1:00:18 Pedro Rizzo vs Dan Severn 1:03:47 predicting the UFC would stay around1:06:22 UFC getting cancelled in New York1:08:55 Dan Lambert backing money 1:10:57 promoter Dan Duva1:12:58 John McCain shutting down MMA 1:17:05 UFC 15.5 1:23:27 finding out some fights were works 1:24:57 Matt Hume vs Erik Paulson1:30:04 John Lewis helping purchase SEG sports1:31:48 Rickson Gracie money issues 1:35:33 Tom Erikson story 1:37:53 Mark Coleman being upset 1:39:50 John McCarthy Mark Coleman fence grabbing issue 1:43:34 Tank Abbott vs Maurice Smith1:47:06 James Wormy1:48:15 David Isaacs1:49:33 Bruce Beck1:50:02 Kajas Cage Combat 1:51:00 Townsend Saunders vs Andre Pederneiras 1:53:33 Frank Shamrock vs Jeremy Horn 1:55:50 Matt Hume vs Kenny Monday 1:57:59 Kurt Angle doing commentary 2:00:53 extreme fighting cage current location 2:04:10 interview wrap up 2:08:32 outro/ final thoughts  Subscribe to the Lytes Out Podcast:https://www.youtube.com/@LytesOutClipsSocials: Facebook -https://www.facebook.com/groups/1027449255187255/?mibextid=oMANbwInstagram - https://www.instagram.com/lytesoutpodcast/iTunes - https://podcasts.apple.com/us/podcast/lyteSupport the show

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

This week on Echoes of Avenue learn about the history of Indianapolis Recorder's midnight Christmas benefit concerts at the Walker Theatre.  The concerts featured up to 60 acts and ran from midnight until 6 in the morning. Some of the greatest jazz, funk, and R&B musicians in Naptown performed at the midnight Christmas shows — including Wes Montgomery, Thurston Harris and Slide Hampton. But the entertainment wasn't limited to music alone — there were drag queens, burlesque dancers, fire-eaters, snake handlers, body builders and comedians. The concerts developed from the Indianapolis Recorder Cheer Fund. Established in 1929, the Cheer Fund was an annual holiday fundraiser that supported families in financial need. During the 1930s the Cheer Fund evolved into a benefit concert. These concerts attracted star performers, including the legendary tap dancer Bill “Bojangles” Robinson who performed at the Recorder's 1938 benefit show. The Recorder's midnight Christmas benefit concerts thrived until the 1980s. Listen to interviews with Indianapolis musicians and media personalities who performed at the Christmas benefit shows, including Henry Hinch, Josephine Cheatham, Rodney Stepp, Reggie Gammon, Debbie Nelson, Tyrone Caldwell, Richard Hamilton, Eunice Trotter, Geno Shelton and the late Joe Trotter.

Luka Doncic had a triple-double (by the first half!) in the Mavericks' 50 point win against the Utah Jazz while Nikola Jokic recorded his 128th triple-double against the Clippers... and yet the Nuggets' loss. Are we taking the ease of which players get triple-doubles these days for granted? Looking at tonight's In-Season Tournament semifinals and there's already drama around the Lakers being barred from wearing their black jerseys because it'll clash with the special In-Season court design... like, what? Plus, Charlotte shares her experience hosting the DraftKings x Surgeon x Reebok event honoring the great Allen Iverson. Then, Rasheed Wallace says he'd take championships over big money, Dwyane Wade says guarding Ray Allen and Richard Hamilton was the hardest in his career, and Dirk Nowitzki says he really doubted Luka Doncic when he first got to the NBA... sounds like a game of WHO'S LYING? Learn more about your ad choices. Visit megaphone.fm/adchoices

Luka Doncic had a triple-double (by the first half!) in the Mavericks' 50 point win against the Utah Jazz while Nikola Jokic recorded his 128th triple-double against the Clippers... and yet the Nuggets' loss. Are we taking the ease of which players get triple-doubles these days for granted? Looking at tonight's In-Season Tournament semifinals and there's already drama around the Lakers being barred from wearing their black jerseys because it'll clash with the special In-Season court design... like, what? Plus, Charlotte shares her experience hosting the DraftKings x Surgeon x Reebok event honoring the great Allen Iverson. Then, Rasheed Wallace says he'd take championships over big money, Dwyane Wade says guarding Ray Allen and Richard Hamilton was the hardest in his career, and Dirk Nowitzki says he really doubted Luka Doncic when he first got to the NBA... sounds like a game of WHO'S LYING? Learn more about your ad choices. Visit megaphone.fm/adchoices

The abstract painter Mali Morris is fascinated by colour and light, and has been exploring their possibilities in her work for more than 50 years. She was born in Wales and studied at the University of Newcastle, where the Pop Art pioneer Richard Hamilton was one of her teachers. He brought her and fellow students news of New York which she says “seemed as far away to me as the moon”. Mali herself taught at a number of art schools including Chelsea, the Slade School and the Royal College of Art. She was elected a Royal Academician in 2010, and last year, flags made from her work hung above Bond Street, not far from the Academy, in a riot of joyous colour. She currently has a major exhibition at the Ikon Gallery in Birmingham. Her musical choices include Bach, Beethoven, Vivaldi and some blues singing and whistling by Professor Longhair.

Welcome to the Arne Pod Collection

Becoming a star in any level of professional sports is HARD. What happens when you are not only gifted enough to become a professional basketball player, but also - are becoming a DOCTOR at the same time? Sai Tummala, stops into talk to three orthopedic surgeons to talk about high-level basketball, the process of becoming a doctor and more inside this episode of The 6-8 Weeks Podcast. Connect with The 6-8 Weeks Podcast: There's a LOT of detail included in this program. Do you want to share YOUR perspective about it? Connect with The 6-8 Weeks Podcast Now! Subscribe to, Like and Share The 6-8 Weeks Podcast Everywhere:     The Detailed Shownotes for This Episode of The 6-8 Weeks Podcast: -- Who is Sai Tammala: https://uhalumni.org/system/story/qa-with-sai-tummala-m.d. -- Mayo Clinic in Arizona: https://www.mayoclinic.org/patient-visitor-guide/arizona -- Learn All About India: https://kids.nationalgeographic.com/geography/countries/article/india -- What is American Basketball: https://www.britannica.com/sports/basketball -- Learn All About Scottsale, AZ: https://www.visitarizona.com/places/cities/scottsdale/ -- Learn All About Phenix, AZ: https://www.phoenix.gov/ -- What is American Baseball? https://baseballhall.org/baseball-history-american-history-and-you -- The Origin of the Word "Southpaw": https://www.history.com/news/why-are-left-handers-called-southpaws -- What Does It Mean to Be a Role Model? https://study.com/academy/lesson/what-is-a-role-model-definition-importance-example.html -- Learn the Fundamentals of American Basketball: https://www.basketballforcoaches.com/basketball-fundamentals/ -- Learn All About Arizona State University: https://www.asu.edu/about -- What are Labs in the Undergraduate Process? https://www.cur.org/about/what-is-undergraduate-research/ -- Learn All About NBA Player, Richard Hamilton: https://theathletic.com/3318968/2022/05/19/richard-hamilton-pistons-devin-booker/ -- The History of The Detroit Pistons: https://bleacherreport.com/articles/504325-the-12-most-important-moments-in-detroit-pistons-history -- Why Do NBA Players Wear "Masks?": https://dunkorthree.com/why-basketball-players-wear-masks/ -- What Does It Mean to "Curl Screens" in American Basketball? https://mybasketballteacher.com/three-ways-use-ball-screen/ -- What is a Midrange Player in American Basketball? https://www.cbssports.com/nba/news/maestros-of-the-midrange-kevin-durant-and-new-look-suns-are-going-to-connect-on-a-symphony-of-shots/ -- Learn All About NBA Player, Tayshaun Prince: https://www.nba.com/stats/player/2419/career -- Learn All About NBA Player, Ben Wallace: https://www.nba.com/stats/player/1112/career -- Learn All About The University of Hawaii: https://manoa.hawaii.edu/about/ -- Learn All About the Sport of LaCrosse: https://www.lacrossemonkey.com/learn/how-to-play-lacrosse-fundamentals -- A Complete Listing of All Indian-Americans Playing Basketball: https://www.sportingnews.com/in/nba/news/indian-nba-players-history-sim-bhullar-satnam-singh-amjyot-singh-palpreet-singh/19lsdxfhzki6d1eok2s41j19x1 -- Learn All About "Brown Ballers": https://www.brownballers.com/ -- Learn All About the TBT Tournament: https://thetournament.com/tbt/about/ -- Learn All About NBA Player Michael Jordan: https://www.nba.com/news/history-nba-legend-michael-jordan -- Learn All About NBA Player Kobi Bryant: https://www.biography.com/athletes/kobe-bryant -- Learn All About NBA Player Chris Mullin: https://www.nba.com/news/history-nba-legend-chris-mullin Connect with the Hosts of The 6-8 Weeks Podcast: It's never been easier to connect with the hosts of The 6-8 Weeks Podcast. Read on below to share your perspectives on this episode of The 6-8 Weeks Podcast. === Connect with Dr. Brian Feeley: On the Web -- On X === Connect with Dr. Nirav Pandya: On the Web:-- On X:  === Connect with Dr.

Detailed Shownotes for This Episode of The 6-8 Weeks Podcast:-- Who is Sai Tammala: https://uhalumni.org/system/story/qa-with-sai-tummala-m.d.-- Mayo Clinic in Arizona: https://www.mayoclinic.org/patient-visitor-guide/arizona-- Learn All About India: https://kids.nationalgeographic.com/geography/countries/article/india-- What is American Basketball: https://www.britannica.com/sports/basketball-- Learn All About Scottsale, AZ: https://www.visitarizona.com/places/cities/scottsdale/-- Learn All About Phenix, AZ: https://www.phoenix.gov/-- What is American Baseball? https://baseballhall.org/baseball-history-american-history-and-you-- The Origin of the Word "Southpaw": https://www.history.com/news/why-are-left-handers-called-southpaws-- What Does It Mean to Be a Role Model? https://study.com/academy/lesson/what-is-a-role-model-definition-importance-example.html-- Learn the Fundamentals of American Basketball: https://www.basketballforcoaches.com/basketball-fundamentals/-- Learn All About Arizona State University: https://www.asu.edu/about-- What are Labs in the Undergraduate Process? https://www.cur.org/about/what-is-undergraduate-research/-- Learn All About NBA Player, Richard Hamilton: https://theathletic.com/3318968/2022/05/19/richard-hamilton-pistons-devin-booker/-- The History of The Detroit Pistons: https://bleacherreport.com/articles/504325-the-12-most-important-moments-in-detroit-pistons-history-- Why Do NBA Players Wear "Masks?": https://dunkorthree.com/why-basketball-players-wear-masks/-- What Does It Mean to "Curl Screens" in American Basketball? https://mybasketballteacher.com/three-ways-use-ball-screen/-- What is a Midrange Player in American Basketball? https://www.cbssports.com/nba/news/maestros-of-the-midrange-kevin-durant-and-new-look-suns-are-going-to-connect-on-a-symphony-of-shots/-- Learn All About NBA Player, Tayshaun Prince: https://www.nba.com/stats/player/2419/career-- Learn All About NBA Player, Ben Wallace: https://www.nba.com/stats/player/1112/career-- Learn All About The University of Hawaii: https://manoa.hawaii.edu/about/-- Learn All About the Sport of LaCrosse: https://www.lacrossemonkey.com/learn/how-to-play-lacrosse-fundamentals-- A Complete Listing of All Indian-Americans Playing Basketball: https://www.sportingnews.com/in/nba/news/indian-nba-players-history-sim-bhullar-satnam-singh-amjyot-singh-palpreet-singh/19lsdxfhzki6d1eok2s41j19x1-- Learn All About "Brown Ballers": https://www.brownballers.com/-- Learn All About the TBT Tournament: https://thetournament.com/tbt/about/-- Learn All About NBA Player Michael Jordan: https://www.nba.com/news/history-nba-legend-michael-jordan-- Learn All About NBA Player Kobi Bryant: https://www.biography.com/athletes/kobe-bryant -- Learn All About NBA Player Chris Mullin: https://www.nba.com/news/history-nba-legend-chris-mullin === Connect with Dr. Brian Feeley:On the Web: https://twitter.com/drbrianfeeley On X: https://twitter.com/drbrianfeeley=== Connect with Dr. Nirav Pandya:On the Web: https://www.ucsfhealth.org/providers/dr-nirav-pandyaOn X: https://twitter.com/drniravpandya=== Connect with Dr. Drew Lansdown:On the Web: https://www.ucsfhealth.org/providers/dr-drew-lansdown

In this episode of Sports the NEMO Way we bring the Washington Wizards top 5 to the table for discussion.

A child has a very tumultuous upbringing, divorce and possibly parental abuse.He starts taking drugs at very early age but manages, for a short period of time in his late teens, to lead a normal life and hold down a job.Until he couldn't.Disjointed “help” by authorities do not help him at all and results in him murdering someone for a few £.Prison finally gives him stability, but proves he is broken beyond repair by continuing to assault people so badly, he nearly increased his murder count.....This week we talk about: Murder, NHS, Mental Health Support, Drug AddictionSources:https://www.dailymail.co.uk/news/article-2296887/Killer-Matthew-Tinling-copied-Saw-horror-film-slicing-victims-spinal-cord-make-reveal-PIN.htmlhttps://www.thelawpages.com/court-cases/Matthew-Nicholas-Tinling-10711-1.lawhttps://www.miltonkeynes.co.uk/news/prisoners-plotted-to-kill-fellow-inmate-with-homemade-weapons-at-woodhill-jail-in-milton-keynes-131618https://www.miltonkeynes.co.uk/news/prisoners-plotted-to-kill-fellow-inmate-with-homemade-weapons-at-woodhill-jail-in-milton-keynes-131618https://dopaneondreihyo.dixiesewing.com/crime/sadistic-murderer-who-copied-torture-scene-from-horror-film-saw-by-slicing-through-victims-spinal-cord-has-his-jail-term-extended-to-2062-after-stabbing-prison-guard-in-the-neck/https://www.hundredfamilies.org/wp/wp-content/uploads/2017/02/MATTHEW_TINLING_Mar12.pdfhttps://www.ons.gov.uk/peoplepopulationandcommunity/crimeandjustice/articles/homicideinenglandandwales/march2022https://edition.cnn.com/2021/06/30/us/sentencing-project-recidivism-report/index.htmlhttps://criminology.research.southwales.ac.uk/cirn/research-projects/reoffending/Support the showPatreon https://www.patreon.com/MMoMEmail: murdermeonmondaypodcast@gmail.com Twitter: https://twitter.com/MMonMonday Instagram: https://www.instagram.com/murdermeonmondaypodcast/ Theme Tune is published under license from: Tribe of Noise – Awkward Mystery https://prosearch.tribeofnoise.com/artists/show/29267/32277

In episode 277 UNP founder and curator Grant Scott is in his shed reflecting on understanding and promoting contemporary landscape photography, when clients are made redundant, and what a photographer leaves behind. Plus this week, photographer Nicholas Sinclair takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Nicholas Sinclair was born in London in 1954 and studied Fine Art and Art History at the University of Newcastle-upon-Tyne between 1973 to 1976. His career as a photographer began in 1982 while playing the drums in a Moroccan circus when he began taking photographs of the circus acts between performances, photographs that were first published by The British Journal of Photography in 1983 and exhibited at The University of Sussex in the same year. After the season ended, he visited other circuses with the aim of extending the series. This work was subsequently shown at The National Theatre in London in 1985 and at The Photography Centre of Athens in 1986. In 1987 he began photographing British artists in their studios a series of portraits that spans thirty years and includes Anthony Caro, Gillian Wearing, Frank Auerbach, Gilbert & George, Paula Rego and Richard Hamilton. Work from this series is now in the permanent collections of European museums and galleries including The National Portrait Gallery and the Victoria & Albert Museum in London, amongst other institutions. Forty-seven of these portraits are in the collection of Pallant House Gallery in Chichester where they were exhibited in 2014. In 1995 he was commissioned by Brighton Museum & Art Gallery to make a series of photographs of contemporary fetishism for inclusion in the exhibition Fetishism: Visualising Power and Desire. In 2002 Sinclair published his first book of landscape photographs entitled Crossing the Water, a series made on the perimeter of a lake over a twelve-month period. In 2003 he was made a Hasselblad Master and in 2009 Sinclair moved to Berlin and established a studio there in 2011. In 2019 a German production company made a thirty-minute documentary about his work and he was appointed Visiting Professor at Richmond, The American International University in London. In 2021 Sinclair published Polaroids, a book of studio portraits to mark ten years of working in the studio and a short film entitled Rhythm of the Blood. He is currently working on a new series of photographs titled Neon Trees Miscellany made in East Berlin. www.nicholassinclair.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. Scott's next book Condé Nast Have Left The Building: Six Decades of Vogue House will be published by Orphans Publishing in the Spring of 2024. © Grant Scott 2023

Welcome to The Hydrogen Podcast!In episode 219, There's one big hydrogen conference I'm planning on going to this year, I'll tell you which one it is and who's going to be there. Also, a new hydrogen project and Appalachia could set the benchmark on how to build out a regional hydrogen hub. All of this on today's hydrogen podcast.Thank you for listening and I hope you enjoy the podcast. Please feel free to email me at info@thehydrogenpodcast.com with any questions. Also, if you wouldn't mind subscribing to my podcast using your preferred platform... I would greatly appreciate it. Respectfully,Paul RoddenVISIT THE HYDROGEN PODCAST WEBSITEhttps://thehydrogenpodcast.comCHECK OUT OUR BLOGhttps://thehydrogenpodcast.com/blog/WANT TO SPONSOR THE PODCAST? Send us an email to: info@thehydrogenpodcast.comNEW TO HYDROGEN AND NEED A QUICK INTRODUCTION?Start Here: The 6 Main Colors of Hydrogen

In this episode of Sports the NEMO Way we bring the Detriot Pistons top 5 all time to the table for discussion.

Richard Hamilton, MD, MBA, Drexel University College of Medicine, Moderated by: Hamza Ijaz, MD by SAEM

Richard Hamilton, MD, MBA, Drexel University College of Medicine, Moderated by: Hamza Ijaz, MD by SAEM

Holy HipHop, Greg Holmes, Richard Hamilton, Elder Charity J, Minister Cannady

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

The Detroit Pistons have not won a playoff game since 2008 when Chauncey Billups and Richard Hamilton were wearing the red, white, and blue jerseys. With the season coming to a close and the playoff win drought extending to 15 years, when will the Detroit Pistons snap this streak and finally win a playoff game?Support Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order.Ultimate Pro Basketball GMTo download the game just visit probasketballgm.com or look it up on the app stores. Our listeners get a 100% free boost to their franchise when using the promo LOCKEDON (ALL CAPS) in the game store.PrizePicksFirst time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDONFanDuelMake Every Moment More. Don't miss the chance to get your No Sweat First Bet up to ONE THOUSAND DOLLARS in Bonus Bets when you go FanDuel.com/LOCKEDON.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Detroit Pistons have not won a playoff game since 2008 when Chauncey Billups and Richard Hamilton were wearing the red, white, and blue jerseys. With the season coming to a close and the playoff win drought extending to 15 years, when will the Detroit Pistons snap this streak and finally win a playoff game? Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. Ultimate Pro Basketball GM To download the game just visit probasketballgm.com or look it up on the app stores. Our listeners get a 100% free boost to their franchise when using the promo LOCKEDON (ALL CAPS) in the game store. PrizePicks First time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDON FanDuel Make Every Moment More. Don't miss the chance to get your No Sweat First Bet up to ONE THOUSAND DOLLARS in Bonus Bets when you go FanDuel.com/LOCKEDON. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Join our Discord to sit in our seats at Pistons' home game!!!!! ----https://discord.gg/GQGwZNp3CTTwitter: @propistonsInstagram: @pistonsprowrestlingfansEmail: PistonsProWrestlingFans@gmail.comMerchandise:www.prowrestlingtees.com/PWTPFSupport the Show: https://paypal.me/pwtpf Support the showTwitter: @ProPistonsInstagram: PistonsProWrestlingFansSupport the showTwitter: @ProPistonsInstagram: PistonsProWrestlingFans

Richard Hamilton was drafted into the U.S. Army Air Corps in 1942. He was trained as a radio man on a B-17 bomber crew. After arriving in England, he took part in eight successful bombing missions, but often dealt with the harrowing anti-aircraft fore coming from the Germans.The ninth mission turned out much differently. The bomber was severely damaged and Hamilton and several other crew members were forced to parachute out of the plane over enemy territory. He was captured and spent more than a year as a prisoner of war in Nazi Germany. Hamilton describes the treatment he endured and the revolting conditions in which he was forced to live.About a year into captivity, life got even worse. As the allies advanced, Hamilton and many other prisoners were sent on a 77-day forced march. Hamilton tells us all about surviving that ordeal and the memorable way that it came to end.Now 100 years old, Mr. Hamilton has a powerful message for all of us on appreciating our freedoms - freedoms that he was forced to live without and has cherished since his days as a prisoiner ended.

From Tayshaun Prince, Ben Wallace, Chauncey Billups, Richard Hamilton, to Rasheed Wallace, which Goin' To Work Detroit Piston player would be the best player in the NBA if they were dropped into the league today?Support Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order.BetOnlineBetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts!Rock AutoAmazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Learn more about your ad choices. Visit podcastchoices.com/adchoices

From Tayshaun Prince, Ben Wallace, Chauncey Billups, Richard Hamilton, to Rasheed Wallace, which Goin' To Work Detroit Piston player would be the best player in the NBA if they were dropped into the league today? Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! Rock Auto Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Learn more about your ad choices. Visit podcastchoices.com/adchoices

MLB – Major League Baseball Last Night Detroit Tigers 3, San Francisco Giants 2 Los Angeles Angels 4, Chicago White Sox 1 Chicago Cubs 8, Cincinnati Reds 3 Tigers 3, Giants 2 – Haase’s two-run HR allows Tigers to hold off Giants 3-2 Eric Haase hit a two-run homer to break a 1-all tie in the sixth inning and the Detroit Tigers held on to beat the San Francisco Giants 3-2. It was Haase’s fifth home run of the season and his second in the last three games. Miguel Cabrera also drove in a run for the Tigers, who improved their league-worst road record to 11-23 and split the two-game series. Rony García won his third consecutive start for Detroit. Gregory Soto pitched a perfect ninth for his 15th save in 17 opportunities. Evan Longoria had a first-inning home run for the Giants. San Francisco starter Alex Wood fanned six in 5 2/3 innings but took the loss. Angels 4, White Sox 1 – Ohtani Ks 11, extends scoreless streak in 4-1 win over WSox Shohei Ohtani extended his scoreless streak to 21 2/3 innings while pitching five-hit ball into the sixth with 11 strikeouts in the Los Angeles Angels’ 4-1 victory over the Chicago White Sox. Luis Rengifo hit a two-run homer and Mike Trout had an early RBI double as the Angels finished their disappointing nine-game homestand on a positive note because of their two-way superstar’s work on the mound. Ohtani yielded five singles and a walk while winning his fourth consecutive start. The AL MVP hasn’t allowed a run since the fifth inning of his brilliant outing at Boston’s Fenway Park. Cubs 8, Reds 3 – Contreras homers, Morel also goes deep as Cubs beat Reds 8-3 Willson Contreras homered, Christopher Morel also went deep and nailed a runner at the plate with a terrific throw from center field, and the Chicago Cubs beat the Cincinnati Reds 8-3. Contreras got hit by a pitch and scored on a double by Ian Happ against Hunter Greene in the first inning. He made it 5-0 in the fifth when he lined a two-run drive against Luis Cessa for his 13th homer — tops among major league catchers — and also doubled twice. Morel helped Justin Steele escape a bases-loaded jam in the fourth when he caught Donovan Solano’s line drive and fired a one-hop laser to the plate. Morel added a two-run homer in the sixth. Cincinnati has lost 9 of 12. Tonight Cincinnati (Ashcraft 4-1) at Chicago Cubs (Hendricks 3-6), 8:05 p.m. Tigers and White Sox are off MLB – St. Pete mayor reopens talks on future of Rays stadium site The mayor of St. Petersburg, Florida, is reopening talks about the future of the Tropicana Field site where baseball’s Tampa Bay Rays play their home games. Mayor Ken Welch said Wednesday that two previous proposals for the 86-acre downtown location are being scrapped, with a new round of plans to be solicited beginning in mid-August. Welch, St. Petersburg’s first Black mayor, has made a priority out of including such things as affordable housing and greater job opportunities along with Rays baseball. Welch said the goal is to choose a new redevelopment plan by year’s end. The Rays’ lease is up in 2027 and Welch said the new plan will include a stadium at the site. NBA – AP source: Harden declines $47M option with Philadelphia James Harden is taking less with hopes the Philadelphia 76ers can do more. A person familiar with the situation said Harden chose not to exercise his $47.4 million option for next season and will become a free agent — but with no designs on leaving Philadelphia. Harden made the decision to allow the 76ers the flexibility they need to sign other players this summer. NBA – NBA Finals viewership up 24 percent over 2021 The Nielsen company says the NBA Finals series between two stories franchises reached 24% more viewers than the 2021 Finals. Nearly 14 million people watched the Golden State Warriors clinch its fourth championship since 2015 with a Game 6 victory over the Boston Celtics, the franchise with the most NBA titles overall. The series as a whole averaged 12.3 million viewers, beating the 9.91 million who watched 2021’s Milwaukee-Phoenix series. The first game of hockey’s Stanley Cup Finals between Colorado and Tampa Bay was seen by 4.2 million people. All of these sports events were seen on ABC, leading the network to an easy win in the weekly ratings. NCAAMBB – Emoni Bates says he’s transferring to hometown E. Michigan One of the top recruits in the 2021 men’s basketball recruiting class says he’s transferring from Memphis to Eastern Michigan. Emoni Bates announced on Instagram he’s returning to his hometown of Ypsilanti to play for the Eagles of the Mid-American Conference. An EMU spokesman said he could not confirm Bates’ transfer. Bates averaged 9.8 points and 3.3 rebounds per game his freshman season at Memphis and started 13 of 18 games. He missed 15 games because of a back injury before appearing in the Tigers’ two NCAA Tournament games. NCAAMBB – Williams, Calhoun, Beilein among coaches headed to college hoops Hall Roy Williams and Jim Calhoun will join John Beilein and Lon Kruger in a star-studded cast of coaches that will be inducted into the National College Basketball Hall of Fame in November. Coach Jerry Krause of Eastern Washington will join the quartet. The players to be inducted are Richard Hamilton of UConn, Larry Miller of North Carolina, Frank Selvy of Furman and Jimmy Walker of Providence. The date of the induction ceremony has not been announced, but it typically coincides with the Hall of Fame Classic, which is set for November 21-22 in Kansas City, Missouri. WNBA – Women’s National Basketball Association Yesterday Chicago Sky 91, Connecticut Sun 83 Phoenix Mercury 99, Indiana Fever 78 Sky 91, Sun 83 – Parker’s 25 points, 11 rebounds lead Chicago past Sun 91-83 Candace Parker had a season-high 25 points, 11 rebounds and seven assists, Kahleah Copper scored 15 points and Chicago beat the Connecticut Sun 91-83 for the Sky’s fourth straight victory. Parker made a no-look pass to Kahleah Copper with 33.5 seconds left before halftime to become the eighth player in WNBA history to reach 1,500 career assists. Parker is the only player in WNBA history to eclipse 6,000 points, 3,000 rebounds and 1,500 assists in a career. Allie Quigley added 13 points for Chicago. Jonquel Jones had 24 points, 11 rebounds and five steals for her sixth double-double of the season for Connecticut. Mercury 99, Fever 78 – Mercury beat Fever for 7th straight time, 99-78 Skylar Diggins-Smith had 17 points and seven assists, Sophie Cunningham added 14 points and the Phoenix Mercury beat the Indiana Fever 99-78. Phoenix beat Indiana for a seventh straight time, including an 83-71 victory on Monday. Shey Peddy and Diamond DeShields each added 13 points for Phoenix, which has won three straight games. Brianna Turner had 11 points and 11 rebounds and Diana Taurasi also scored 11. The Mercury had a season-high 29 assists on 38 made field goals. Phoenix built a 49-43 lead by halftime behind 28 combined points from Diggins-Smith, Cunningham and Peddy. Kelsey Mitchell scored 14 of her 21 points in the first half for Indiana. Victoria Vivians added 13 points. NHL – Challenge accepted: Richardson steps in as Blackhawks coach Luke Richardson says he likes a challenge. Good thing, because he’s got a big one ahead of him. The rebuilding Chicago Blackhawks have hired Richardson as the 40th coach in franchise history. The former NHL defenseman takes over a team in transition under general manager Kyle Davidson, one that has fallen on hard times since it won the franchise’s sixth Stanley Cup championship in 2015. Richardson was an assistant on Montreal’s coaching staff for the previous four seasons. When Dominique Ducharme was diagnosed with COVID-19 during the 2021 playoffs, Richardson helped lead the Canadiens to their first Stanley Cup Final since 1993. Hockey – 3-on-3 hockey league launches, could be step toward Olympics Hockey is not on summer vacation even after the Colorado Avalanche dethroned the Tampa Bay Lightning to win the Stanley Cup. The new 3ICE 3-on-3 league debuted in mid-June with Hall of Famers Bryan Trottier, Grant Fuhr, Joe Mullen and Larry Murphy among the coaches. The International Ice Hockey Federation and IOC have discussed the possibility of bringing 3-on-3 to the Olympics for another medal event. That happened with basketball at the Tokyo Games. Leaders at 3ICE are focused on getting the league off the ground. Tennis – Wimbledon – 2-time Wimbledon champ Murray loses to Isner in 2nd round Two-time Wimbledon champion Andy Murray has lost in the second round to big-serving American John Isner. It is Murray’s earliest loss in 14 appearances at the All England Club. No. 3 seed Casper Ruud also lost in the second round Wednesday, just weeks after being the runner-up to Rafael Nadal at the French Open. Prior to Murray vs. Isner, the host country’s other leading player, reigning U.S. Open champion Emma Raducanu, was eliminated by Caroline Garcia of France 6-3, 6-3. NFL – NFL insists on indefinite suspension at Watson hearing The NFL and Deshaun Watson’s legal team presented their arguments before a disciplinary officer for a second day with both sides holding firm as the hearing is scheduled to continue in Delaware on Thursday. The league is insisting on an indefinite suspension and Watson’s side is arguing there’s no basis for a punishment that significant, two people in attendance told The Associated Press. Former U.S. District Judge Sue Robinson, who was jointly appointed by the league and the NFL Players’ Association, is tasked with determining whether Watson violated the NFL’s personal conduct policy and whether to impose discipline. Golf – LIV – Sept. 11 families plan protest as LIV tees off in Oregon LIV Golf’s first U.S. event was set to begin Thursday, with a group of survivors and families who lost loved ones in the Sept. 11 terror attacks planning to gather at a nearby park to speak out against the Saudi Arabia-funded tour. The families are speaking out because of what they say are the Saudi connections to the tragic event in 2001. Fifteen of the 19 hijackers on Sept. 11 were Saudi citizens. FIFA – FIFA to put more World Cup tickets up for online sale FIFA will put more World Cup tickets up for sale next week on a first-come, first-served basis. Soccer’s governing body said Wednesday that a total of 1.8 million tickets for the World Cup in Qatar have already been sold ahead of the next sales round, which opens Tuesday on the FIFA website. The tournament is being played from Nov. 21 to Dec. 18. The cheapest tickets for fans from outside Qatar are priced at 250 Qatari riyals ($69). The tournament has a total capacity of about 3 million tickets, with about 2 million placed on general sale and 1 million allocated for FIFA stakeholders such as member federations and sponsors, plus hospitality programs. Olympics – Stolen Olympic gold medal found in Southern California Authorities say a stolen Olympic gold medal belonging to a member of the 2020 U.S. Women’s Volleyball Team has been found in Southern California. Olympian Jordyn Poulter reported the medal stolen May 25 after she discovered her car broken into at a parking garage in Anaheim. Detectives later arrested a suspect in the theft, but weren’t immediately able to locate the missing medal. On Monday, the owners of an Anaheim barbershop reported finding the gold medal inside a plastic bag discarded outside their business. They handed it over to police, who plan on returning it to Poulter. MILB – Midwest League Baseball Last Night West Michigan Whitecaps 14, Fort Wayne Tin Caps 4 Lake County Captains 14, Lansing Lugnuts 10 Dayton Dragons 2, Great Lakes Loons 1 – F/10 South Bend Cubs 5, Beloit Sky Carp 1 Tonight Fort Wayne Tin Caps at West Michigan Whitecaps, 6:35 p.m. Lansing Lugnuts at Lake County Captains, 7:00 p.m. Dayton Dragons at Great Lakes Loons, 7:05 p.m. South Bend Cubs at Beloit Sky Carp, 7:35 p.m. See omnystudio.com/listener for privacy information.

The truly brutal tale of one of the most dangerous inmates in the UK, Matthew Tinling. Matthew tortured and murdered his roommate, Richard Hamilton, during which he attempted to recreate a scene from the movie SAW VI. His brutal crimes don't stop once he's locked up. Setting: London, England, United Kingdom. 2012. SourcesSupport the show

Hosted by 7-time champion Robert Horry and Jabari Davis, NBA Finals File dives deep into the greatest Finals series in NBA history, breaking down the best moments, storylines and matchups, using rare archival audio from the NBA, and the personal touch that only "Big Shot Bob" can give.  In this episode of NBA Finals File, we examine the 2005 Finals. Tim Duncan and the Spurs going for their 3rd title in 6 years against the defending champion Pistons. The matchup features two of the greatest basketball coaches of all-time going head to head Gregg Popovich and Larry Brown. An epic 7-game series, highlighted by Robert Horry's legendary Game 5 performance. NBA Finals File is available on the iHeart app, Apple podcasts, or wherever you get your podcasts. NBA Finals File is a production of iHeartMedia and the NBA. See omnystudio.com/listener for privacy information.

Hosted by 7-time champion Robert Horry and Jabari Davis, NBA Finals File dives deep into the greatest Finals series in NBA history, breaking down the best moments, storylines and matchups, using rare archival audio from the NBA, and the personal touch that only "Big Shot Bob" can give.  In this episode of NBA Finals File, we examine the 2005 Finals. Tim Duncan and the Spurs going for their 3rd title in 6 years against the defending champion Pistons. The matchup features two of the greatest basketball coaches of all-time going head to head Gregg Popovich and Larry Brown. An epic 7-game series, highlighted by Robert Horry's legendary Game 5 performance. NBA Finals File is available on the iHeart app, Apple podcasts, or wherever you get your podcasts. NBA Finals File is a production of iHeartMedia and the NBA. See omnystudio.com/listener for privacy information.

BAMS Local History students read Richard Hamilton's Memorial Day speech he delivered on May 27, 2022. More than 400 students, staff and community members were in attendance.

Richard Hamilton, World War II veteran, is scheduled to speak during this week's Memorial Day Remembrance at Brattleboro Union High School. BHS Alumni who died while serving during World War I will be honored.

The Detroit Pistons had the 3rd highest odds in the draft, however, they fell to the 5th pick with Richard Hamilton representing them. How bad of an outcome is this for the Pistons and what kind of questions does this answer?Support Us By Supporting Our Sponsors!PrizePicksCheck out PrizePicks.com and use promo code: “NBA” or go to your app store and download the app today. PrizePicks is daily fantasy made easy!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order.BetOnlineBetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts!Rock AutoAmazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you.Athletic GreensTo make it easy, Athletic Greens is going to give you a FREE 1 year supply of immune-supporting Vitamin D AND 5 FREE travel packs with your first purchase. All you have to do is visit athleticgreens.com/NBANETWORKSakaraSakara is a wellness company anchored in food as medicine, on a mission to nourish. Go to Sakara.com/LOCKEDON20 or Enter Code “LOCKEDON20” for 20% off at checkout. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Detroit Pistons had the 3rd highest odds in the draft, however, they fell to the 5th pick with Richard Hamilton representing them. How bad of an outcome is this for the Pistons and what kind of questions does this answer? Support Us By Supporting Our Sponsors! PrizePicks Check out PrizePicks.com and use promo code: “NBA” or go to your app store and download the app today. PrizePicks is daily fantasy made easy! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! Rock Auto Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Athletic Greens To make it easy, Athletic Greens is going to give you a FREE 1 year supply of immune-supporting Vitamin D AND 5 FREE travel packs with your first purchase. All you have to do is visit athleticgreens.com/NBANETWORK Sakara Sakara is a wellness company anchored in food as medicine, on a mission to nourish. Go to Sakara.com/LOCKEDON20 or Enter Code “LOCKEDON20” for 20% off at checkout. Learn more about your ad choices. Visit podcastchoices.com/adchoices