Podcasts about Road manager

This week on the Rick Flynn Presents Confessions of a Show Biz Kid podcast we welcome Road Manager to the Stars CARL MILLER.Carl Miller was Cat Stevens' road manager and worked in various roles with a who's-who of other big names from Iron Maiden to the Kirov Ballet. He sat down to compile stories narrated by his contemporaries from the world of rock n roll -- and got more than he bargained for.Review:I have been in the rock business for over fifty years. In that time I've seen and heard many funny and crazy things. Here are but a few.Ian Hill, Judas PriestBoy this book wherever books are sold including Amazon.

Arteetude 297: WAW Tour Talk – Bittersweet Goodbyes on the Wild Atlantic WayIn this third and final tour talk episode of 2025, Detlef and Dirk reflect on their unforgettable week along the Wild Atlantic Way with their road manager, Hannah. Between swims in the Atlantic, gigs in Kilcrohane and Ballydehob, encounters with old friends, and chance meetings with icons, the journey unfolded like a road movie written by fate. With warmth, humour, and a touch of philosophy, Detlef and Dirk celebrate music, community, and the courage to keep doing what you love.This episode closes with a live version of their upcoming single, Bittersweet Song — recorded in Ballydehob at the Oasis Arts Café.Detlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork. He is recognised for his seminal work, including a scholarly examination of the intersections between shamanism, art, and digital culture, and his acclaimed video installation, Transodin's Tragedy. He primarily works in performance, photography, painting, sound, installations, and film. In his work, he reflects on the human condition and uses the digital shaman's methodology as an alter ego to create artwork. His media archaeology is a conceptual and practical exercise in uncovering the unique aesthetic, cultural, and political aspects of media in culture.WEBSITE LINKS WAW Official YouTube Channelhttps://www.youtube.com/@WAWBandWAW BandcampSilent NightIn a world shadowed by conflict and unrest, we, Dirk Schlömer & Detlef Schlich, felt compelled to reinterpret 'Silent Night' to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis results from a trip to West Cork, Ireland, where the beautiful Coastal "Wild Atlantic Way" reaches along the whole west coast!https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYOU TUBE*Silent Night Reimagined* A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Download here for free Detlef Schlich´s Essay about the Cause and Effect of Shamanism, Art and Digital Culturehttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectSupport this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations

The transport sector, particularly in road network operations and management, is experiencing a period of significant and rapid change globally. This disruption is directly affecting how people and industry access, navigate and use transport and road networks. Expectations around transport, travel needs and user behaviour are shifting. More broadly, these changes are contributing to the growing momentum to improve how we live and work, and how our cities function and evolve. As a result, the capabilities needed to manage and operate transport networks are also changing quickly. The changes within the sector can be grouped into five key areas: network safety technological advancements environmental sustainability and climate change shifting network demands evolving customer and stakeholder expectations In response, Austroads has commissioned the Road Manager Operations Capability Framework, supported by a research report. Together, these outline how road managers can effectively respond to emerging trends in transport operations. The framework identifies four core capabilities: communication, stakeholder engagement, leadership and change management. It also outlines four operational capabilities: network management, incident and event management, system management, and data and insights. Each capability is supported by a set of skills mapped against a proficiency matrix. The webinar, presented by Richard Boggon and Thomas D'Arcy, explores the trends shaping the future of road network operations. It also provides a detailed overview of the capability framework, the skills and proficiencies it defines, and how it can be applied and adopted within the sector.

A DTB Podcast Re-Release! THIS IS ONE OF MY FAVORITE EPISODES EVER! Joe 'Dixie' Fuller: Playing with the band Alabama - Being Road Manager for Classic Bands - Owning the Oldest Restaurant in TN - MUCH MORE! We talked family - his late wife and best friend, Shannon - music - GO KARTS - Alabama, Clint Black, Neil Young, Luther Vandross, ZZ Top, AC/DC, and many more! Please consider leaving us a review on Apple and giving us a share to your friends! ===== THANK YOU TO OUR SPONSORS: Vascular Institute of Chattanooga: https://www.vascularinstituteofchattanooga.com/ The Barn Nursery: https://www.barnnursery.com/ Optimize U Chattanooga: https://optimizeunow.com/chattanooga/ Guardian Investment Advisors: https://giaplantoday.com/ Alchemy Medspa and Wellness Center: http://www.alchemychattanooga.com/ Our House Studio: https://ourhousestudiosinc.com/ ALL THINGS JEFF STYLES: www.thejeffstyles.com PART OF THE NOOGA PODCAST NETWORK: www.noogapodcasts.com Please consider leaving us a review on Apple and giving us a share to your friends! This podcast is powered by ZenCast.fm

Financial freedom is about facing uncomfortable truths and taking actionable steps to change your habits. In this episode, we share crucial insights about spending, saving, and investing wisely. In the Highly Melanated Manor we have the pleasure to introduce a special guest, Sha-Rhonda Wilson, Lifestyle Coach & Business Consultant. to help with a few tips and on how to make your money work for you and not waste it away.• How sales can sometimes lead to unnecessary spending • The reality of relying on credit cards for emergencies • Importance of building a solid emergency fund • Reflecting on choices showcased through spending • Discussing financial control and investment strategies • The need for open conversations about money within communities • Understanding the basics of strategic investing • Budgeting as a key tool for financial securitySha-Rhonda has worked with Terry Ellis of En Vogue with her perfume line.  Southern Exposure and has worked as an Independent Contractor for Mano.  Swartz Furs; a furrier company which has been in business for over 134 years.  in Baltimore, Maryland! She coordinated the Baltimore, Maryland leg of a 25 City Book Tour for Dr. LaJoyce Brookshire - who wrote the novelization to Soul Food the movie and sold over 200 books at the premier city book tour. Sha-Rhonda was formerly the Executive Consultant to What About US!, a teen talk show on Baltimore Cable Access; a successful Event Planner with Pfizer Pharmaceuticals and a Development Associate with WEAA Radio Station in Baltimore, Maryland. Sha-Rhonda has also secured a radio show segment for Dr. Levi Harrison NPR Affiliate station WEAA 88.9FM called “The Art of Fitness.”  Working with Artist and Vocal Percussionist Rahzel – a ‘Disciple' of Hip Hop band The ROOTS, she has negotiated international business deals and traveled around the world with him as a Road Manager.>> Sha-Rhonda Wilson's Contact Email Info Link

Kristin has been in the industry for over 25years, she started as VIP Experience & Sponsorship Coordinator for American Idol Live Tour and then became their Road Manager. Since then Kristin has been Production Coordinator and Production Manager for many bands and artists including; Meghan Trainor, Barry Manilow, Pharrell Williams, Carly Rae Jepsen, Kanye West, St. Vincent, The Chicks, Deftones, OneRepublic, Josh Groban, one-off's + Great Big Radio City Show, Thomas Rhett, Backstreet Boys to name but a few and not forgetting So you can Dance Live Season 10, 11, 12 & 14 Kristin is a fabulous lady, kind, strong, great work ethic and if you ever see her name pop up on your Tour, you are very lucky! Leading Ladies Podcast is sponsored by @lightswitchdesign

Inside Stories from the Empire Brass Tour Manager - Chuck Wilson's Journey from Hershey to Boston and Beyond Join us on Studio HFL as host Larry welcomes Chuck Wilson, former tour manager for the iconic Empire Brass Quintet, for a fascinating discussion. Chuck shares his unique experiences working with legendary musicians like Rolf Smedvig, Charles Lewis, and Sam Pilafian. Hear about his early musical influences, his family's background, and his journey from Hershey, Pennsylvania to becoming a vital part of one of the most renowned brass quintets in the world. Chuck also delves into his time at West Point and his continued passion for drum corps. This episode offers an insider's perspective on the music industry and the life of a touring musician. 00:00 Introduction and Guest Welcome 00:13 Chuck Wilson's Background and Connection to Empire Brass 02:56 Musical Journey and Education 05:21 Drum Corps and Early Influences 08:46 Joining the Empire Brass Quintet 17:21 Touring with Empire Brass 22:10 Challenges and Innovations on the Road 33:29 Reflecting on the Brass Quintet Legacy 33:53 David O'Hanion's Journey and Teaching Philosophy 34:50 Personalities and Practices of Quintet Members 36:28 Memorable Moments and Challenges 41:16 Transition to West Point Band 45:19 Life and Career at West Point 57:20 Drum Corps and Alumni Connections 01:00:45 Final Reflections and Gratitude This is from an April 22, 2022 interview. Transcripts available upon request. Contact Larry Powell at larry@studiohfl.com for that and any other questions and/or comments. Thank you for listening!

To celebrate our 50th episode, we have the enormous pleasure of welcoming our good friend Bobby Chirmside back to the podcast. Bobby was Bruce's Road Manager from 1976 to 1981 and lived with Bruce at the famous Telegraph Hill mansion. Buckle up, pour yourself a drink and enjoy this wonderful trip back down Memory Lane.

In Production: Tales from Topographic OceansListening guide Sign up to the e-newsletter updates for exclusive access to the PRESALE! TormatoBook.com Produced by Wayne Hall, Joseph Cottrell, Jeffrey Crecelius and Ken Fuller Mark and I had a great conversation with the legendary Michael Tait this week. Here is what the biography on his Mickey's Black Box website says: "Michael “Mickey” Tait landed in London from his native Australia in 1967. It was his third stop, after Hong Kong and Tehran, in what was meant to be a 3 month “Visit the Motherland” working vacation. His first job was bartending at the Speakeasy, a private club frequented by the who's who of the music business. Rubbing shoulders with rock stars led to his second job: Road Manager for the newly formed progressive rock band YES. During his 12 years on the road with YES he advanced the art of stage production and was a driving force in the new field of tour lighting. He is credited with building the first pedalboard for guitar, the double Mellotron, the flat mirror ball, the 400-watt Leslie speaker box, and one of the first pin matrix lighting consoles. Next came self-contained lighting units consisting of genie lifts in large road cases with integral 4 cell par 64 lamps. These became known as “Tait Towers,” hence the name of his soon-to-be lighting rental company. Perhaps one of his most important innovations was the portable rotating stage used by Yes in the 1970's. Inspiration struck Tait while delivering a can of 35mm film to Morgan studios, where YES were recording. The concept, initially met with skepticism, was soon embraced as it gave everyone in the house a better view of the band and also increased the ticket gross dramatically." Despite recovering from COVID, Michael was generous and open about his recollections of working with Yes, particularly around the time of Tales from Topographic Oceans. Yes concert at the Montreal Forum on the Tales Tour, photo courtesy of Ken Jonach - lots of Mickey Tait's work on show https://www.taittowers.com https://mickeysblackbox.com/ Was the Tales Tour a turning point for the Yes live production? How did Michael get from Yes roadie/van driver to establishing the most successful live production company in the world? What about Jon's bathroom at Morgan Studios? Let us know if you agree with us! There are only 100 of these packs available, so buy yours now! (Opens in a new window) Check out the progress on my other podcast - https://anthem52.com/ Yes - The Tormato Story Available now! TormatoBook.com YMP Patrons: Producers: Joseph Cottrell Wayne Hall Ken Fuller Jeffrey Crecelius Patrons: Jim Morrison Jon Pickles Declan Logue Gary Betts Aaron SteelmanMichael Handerhan Barry Gorsky Steve Perry Doug Curran Martin Kjellberg Todd Dudley Rachel Hadaway Lind  Paul Hailes Craig Estenes Mark James Lang Steve Rode David Bob Martilotta John Holden Stephen LambeDem Fred Barringer Scott Colombo Chris Bandini David Heyden John Thomson Mark Baggs John Cowan John Parry Dave Owen Simon Barrow Steve Scott Terence Sadler Steve Dill Robert Nasir  Fergus Cubbage William Hayes Geoff Bailie Steven Roehr Lobate Scarp Geoffrey Mason David Watkinson Tim Stannard Robert VandiverBrian Sullivan David Pannell Jamie McQuinnMiguel Falcão Paul Tomei Michael O'ConnorBrian HarrisHogne Bø PettersenGuy DeRome Become a Patron! Our Facebook YMP Discussion Group is open to anyone to join. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything:

TW: Suicide Today, celebrated author Ken Womack joins me to unpack his extraordinary new definitive biography of Beatles road manager Mal Evans, 'Living the Beatles Legend'. Ken talks about the incredible access given to him by the Evans family, including Mal's unpublished memoirs and diaries, the digital warehouse he built to sort through the incredible archival material, how much of the Beatles story is Mal's story, how the Beatles invented the pop superstar industry as they went along, how Mal managed to take on roles that would now be filled by dozens of individuals, how the Beatles laid the template for every rock'n'roll narrative that has followed, the friction between Mal and Brian Epstein, how Mal compartmentalised his life, how Mal championed and produced Badfinger in the face of Allen Klein's opposition, Mal's friendship with Paul McCartney, the upcoming quartet of Sam Mendes directed Beatles movies, the myth of the solitary genius, how important every member of the Beatles inner circle was to their success, and the conterfactuals in Beatles history, including how Mal's story might have unfolded over the past decades if it hadn't been so tragically cut short.

By now you've probably seen a dozen Elvis Presley impersonators. But what you took is a very good singer/songwriter, that sounds just like "the King." Put him with Elvis's best friend and Road Manager, Joe Esposito. Add in that famous "Memphis Sound," featuring Elvis's famous Jordanairs, the TCB Band, and the American Sound Studio Band. Well, then you'd have something really special that would teleport you back to the late 60s and early 70s.  Well close your eyes and turn up the volume. Today's podcast guest is CDX Records Sony Music and The Orchard recording artist John Krondes, Someone You Should Know.Click here to buy the host a cold one.Show Links: Click here to go to John's InstagramClick here to go to John's WebpageClick here to go to John's FacebookClick here to go to John's Twitter / XClick here to go to John's YouTube ChannelClick here to go to John's Linked InAll music used by permission from the artistSomeone You Should Know 2024 // CatGotYourTongueStudios 2024How to Contact Us:Official Website: https://Someoneyoushouldknowpodcast.comGmail: Someoneyoushouldknowpodcast@gmail.comTwitter: @RIKANTHONY1Facebook: https://www.facebook.com/rikanthonyInstagram: https://www.instagram.com/someoneyoushouldknowpodcast/LinkedIn: https://www.linkedin.com/in/rik-anthony2019/TikTok: @SomeoneYouShouldKnow2023YouTube: https://www.youtube.com/@someoneyoushouldknowpodcastThank you for listening!Theme music "Welcome to the Show" by Kevin MacLeod was used per the standard license agreement.

Monmouth University Professor and Beatles author Kenneth Womack returns to 'Beatles Revolution' to talk about his new book 'Living the Beatles' Legend: The Untold Story of Mal Evans.'Kenneth's new book is a warts-and-all biography of a mainstay of the Beatles' inner circle, a longtime roadie, assistant and devoted friend to the Fab Four, who served and protected the band through its most extraordinary times. Mal left a stable job in telecommunications to dive into life on the road with the Beatles, leaving his family for months on end. While quickly became a key cog in the band's machine, both on the road and in the studio, details of Mal's life away from the band have always been murky, and the circumstances leading up to his death in 1976 have remained largely unknown, until now.Subscribe so you don't miss an episode of 'Ken Dashow's Beatles Revolution.'

Today on our episode #373 of All in the Industry®, Shari Bayer has a special "On the Road" episode from Food on the Edge, a two-day Food Symposium, which took place from October 16-17, 2023 in Dublin, Ireland. Food on the Edge featured approximately 50 speakers who were chosen for their innovation, passion, and influence on today's food culture, and was founded by Symposium Director JP McMahon of Aniar in Galway, Ireland. Shari led a panel on her new book, CHEFWISE – Life Lessons from Leading Chefs Around the World (Phaidon, Spring 2023, #chefwisebook), with CHEFWISE chef contributors Andoni Luis Aduriz of Mugaritz, Donostia-San Sebastian, Spain; Elena Reygadas of Rosetta, Mexico City, Mexico; Tala Bashmi of Fusions by Tala, Manama, Bahrain; and JP McMahon. Shari also signed copies of her book, and took part in two days of excursions around the Dublin area as a part of the speaker program, which was extremely special. This show features several conversations that Shari had while in Dublin with following FOTE speakers: Alessandro Cozzolino, Executive Chef of La Lugia at Villa San Michel, a Belmont hotel, Florence, Italy; Endo Kazutoshi, Chef of Endo at the Rotunda in London, England; Rich Shih, Co-author of Koji Alchemy; Tom Jenkins, Managing Editor of finedininglovers.com and San Pellegrino Young Chef Academy; Arlene Stein, Founder/Executive Director of the Terroir Symposium in Canada; Andrea Petrini, Incontinent Writer/Food Curator/Oblique Strategist, Road Manager of THE GELINAZ!, and more; Jason Bangerter, Executive Chef of the Langdon Hall Country House Hotel and Spa in Canada, and JP McMahon. Thank you and congratulations to all! Shari loved meeting everyone and being a part of this fantastic symposium. And special thanks to JP, Abigail Colleran, Julieann Faherty, and the entire #FOTE2023 team! Today's show also features Shari's PR tip to tell a good story, speed round with JP, and Solo Dining experience at Fish Shop in Dublin, plus mentions of other restaurants and bars that Shari visited on her first trip to Ireland. ** Check out Shari's new book, Chefwise: Life Lessons from Leading Chefs Around the World (Phaidon), available at Phaidon.com, Amazon.com and wherever books are sold! **Photo Courtesy of Shari Bayer.Listen at Heritage Radio Network; subscribe/rate/review our show at iTunes, Stitcher or Spotify. Follow us @allindustry. Thanks for being a part of All in the Industry®. Heritage Radio Network is a listener supported nonprofit podcast network. Support All in the Industry by becoming a member!All in the Industry is Powered by Simplecast.

My guest today is Nichole Barsalona, who's the director of Everyday Rebellion Entertainment artist management and the president of the non-profit Women In Music organization.  Nichole grew up around music as her father Frank was a pioneering agent later inducted into the Rock and Roll Hall of Fame. His clients included The Who, Led Zeppelin, Bruce Springsteen & The E Street Band, Tom Petty and U2, among many others. Her mother June was a journalist who traveled from the U.K. at the age of 18 to cover The Beatles' first U.S. tour and later worked as a music publicist. Nichole started her career at Steven Van Zandt's multi-media company, Renegade Nation, where a week-long temp gig turned into the most formative years of her career. She eventually served as Chief of Staff and Director of Communications at Renegade Nation, and Road Manager to Van Zandt on tours with Bruce Springsteen & the E Street Band. During the interview we spoke about how she observed her father's influence on the music business as she was growing up, how we're at a turning point for music promotion, the importance of meet and greets, the most sought-after person on a management team today, her role in Women In Music, and much more. I spoke with Nicole from her office in Boston. On the intro I'll take a look at the status of claims that the Copyright Claims Board reviewed last month, and big changes in the executive suite of Guitar Center. var podscribeEmbedVars = { epId: 90904524, backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };

Move over Mel, there's another "road warrior" in thunderdome ( or is it Pleasure Dome!?), and this one's worked with Tina AND Ike!In this episode the Bo-Hosts sit down with the legendary Bob Daitz, longtime road manager for Van Halen, Poison, Ike & Tina Turner, and among other major acts, you guessed it, Sammy Hagar!  Bob Daitz is quite the personality, and, like Sam himself, is a firecracker-force-of-nature! He's a ton of fun and was gracious enough to share stories from his amazing career, the bands he's worked with ( and bands he wished he did), as well as insights as to what it's like successfully keeping a travelling a rock 'n roll circus on the road- and on the rails! Crack a cold one,  grab your passports, and join us out on the road!For more on Bob, his illustrious career and latest pursuits, check these out:https://relix.com/articles/detail/behind-the-scene-bob-daitz/http://www.limousinehq.com/1472https://www.youtube.com/watch?v=DUepSm7qqKc"What is understood...NEED be discussed"Facebook:https://www.facebook.com/profile.php?id=100085582159917Instagram: https://www.instagram.com/thebogusotisshow/?hl=en

Today, I have a remarkable guest, someone who's been the invisible hand behind some of the biggest names in the music industry. Andy Franks, renowned road manager has worked with Coldplay, The Rolling Stones,  and other legendary acts, is here to give us a glimpse into the world behind the music. Andy's journey is one filled with unforgettable memories and lessons learned. From his special days with Coldplay to a personal journey of resilience and recovery, that led him to become  the founder of  musicsupport.org . helping everybody in the music business.   I'm just so happy to welcome Sir Andy Franks to GIG !  Visit GIG with Mike Redman @https://www.gigwithmikeredman.com/podcastsEmail me questions, guests you would like to see @ : gigwithmikeredman@gmail.comThanks for listening !Mike Redman

Brenton Grimes is Founder and CEO of Reef.ai, a customer revenue platform that helps companies predictably grow revenue with existing customers and fast-tracks net retention reporting. In this episode Brenton and KJ discuss how companies can be proactive in utilizing data and investing in the outlier model to achieve better revenue outcomes.  Key Takeaways: How to increase customer retention in the SaaS market Common mistakes to avoid when managing your tech customers How to implement the outlier model in the SaaS industry Why subscription models are the future of tech Quote of the Show (37:00): “If you feel like you need to drive your business in a different direction, don't wait. Take that first step and the road will open up in front of you.” – Brenton Grimes   Join our Anti-PR newsletter where we're keeping a watchful and clever eye on PR trends, PR fails, and interesting news in tech so you don't have to. You're welcome.   Want PR that actually matters? Get 30 minutes of expert advice in a fast-paced, zero-nonsense session from Karla Jo Helms, a veteran Crisis PR and Anti-PR Strategist who knows how to tell your story in the best possible light and get the exposure you need to disrupt your industry. Click here to book your call: https://info.jotopr.com/free-anti-pr-eval   Ways to connect with Brenton Grimes: LinkedIn: https://www.linkedin.com/in/brentgrimes/ Company Website: https://www.reef.ai/ Company LinkedIn: https://www.linkedin.com/company/reef-ai/   How to get more Disruption/Interruption:  Amazon Music - https://music.amazon.com/podcasts/eccda84d-4d5b-4c52-ba54-7fd8af3cbe87/disruption-interruption Apple Podcast - https://podcasts.apple.com/us/podcast/disruption-interruption/id1581985755 Google Play - https://podcasts.google.com/feed/aHR0cHM6Ly93d3cub21ueWNvbnRlbnQuY29tL2QvcGxheWxpc3QvODE5NjRmY2EtYTQ5OC00NTAyLThjZjktYWI3YzAwMmRiZTM2LzNiZTZiNzJhLWEzODItNDhhNS04MDc5LWFmYTAwMTI2M2FiNi9kZDYzMGE4Mi04ZGI4LTQyMGUtOGNmYi1hZmEwMDEyNjNhZDkvcG9kY2FzdC5yc3M= Spotify - https://open.spotify.com/show/6yGSwcSp8J354awJkCmJlDSee omnystudio.com/listener for privacy information.

Born in Rock Hill, SC, Matt Tucker was raised on country music. Raised in a very musically inclined family, Tucker has always loved to sing and in 2008, he decided to get serious with his music career. He began playing in local honky-tonks with his father around Rock Hill, SC and he soon broke out as a solo artist playing acoustic gigs in the area. Tucker put together his first band a couple of years later and began to realize his full potential. He then started on his journey to Nashville. Tucker is influenced by some of country music's most known legends, such as George Strait, Alan Jackson, Johnny Cash, and Conway Twitty and modern artists like Jake Owen, Jason Aldean, Chris Stapleton, Blake Shelton, Luke Bryan, Kenny Chesney, and Garth Brooks. His southern upbringing shines through his songs and his music reflects the new country sound with some 90's rockin' ways. In 2013, Tucker made lots of friends in “Music City” Nashville, TN and in October of 2013, after being referred by Hall of Fame songwriter, Sam Tate, Tucker became a SESAC-affiliate known as Guitbox Publishing. Later in the same year, he released a four song “EP” produced and engineered by Pat Holt and recorded in Nashville, TN. In December, a CD release party at one of the Southeast's premier country night clubs, Coyote Joes in Charlotte, NC, helped spark his self-written single “Tonight”, a song that gained radio airplay. Tucker finished the new album “Where Did You Go” in 2017, which features versatile, fan-pleasing songs. Matt's high-energy stage presence and electrifying show has driven his growth in recent years. Matt and the band are continuing to grow, gaining popularity and fans across the U.S. and beyond. The band, including 5 talented musicians, a built-in Road Manager and Sound Engineer, have their eyes set straight for the top. Having toured the Southeast U.S. promoting the single “Blue Collar Anthem” from the album “Where Did You Go”, the band shared the stage with some of the greatest names in the country music industry such as Jason Michael Carrol, Trent Tomlinson, Blackhawk, Josh Thompson, Jeff Bates, Ray Scott, Outshyne, LoCash, Chase Rice, Chris Lane, Canaan Smith, many regional up-and-comers and the list goes on! Matt and the boys continue to work hard to put together a crowd-pleasing, high-energy show that showcases Matt's original songs while covering old favorites and current day hits. Matt Tucker is currently one of the Carolinas' top independent country acts and he continues to spread his fan-base well beyond the region. Tucker plans to bring the package until the receiver is found! Look out for MT "Country Rockin" a town near you! "It's important to be humble and kind in this business, we couldn't do this without you...the friends and fans" -MT

Born in Rock Hill, SC, Matt Tucker was raised on country music. Raised in a very musically inclined family, Tucker has always loved to sing and in 2008, he decided to get serious with his music career. He began playing in local honky-tonks with his father around Rock Hill, SC and he soon broke out as a solo artist playing acoustic gigs in the area. Tucker put together his first band a couple of years later and began to realize his full potential. He then started on his journey to Nashville. Tucker is influenced by some of country music's most known legends, such as George Strait, Alan Jackson, Johnny Cash, and Conway Twitty and modern artists like Jake Owen, Jason Aldean, Chris Stapleton, Blake Shelton, Luke Bryan, Kenny Chesney, and Garth Brooks. His southern upbringing shines through his songs and his music reflects the new country sound with some 90's rockin' ways. In 2013, Tucker made lots of friends in “Music City” Nashville, TN and in October of 2013, after being referred by Hall of Fame songwriter, Sam Tate, Tucker became a SESAC-affiliate known as Guitbox Publishing. Later in the same year, he released a four song “EP” produced and engineered by Pat Holt and recorded in Nashville, TN. In December, a CD release party at one of the Southeast's premier country night clubs, Coyote Joes in Charlotte, NC, helped spark his self-written single “Tonight”, a song that gained radio airplay. Tucker finished the new album “Where Did You Go” in 2017, which features versatile, fan-pleasing songs. Matt's high-energy stage presence and electrifying show has driven his growth in recent years. Matt and the band are continuing to grow, gaining popularity and fans across the U.S. and beyond. The band, including 5 talented musicians, a built-in Road Manager and Sound Engineer, have their eyes set straight for the top. Having toured the Southeast U.S. promoting the single “Blue Collar Anthem” from the album “Where Did You Go”, the band shared the stage with some of the greatest names in the country music industry such as Jason Michael Carrol, Trent Tomlinson, Blackhawk, Josh Thompson, Jeff Bates, Ray Scott, Outshyne, LoCash, Chase Rice, Chris Lane, Canaan Smith, many regional up-and-comers and the list goes on! Matt and the boys continue to work hard to put together a crowd-pleasing, high-energy show that showcases Matt's original songs while covering old favorites and current day hits. Matt Tucker is currently one of the Carolinas' top independent country acts and he continues to spread his fan-base well beyond the region. Tucker plans to bring the package until the receiver is found! Look out for MT "Country Rockin" a town near you! "It's important to be humble and kind in this business, we couldn't do this without you...the friends and fans" -MT

EP 569 featuring an interview with Author and Former Road Manager Mike Corcione

EP 569 featuring an interview with Author and Former Road Manager Mike Corcione

STORY TIME WITH DIXIE! Joe 'Dixie' Fuller is BACK on DTB! Playing with the band Alabama - Being Road Manager for Classic Bands (He name drops more acts, singers, and bands than I can mention) - SHOUTOUT AND INVITE TO DOLLY - Owning the Oldest Restaurant in TN - Writing a book - MUCH MORE! Please consider supporting the podast by becoming a Patron: https://www.patreon.com/duringthebreakpodcast THANK YOU TO OUR SPONSORS: Granite Garage Floors of Chattanooga: https://granitegaragefloors.com/location/chattanooga Vascular Institute of Chattanooga: https://www.vascularinstituteofchattanooga.com/ The Barn Nursery: https://www.barnnursery.com/ Rent-My-Equipment: https://www.rentmyequipment.com/ Optimize U Chattanooga: https://optimizeunow.com/chattanooga/ Alchemy Medspa and Wellness Center: http://www.alchemychattanooga.com/ Please consider leaving us a review on Apple and giving us a share to your friends! This podcast is powered by ZenCast.fm

From Kingston Jamaica raised Rastafarian (her father was Bob Marley's Road Manager), Sara Conner was a childhood runaway, raised by a crack addicted mother, survived abuse & sexual assault, and many more tragedies & failures. However, she is now using the pain of the past to transform lives all over the world and bring hope to the hopeless!!!

Dario Nikzad is a seasoned musician and tour manager who has not only worked with the likes of Anthrax, Clutch and Eagle-Eye Cherry, but also has a fabulous head of hair and is an old friend of at least 50% of Those Music Guys; which is why it took only a small amount of blackmailing to get him on the show to discuss the magic, madness and macros of life on the road.

Finally, the long awaited episode with the Raglan Road Manager is out!The Host and Eamon have the pleasure of interviewing our manager and they get a bit more than they expected but it is all good.Where is Hector you ask?Is he not putting the spotlight on Raglan Road?Unfortunately, Hector was mising in action attending to his broken glasses when Raglan Road popped in for a chat.  You win some, you lose some Hector.We are sure you will find this interview a real treat so sit back and relax.If you would like to in touch why not then send us an email to arkhamavengersffpl@gmail.com or you can message us on Twitter under the handle @arkhamavengers and we're also on Facebook where you'll find us @ArkhamAvengersFFPL.Thanks as always for listening and subscribing.Don't forget to tell your family, friends and work colleagues about us.Have a great day folks and enjoy the show!!

Bob Chirmside was Bruce's Road Manager and room-mate between 1976 and 1981. In this time, he describes his role as a 'glorified babysitter' for Bruce effectively doing everything from organising tours, cooking for him and actually living with him! Bob recalls some amazing stories from the road which will have you laughing throughout this episode. Find out the truth behind the defaced Darkness billboard. What was life like in the big house on Telegraph Hill, especially during band rehearsals? And don't miss the hilarious story about how Bob and George Travis were almost sacked for trying to think 'outside the box' to create special effects for one concert! Don't forget to follow us on Facebook groups/547987037245963 and Instagram @estreetcafepodcast and hit that Follow button wherever you pick up your podcasts. We'd love it if you could leave us a review if you enjoyed our podcast. --- Send in a voice message: https://podcasters.spotify.com/pod/show/jeff-matthews4/message

Who is the Mystery Recitation Man?  How is he linked to the Raglan Road manager?  Did someone mention Pirate Radio?  We have a lot of questions and it's the job of The Host and Eamon to get to the bottom of this as they interview the Raglan Road manager and folks…….be prepared for a double whammy!!!! Nobody saw this coming not even Hector who missed the whole interview! Tune in for a few snippets of the interview which is out this week. 

This clip is from full episode 32 of the Cold Open Conversations Podcast that has yet to be released (Coming Soon). Aaron Abel Orona is a Dallas-based business owner, focused on serving his community by promoting and teaching health and wellness. Before that though, he has a unique story as the road manager for Treal Lee and Prince Rick during their historic Texas-based music run! He shares a bunch of exciting experiences as well as the valuable insights he gained during this time that helped transition him into the successful path he is on now. Guest IG Links: Aaron Orona -- https://www.instagram.com/puffpapi/ MVP Nutrition and Energy -- https://www.instagram.com/mvpmesquite/ Sponsor LINKS: One Life Fitness and Nutrition: https://www.instagram.com/onelifenutr... Element TCG and Collectibles: https://www.instagram.com/element.tcg... https://www.ebay.com/usr/element.tcg.... Celeste's Clubhouse: https://www.instagram.com/celestesclu... Daisy's Coupons: https://www.instagram.com/couponing_c... Full Episodes Monday! (Tip: It contains bonus footage and audio that will be left out of the clips). Link to early access audio podcast here: https://open.spotify.com/show/0pC8gKX... Clips from the 'Cold Open Conversations Podcast' will be uploaded every weekday Mon-Thur. If you only have time for single topic during a drive, this may be the format for you. Link to Clip Playlist here: https://www.youtube.com/playlist?list... The 'Cold Open Conversations Podcast' is a conversational podcast where each host will bring a topic for discussion, followed by a lightning round topic. The topics are not set in any bounds; They could be comedic and wide-spanning or deep and extremely personal, it's all up to the individual hosts. Link to FULL EPISODE videos, uploaded every Friday, here: If you like this episode, consider subscribing and sharing with a friend! We will try to be as active in the chat as possible, don't be afraid to give us a shout.

Darrayl Keith Simmons love for music started when he attended Rowan Jr. High school in his hometown of Jakson, Mississippi. One day he tried out for the football team and got hit very hard, immediately after he Joined the band .He mastered the trumpet and became a well rspected trumpet player, Participating in various performances and events. This led him to create his own group with his best friend Willie C. Dishmon (Spark of Love) Rip) During his senior year he began to tour with his brother's band. Funk and R&B called (Sho Nuff) he played trumpet on various gigs.  He then became a Road Manager. In 1993 while attending a local music fest Darrayl met  sound enggineer, Johnnie Mcgee who asked if he would be interested in working with him as a stage tech and that was the beginning of Darrayl's career in production management. Which led him to establish "OnMy Stage Productions. That allowed him to work with legends like . BB KIng, Johnnie Taylor, Tyrone Davis, Little Milton, Bobby Rush, Bobby Bland, Willie Clayton, The Jackson music award association, and many more.   He worked as a production tech with the Jackson music Awards association many years in 2010 He became a production Manager.ad serve on the JMMA Executive committee.  In 2017 He created a face book page called SoulMusicSession. Soul Music Session's mission is to helppromote music venues and showcase all soul music artist through Live recored performances and interviews as well as music videos . In 2016 Darrayl was honored for his role as Production Manager for the (JMMA) in 2020 Darrayl received the prestigious King Mose award. From the Jackson Music Awards Association. for his support of Local, national and international artist. Currently he is a division director for the state of Mississippi. Darrayl is married to Elisa J. Simmons he has 5 children 7 grandchilden and 2 great grandchildren.

Andrea Brillantes marunong nang "sumisid"! Ogie Diaz "tinarayan" on cam ang road manager! Jodi Sta. Maria at Ex-bf pwedeng magsama!

https://www.youtube.com/channel/UC5Ro4JRJj7qwNm2EKSBdiyw https://www.instagram.com/1985roaddog/ --- Support this podcast: https://anchor.fm/shawn-ratches/support

Tolu Interviews Mr Kelly who is the CEO of one of the fastest growing Book Publishing Companies in the US, Publishing Advantage Group & Road Manager of Christian Recording Artist Aaron Cole, a 2X #1 Best Selling Author, Master Book Publisher, Coach, Entrepreneur & Speaker. Kelly has authored and published over 50+ paperback, audio and e-books to date.Check Him Out Here: http://mrkellycole.com/

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

Talking about the Justin Moore podcast and the upcoming Justin Moore tour

Guest #SIRAM kali ini adalah seseorang yang menemukan panggilan jiwanya di balik layar industri kreatif. Biasa dipanggil dengan Angga, saat ini dia menjalani aktivitas sebagai Road Manager dari musisi asal Malang, Sal Priadi, yang juga merupakan teman baiknya. Dia juga memiliki side project sebagai Produser di beberapa music video, yaitu di lagu NOAH ft. BCL - Mencari Cinta, dan Coldiac (ft. NYK) - No Make Up. Dalam hidupnya, Angga meyakini bahwa bahagia itu sederhana. Selama dia dapat berkarya dan menjalani kegiatan yang dia senangi, maka kebahagiaan akan datang dengan sendirinya. --- Support this podcast: https://anchor.fm/steffi-melati-achlam/support

**TRIGGER WARNING** The following episode contains serious and extreme adult themes such as Sexual References, Violence, Suicide, Self Harm, Drug References and Coarse Language. Listener discretion is strongly advised. In this highly controversial and action packed episode we jump back into the Eminem story right from where we left off as Eminem first releases the Slim Shady LP, we see the death of D-12 member Bugz, Eminem is taken to court over his controversial songs by Kim, Debbie and his childhood bully and he faces extreme backlash and censorship from activist groups, offended by Eminem's no filter style lyrics. Eminem also releases the Marshall Mathers LP and Devils Night with D-12, Shady Records is established, Eminem battles with the life of fame, drugs and booze and his relationship with Kim and Eminem ends up in court on two counts for assaulting a bouncer that was caught kissing Kim and attacking Insane Clown Posse's Road Manager. We also delve into Eminem's earliest feuds with Everlast and The Insane Clown Posse, the tragic night where Kim attempted to take her own life and the stories behind the biggest and best songs from his 2nd and 3rd studio albums such as The Real Slim Shady, The Way I Am, My Name Is, Braindead, Stan, Role Model and many more. All this and much more in this action packed episode. Enjoy. This episode was written, researched, narrated, edited and produced by Adam Hampton. If you enjoyed this episode feel free to click the free subscribe or follow button and leave the podcast a positive 5 star review on Itunes. You can also find us on Facebook, Twitter, Tik Tok, Instagram and our website at www.lyricsoftheirlife.com. To support the podcast further and myself as an independent podcast creator you can find us on Patreon for as little as $1 a month or Buy Me A Coffee as a one off donation of your appreciation. All these links can be seen below. Thanks to every single one of my listeners. Cheers your host Adam Hampton. Support The Podcast - Patreon: https://www.patreon.com/Lyricsoftheirlifepodcast Buy Me A Coffee: https://www.buymeacoffee.com/lyricsoflifepod Socials - Facebook Official Page: https://www.facebook.com/lyricsoftheirlife Facebook Group: https://www.facebook.com/groups/441708960400475/ Instagram: https://www.instagram.com/lyricsoftheirlife/ Twitter: https://twitter.com/lyrics_their Tik Tok: https://www.tiktok.com/@lyricsoftheirlife? Rate The Podcast - Itunes: https://podcasts.apple.com/au/podcast/lyrics-of-their-life/id1521842063 Featured Playlists (Listen to the songs spoken about in every episode)- Spotify: https://open.spotify.com/user/16j22czj103i68fdypqzbco07?si=8bbee318907c488c Youtube: https://www.youtube.com/channel/UCUiXxJhUKPwFhvd3F-Cm84w

The pain of residential schools is still being felt today. I want to introduce our guests Suann Riddick and Fred Lane; in this podcast episode you will get to hear some of the research that Suann is doing on residential schools. What we went on through the boarding school era was tragic and Suann speaks to the stories of over 150,000 Indigenous children who were forced into these schools. Indigenous children were stripped of their language, culture, traditions, family heritage, elders, food sources, and homes. Everything was taken. When you hear about these things, challenge yourself to think about the trauma and sorrow that our people have endured and what we still deal with till this day. We are the natural preservers of these lands we share. We took care of these lands for thousands of years. When you see us remember what happened and that we are still here. The Annual Reports of Indian Commissioner of Indian affairs of the Indian agents in the 1890's and explain exactly some of the conditions of these residential schools. It hurt me deeply to read. I feel the indigenous children's hurt from the atrocities of events that happened. Some of these children were my relatives. My grandparents went through boarding school. So when you listen to these stories I hope you stop and think for a second that it was someone's grandchild, that was someone's child, that was someone's sibling, that was a human child, a part of someone's family, a part of culture and traditions. Hy'shqe (Thank you) to everyone who has participated in this podcast episode my hands go up to each and every one of you today for the knowledge stories and teaching you all have given me and our audience today by giving more background on the research you are doing in Residential schools so again thank you Suann for your time and thank you Fred for conducting this interview with her can't wait to hear more. SuAnn Reddick Bio: I was born in California and moved to Oregon in 1970. After working in the landscape construction field, I entered the UO Landscape architecture program in 1984. I completed the bachelors and masters program in ‘88 and ‘90 and discovered my love for writing and history. My first publication was in the Oregon Historical Quarterly in 1990. After I became involved at Chemawa, I published a history of the evolution of the school in OHQ in 2000, and have also done a lot of research and published articles on the Medicine Creek Treaty and Fox Island Council. I am hoping to compose a detailed history of the acquisition and loss of the land at Chemawa from 1884 to the present and continue to advocate for the placement of campus land into trust for the permanent benefit of Indian education. I still live on acreage outside McMinnville with my dog and two cats, maintain my large yard and garden and continue to research the land at Chemawa and share whatever knowledge I have for many years with others. Fred Lane Bio: Sul ka dub (as known as Freddie Lane) was born and raised on the Lummi Reservation west of Bellingham WA. He is the eleventh of 12 children of Vernon & Nancy Lane. Fred's father Swe lus defied the United States government in the late 1960's when (as Chairman) Vernon led the tribe in building the Lummi Aquaculture without permits from the US Army Corp of Engineers paving the way for sovereignty and jurisdiction and self-determination across Indian Country. Freddie is a former councilman of the Lummi Indian Business Council and most recently was the Road Manager for the Red Road to DC, where the House of Tears Carvers gifted President Joe Biden a totem pole. He is currently hosting a series of online forums, most notably leading talks for the release of Lolita, the orca at the Miami SeaQuarium.

No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more. The best part? Every executive answers the same three questions and 3Q never takes more than 15 minutes of your time. About Nicole: Artist Manager, advocate, and consultant, Nicole Barsalona leads Everyday Rebellion Entertainment (fka 525 Entertainment), specializing in artist development and international market development for artists like Prateek Kuhad and Mark Wilkinson. A passionate advocate, Nicole proudly serves as President of 501(c)3 non-profit organization, Women in Music, where she joined the Board of Directors in 2013 and has helped usher in record growth since becoming President in 2019. She serves on the Executive Board of Music Managers Forum (US), the largest and leading trade organization for music managers in the U.S. As an industry leader, Barsalona has been quoted in Forbes, Billboard, the Wall Street Journal, Yahoo Finance, the Boston Globe, The Week, Mashable, and Music Row, among others. She has been a featured speaker at Grammy Pro NY:LON Connect, Pollstar Live, SXSW, Mondo, General Assembly, Reboot, Berklee College of Music, Northeastern University, Boston University, and more. Barsalona started her career at Steven Van Zandt's multi-media company, Renegade Nation, where a week-long temp gig turned into the most formative years of her career. Barsalona eventually served as Chief of Staff and Director of Communications at Renegade Nation, and Road Manager to Van Zandt on tours with Bruce Springsteen & the E Street Band.

On today's episode, Corporate-ish has a conversation with Danny Celestin. Danny is a Trade Development Manager at Southern Glazer's Wine & Spirits (the company behind Hennessey, Duse', Seagram's, Casamigos, Patron, Grey Goose and more). We'll talk more about what he does for a living, what is like being a road manager to Jeezy, how he took a leap of faith and moved to California with no job, and the Vendor Inclusion program he started at Southern Glazer. You can find Danny on Linkedin at Daniel Celestin. This episode is sponsored by Indigo Ciege Hand-crafted sauces. Follow them on IG @indigociege. At Corporate-ish, we highlight black professionals, have authentic conversations about the black experience in corporate America and share tips to help you grow in your career and climb the corporate ladder. Please rate, leave a review, and share this podcast with your family, friends and coworkers!

Today on Too Opinionated, actor Mackenzie Gray visits and talks about his new film, Ditched.  A professional actor for over 40 years, he has appeared in over 150 films and television shows. As of 2017, he is a series regular on the Marvel/FX Series Legion playing "The Eye" and is a recurring cast member on both the CW series Riverdale as "The Pathologist" and plays "The Time Master" on DC's DC's Legends of Tomorrow. Since moving to Vancouver in 1998 as a series lead for the television series The Net, he has appeared as a guest star in scores of Vancouver or Calgary-filmed productions, recently including the BBC America/Netflix series Dirk Gently's Holistic Detective Agency, Fargo, R.L. Stine's the Haunting Hour, Alcatraz, and Project Mc². He returned to Toronto to Guest-Star in the series Bitten. Guest-Starring roles include "John Amos" in If There Be Thorns, "David Bowie" in Some Assembly Required, "Lex Luthor" in Season 10 of Smallville, "The Djiin" in Supernatural, "The Observer" in the series finale of Fringe, as the Devil, in the form of Keith Richards, in R.L. Stine's the Haunting Hour, as a Southern U.S. Senator opposed to Civil Rights in the mini-series The Kennedys and as a Graphic Novelist with a dark secret again in R.L. Stine's the Haunting Hour. Other Guest-Star or Lead roles include work on the TV series Human Target, Young Blades, Da Vinci's Inquest, The Collector, First Wave, So Weird, Once Upon a Time, True Justice, The Bridge, Sanctuary, Psych, Kyle XY, The L Word, Romeo!, The Twilight Zone, Babylon 5: The Legend of the Rangers: To Live and Die in Starlight, Big Sound, Andromeda, Cold Squad, Voyage of the Unicorn and Welcome to Paradox. Mackenzie was recently seen on the big screen in Warcraft, and was celebrated around the world for his portrayal of "Jax-Ur" in Warner Brothers' Zack Snyder-directed Superman film Man of Steel. He appeared as the band's Road Manager in Metallica's 3-D IMAX Feature Metallica Through the Never and appeared in Terry Gilliam's The Imaginarium of Doctor Parnassus. Other feature film work includes co-starring roles in Grave Encounters, Shooter, Storm Seekers, Riddles of the Sphinx, Destination: Infestation, Joy Ride 2: Dead Ahead, Strip Search, Christmas on Chestnut Street, 2103: The Deadly Wake, Word of Honor, The Hitcher II: I've Been Waiting, Falling Fire, In Her Mother's Footsteps, Hard Ride to Hell, Shepherd, Fugitives Run, Replikator and The Long Kiss Goodnight. Mackenzie also works extensively as a "voice" performer. He is the voice of "Obadiah Stane" in Marvel Comics' series Iron Man: Armored Adventures, "Gramorr" in LoliRock, and has recurring roles on the animated TV series Tetsujin, Stargate: Infinity, Action Man, Madeline, Evolution and NASCAR Racers. He has also recorded several lead roles in animated feature films. Notable among these are "Long John Silver" in Treasure Island, "Professor Henry" in Madeline: My Fair Madeline and the dual lead roles of "Doctor Nightingale" and "Adrian Rourke" in Groove Squad. Other animated work includes Tony Hawk, Ben Hur (with Charlton Heston) and Ark, Master Keaton, Sherlock Holmes in the 22nd Century, Lost Continent, Mary-Kate and Ashley in Action! and Journey to the Center of the Earth. He has created many voices for Video Games, is the lead in the new Black Orchid XBox Game and several characters in the latest edition of Dawn of War. Want to watch: YouTube Meisterkhan Pod (Please Subscribe) TikTok: @meisterkhan_

Paul Anthony Gurvitz 6th july 1944 High Wycombe Buckinghamshire England is a multi platinum song writer who's musical journey started at the age of 15 . He bought his first guitar in a local store for 12 pounds and signed his first publishing contract at the age of 16 and has since written countless hits for many artist's including his first hit Race With The Devil with his band "GUN' which some say was the beginning of what they call metal music today. In 1964 he embarked on his touring and performing career as a guitarist with his bands The Londoners , The Knack , Parrish & Gurvitz which was produced by the infamous Sir George Martin and then switched to bass with Gun , Three Man Army , The Graeme Edge Band and The Baker Gurvitz Army which featured Cream drummer Ginger Baker. Now living in Arizona Paul is still an active song writer and has released several solo albums and is now embarking on another journey with his new band The New Army.. It all started back in the early sixties. I was listening to Elvis, Buddy Holly, Cliff Richard & The Shadows and at the age of 15 I bought my first guitar. My father at that time was the Road Manager for the Shadows, so I started to get a taste of the music scene. I taught myself to play a few chords and it wasn't long before I was playing in some local bands. My first professional gig was in France playing on US Army camps. From there I came to to England with the same band and started to play gigs around London, that group was called The Londoners. We were then booked to play the Star Club in Hamburg, Germany. After spending six months in the Star Club we began playing all over Germany at different venues. Once again I returned to London with The Londoners and decided to change the name of the group to The Knack. The Knack was signed to several different labels and recorded several singles for Pye and Decca. A short while after, the psychedelic era started and once again I changed the name of the band to The Gun. The Gun started to slowly get noticed around the London clubs and by 1968 had their first hit record, that was "Race With The Devil". It went to number 4 in the English charts and number 1 in most European charts. The Gun recorded 2 albums "Gun" and Gunsight". In 1971 The Gun broke up and I started a group called Parrish & Gurvitz, which was produced by George Martin. There were two albums recorded but only one was released called "Parrish & Gurvitz". That band toured the US and the UK. At the same time I was recording with my brother Adrian with "Three Man Army". After Parrish & Gurvitz broke up Three Man Army became a touring band and recorded three albums in all, "A Third Of A Lifetime", "Mahesha" and "Three Man Army Two . Three Man Army was getting ready for a fourth album but the drummer (Tony Newman) was asked to join David Bowie. That left my brother and I with no drummer, but not long after we teamed up with Ginger Baker and started a new group. This was "The Baker Gurvitz Army". B.G.A. (as it was called) recorded the first album titled "Baker Gurvitz Army" and then took on two more members for touring. The second B.G.A. album recorded was "Elysian Encounter" and the third was "Hearts On Fire". During the recordings of B.G.A., my brother and I teamed up with the drummer of the "Moody Blues" Graeme Edge, and recorded two more albums. The band was called "The Graeme Edge Band". The first album was "Kick Off Your Muddy Boots" and the second was "Paradise Ballroom". In 1976 the manager of B.G.A. was killed in a plane crash and that was the end of "The Baker Gurvitz Army". Support the show (https://cash.app/$PrimitiveManSoundz ) Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Today's podcast features Maal The Pimp he is a rap artist, podcaster, Marketing & Promotion, In-House Studio Engineer, Booking Agent, & Road Manager. He has been through a lot in the music industry. Today we talk about his story with music and how he got into it. We also talk about making connections and relationships with people. He also talks about a new movie he was in called Too Much Sugar For A Dime (The Milwaukee Story). Lil Boosie is another artist that was in this movie with him as well. Find Maal The Pimp @YouTube @Pimpoholic TVInstagram @maalthepimpFacebook Maal The PimpFind all of our Invest In Yourself Clothing Platforms Clothing Website- https://iiyclothing.bigcartel.com/productsInstagram @iiy_clothing_podcastYouTube- Invest In Yourself ClothingTikTok- @iiyclothing Facebook- Invest In Yourself ClothingSnapchat- iiyc_2022Email- iiyclothing2020@gmail.comTwitter- @IIYClothing

Whats good your World and Welcome to week 44 of 52 of the Faith, Fitness and Flow Podcast. Please follow the new Instagram at www.instagram.com/faithfitnessandflowpodcastThis week is a follow up from last weeks episode and we want YOU to Reintroduce Yourself! As Royalty you have to get use to doing things a certain way but first you have to get familiar with a few things.Faith Report:Mr. ALL'N breaks down four elements to reintroduce yourself to now that you are Royalty.Fitness Report:Ms. Say Yes gives you 7 steps to help you slow down in your busy lifestyle.Flow Report:Author, Road Manager, Club owner Mr. Keith Kennedy is our honored Guest this week. Listen grab a pen and get ready to take notes cause this guest give you the "Rules to the Game"purchase you book Here.Support the show (https://www.patreon.com/alln247)

The crew sits down with the Road Manager for Gary Clark Jr. and the story's flow like the Lone Star beer!

He met Elvis while they were both in the Army stationed in Germany in 1959.  Joe says after a friend brougt him over to play a game of touch football at the barracks, they just clicked.  He just liked Elvis and the King liked him enough to ask Joe to work for him after they both got out of the Army.    Joe became Presley road manager handling every detail expertly at concerts and on movie sets.  Later he became Elvis's best man at his wedding.I met Joe at a State Fair where he was signing his book.  I bought one, introduced myself and asked him to be on the show....this is that interview.

Bushy and Metal Mike have an amazing guest for this episode! John Morris AKA Ducats of That Metal Station (Who is also the Co-Owner along with Metal Mike of TMS) was awesome enough to come on the show and tell us of his adventures and misadventures and even crazier experiences in the music industry! John informs us how he got his foot in the door by becoming an intern for Combat Records, which eventually led to him being hired by Senior Vice President of A&R for Roadrunner Records, Monte Conner, to manage the very first US tour for the legendary Sepultura! During this whole time Ducats was a Road Manager for Death, the previously mentioned Sepultura, as well as Faith Or Fear and a host of others. He was also a Tour manager for Ultimate Revenge 2, served as Road crew for a ton of other bands/artist and was a stage hand / manager for legendary L'Amour music venue in Brooklyn, New York! The tales that John told us are brutally honest and unfiltered just like the man himself and totally hilarious! We had so much fun doing this episode that Ducats has agreed to come back because he has a TON more stories to tell! If you are a Music Geek like Bushy and Metal Mike, then you will absolutely love the minutiae and behind the scenes insanity of the tales of debauchery with Ducats! You can check out Rehab with Ducats every Saturday 8 PM – 12 AM EST at www.thatmetalstation.com

Carmen Choney has been in the music business for over a decade and is one of the top contenders in her field. She has been the Road Manager for the likes of Aaron Pritchett, Chad Brownlee and currently Jess Moskaluke. She has been instrumental in entrenching the brand of MDM Recordings. one of the mainstay independent labels in Canadian Country.

Born and raised in the music industry, Nicole Barsalona is Founder of 525 Entertainment Group / Everyday Rebellion Entertainment, an artist management and consulting firm. Barsalona specializes in artist development and international market development for artists including Prateek Kuhad and Mark Wilkinson. A passionate advocate, Nicole proudly serves as President of Women in Music, where she has served on the Board of Directors since 2013, and on the Executive Board for the Music Managers Forum (US). Barsalona started her career at Steven Van Zandt's multi-media company, Renegade Nation, where a week-long temp gig turned into the most formative years of her career. Barsalona eventually she served as Chief of Staff and Director of Communications at Renegade Nation, and Road Manager to Van Zandt on tours with Bruce Springsteen & the E Street Band. Highlights of her work include the CBGB Forever campaign, stakeholder development for the Rock and Roll Forever Foundation, Super Bowl XLIII, and international affiliate acquisition for the Underground Garage. Hosted on Acast. See acast.com/privacy for more information.

Decidido, metódico y empoderado! Así es Gonçal Planas. Se define como apasionado por la música y se siente muy afortunado de vivir de ella y para ella. Inicia sus estudios de producción musical por allá en el año 99 y, en tiempo record se enrola a trabajar y girar con bandas, inicialmente como técnico de sonido. Su proactividad y compromiso en su trabajo, lo va llevando a desempeñar actividades de Productor y Road Manager y por ultimo a asumir el rol de Tour Manager con la reconocida banda Love of Lesbian, a quienes considera grandes amigos. Gonçal nos describe la relevancia y las áreas de incidencia del cargo de Tour Manager así como las responsabilidades y tareas que implica. También nos hace énfasis en que debemos aprender a sobrellevar los errores propios y del equipo de trabajo, así como la importancia de aprender de ello para preverlos y evitarlos a futuro. Dentro de las muchas funciones que destaca Gonçal de un Tour Manager, nos deja claro que la mas importante es velar por el bienestar de la banda, el que puedan descansar lo necesario, que las condiciones de hospitalidad sean las requeridas, alimentación… En fin todo aquello que redunde en beneficio del bienestar. Después de muchos años de pertenecer al back stage, Gonçal reúne a algunos de sus grandes amigos músicos y forma una banda en la que él es la voz líder, es así como nace «Mi Capitán». En este momento trabajan en su tercer álbum que será lanzado en 2020, con el que esperan seguir recogiendo los frutos de hacer música por pasión. Aunque sus dos primeros álbumes les han traído mucho «curro» y grandes satisfacciones, este próximo esperan gozarlo al máximo. «No me imagino un mejor trabajo que el de ser cantante» nos dice Gonçal al comparar su trabajo como Tour Manager con su faceta de Front Man. En fin, un nuevo episodio con un enriquecedor punto de vista de un nuevo invitado a la Comunidad. Mil gracias a Gonçal Planas por acompañarnos y a todos por escucharnos. Nos encontramos la próxima semana con un nuevo invitado, no olviden enviarnos sus comentarios, aportes, sugerencias… Chao Chaooo! El instagram de «Mi Capitan» es: micapitan_band Algunos de los amigos y referentes de Gonçal Planas en la escena Rock de España. https://www.efeeme.com/productores-musicales-ricky-falkner/ https://es.wikipedia.org/wiki/Sidonie https://es.wikipedia.org/wiki/Standstill La música de este podcast es creación de Jason Shaw de audionautix.com