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13 episodes with Robert Freeman
2 episodes with Robert Freeman
2 episodes with Robert Freeman
2 episodes with Robert Freeman
2 episodes with Robert Freeman
2 episodes with Robert Freeman
2 episodes with Robert Freeman
2 episodes with Robert Freeman
2 episodes with Robert Freeman
Robert Freeman est un magnat de l'immobilier au destin hors du commun. Dans un train filant à travers la nuit, il a une demande des plus singulières pour son fils adoptif, David Ford. Quels secrets se cachent derrière cette requête ? Des meurtres qui défient la raison, des enquêtes impossibles, ou encore des assassins imprenables : abonnez-vous pour ne rater aucun nouveau récit passionnant de Pierre Bellemare, pour qui l'art de conter n'avait aucun secret.
8/21/24: Larry Hott w/ Maggie Mailer: "How to Come Alive with Norman Mailer." Producer Robert Freeman & actor Jaris Hanson on the play "My Mama and the Full Scale Invasion." Brian Adams & ED Tim Johnson of Native Plant Trust. Dusty Christensen: Democratic Convention & Holyoke police dragnet?
This week's items slapped on the rock and roll barbecue and lightly grilled include … … why Eurovision will never avoid political controversy. … when AI does David Hepworth! … what's the secret of NTS radio? … “there are two types of wedding disco, ones that start with Abba's Dancing Queen and terrible ones.” … Tony Hall's prophetic preview of Revolver in May '66 – “they shatter convention and may well have a far-reaching effect on the whole future of music”. … when listening to the radio was a group activity. … Daniel Kramer, Dezo Hoffman, Robert Freeman, Anton Corbijn and other photographers who shaped the way music looked. ... the rogue punctuation of "Paint It, Black". … songs that start with the chorus. … Elvis's unrepeatable train journey from New York to Memphis in 1956. … “there's glass in the back of my head and my toenails don't fit properly” – Dylan's '66 London press conference. …. and hurry hurry hurry to Lot 71 in Danny Baker's record auction, a snip at only £70! Danny Baker's record auction …https://bid.omegaauctions.co.uk/auction/details/a230a-the-danny-baker-collection/?au=162&g=1Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
This week's items slapped on the rock and roll barbecue and lightly grilled include … … why Eurovision will never avoid political controversy. … when AI does David Hepworth! … what's the secret of NTS radio? … “there are two types of wedding disco, ones that start with Abba's Dancing Queen and terrible ones.” … Tony Hall's prophetic preview of Revolver in May '66 – “they shatter convention and may well have a far-reaching effect on the whole future of music”. … when listening to the radio was a group activity. … Daniel Kramer, Dezo Hoffman, Robert Freeman, Anton Corbijn and other photographers who shaped the way music looked. ... the rogue punctuation of "Paint It, Black". … songs that start with the chorus. … Elvis's unrepeatable train journey from New York to Memphis in 1956. … “there's glass in the back of my head and my toenails don't fit properly” – Dylan's '66 London press conference. …. and hurry hurry hurry to Lot 71 in Danny Baker's record auction, a snip at only £70! Danny Baker's record auction …https://bid.omegaauctions.co.uk/auction/details/a230a-the-danny-baker-collection/?au=162&g=1Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
This week's items slapped on the rock and roll barbecue and lightly grilled include … … why Eurovision will never avoid political controversy. … when AI does David Hepworth! … what's the secret of NTS radio? … “there are two types of wedding disco, ones that start with Abba's Dancing Queen and terrible ones.” … Tony Hall's prophetic preview of Revolver in May '66 – “they shatter convention and may well have a far-reaching effect on the whole future of music”. … when listening to the radio was a group activity. … Daniel Kramer, Dezo Hoffman, Robert Freeman, Anton Corbijn and other photographers who shaped the way music looked. ... the rogue punctuation of "Paint It, Black". … songs that start with the chorus. … Elvis's unrepeatable train journey from New York to Memphis in 1956. … “there's glass in the back of my head and my toenails don't fit properly” – Dylan's '66 London press conference. …. and hurry hurry hurry to Lot 71 in Danny Baker's record auction, a snip at only £70! Danny Baker's record auction …https://bid.omegaauctions.co.uk/auction/details/a230a-the-danny-baker-collection/?au=162&g=1Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Join your host Simon Lader as he looks back on some of the highlights of 2023: Tom Reilly discusses what makes a great CEO with Colin Powell (Ep. 107) Matthew Andriani explains how and why he transformed his services company into a software vendor (Ep. 126) Kev Eley highlights the differences between building a business in the US and in Europe (Ep. 122) Ian L. Paterson discusses how a CEO can successfully manage a team of people whose jobs (s)he has never done before Melissa Mitchell reveals why your online followers won't necessarily turn into paying customers (Ep. 124) Carsten Willems describes how he turned a solution to a problem into a scaling technology vendor (Ep. 118) Austin Armstrong explains how he exploded his social media presence in 2022 (Ep. 113) Laura Bell Main discusses how startups can successfully hire their first team members (Ep. 106) Brooke Young explains the difference between PR and Marketing (Ep. 105) Robert Freeman talking through his strategy to building a region from scratch (Ep. 110) Chen Burshan discusses why there are so many successful tech startups coming out of Israel (Ep. 129) Baber Amin explains the role of a Chief Product Officer and the function of a Product Team (Ep. 121) and finally Bob Ackerman explores what makes a great VC firm (Ep. 101) To learn more about any of my guests, listen to their episode, or click on their names to be taken to their LinkedIn profiles. YOUR HOST - SIMON LADER Simon Lader is the host of The Conference Room, Co-Founder of global executive search firm Salisi Human Capital, and lead generation consultancy Flow and Scale. Since 1997, Simon has helped cybersecurity vendors to build highly effective teams, and since 2022 he has helped people create consistent revenue through consistent lead generation. Get to know more about Simon at: Website: https://simonlader.com Twitter: https://twitter.com/simonlader LinkedIn: https://www.linkedin.com/in/headhuntersimonlader/ The Conference Room is available on Spotify Apple Podcasts Amazon Music iHeartRadio And everywhere else you listen to podcasts!
Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are -- our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over. If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability. The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie. Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th
In this week's episode we welcome cybersecurity sales leader Robert Freeman as we talk about sales, revenue growth and leadership in a hypergrowth cybersecurity startup. KEY TAKEAWAYS FROM THIS EPISODE Effective leadership involves uniting and motivating individuals towards a shared goal, understanding their motivations, and fostering good communication and positive culture. Leaders in startup environments need to be resourceful, adaptable, and able to wear multiple hats to navigate challenges and accommodate customer requests. Hiring individuals with startup experience is crucial, as they bring valuable skills and independence to thrive in a less structured environment. Identifying gaps and taking initiative to develop ideas or programs are key traits in startup leaders, who must constantly innovate and seize opportunities. The interview process for hiring salespeople is challenging, requiring a balance of assessing qualities like energy, enthusiasm, resilience, and adaptability to succeed in a demanding sales career. Robert Freeman Senior VP of Worldwide Sales at SafeBreach, is a highly experienced and results-oriented IT sales management professional. With over 20 years of expertise in managing high-growth environments, Robert has made significant contributions to renowned global vendors like Cisco, Imperva, and FireEye, as well as startups including Distil Networks and his current role at SafeBreach. Having graduated from the University of Massachusetts, Robert is responsible for scaling SafeBreach globally, leveraging his extensive sales and leadership career. His profound knowledge in cybersecurity and commitment to innovative solutions make him a valuable asset in the industry. YOUR HOST Simon Lader is the host of The Conference Room, Co-Founder of global executive search firm Salisi Human Capital, and podcast growth consultancy Viva Podcasts. Since 1997, Simon has helped cybersecurity vendors to build highly effective teams, and since 2022 he has helped people make money from podcasting. Get to know more about Simon at: Website: https://simonlader.com/ Make Money from Podcasting: https://www.vivapodcasts.com/podcastpowerups Twitter: https://twitter.com/simonlader LinkedIn: https://www.linkedin.com/in/headhuntersimonlader The Conference Room is available on Spotify, Apple Podcasts, Amazon Music, iHeartRadio and everywhere else you listen to podcasts! #RobertFreeman #CybersecuritySalesManagement #SafeBreach #Cybersecurity #ResultsOriented #GlobalExpansion #SalesLeadership #HighGrowthEnvironments #UniversityofMassachusetts #TechnologyExpertise #Startups #EmergingTechnologies #ScalingOperations #InnovativeSolutions #CybersecurityIndustry
Our second Gen Z panel discussion focuses on routes into employment in tech, equality of opportunity and changing expectations. Commenting on what they heard in the previous episode, and in conversation with members of Gen Z, are Dr Claire Thorne, co-CEO of Tech She Can, and technology journalist Robert Freeman.
Welcome to Gorilla Radio, recorded March 1st and 4th, 2023. Last month, Justice Paul Rouleau held his nose and blessed Justin Trudeau's invocation of the Emergencies Act to shut down the Ottawa Anti-Vaccine Mandate protest in 2022. This though none of the "tests" within the Act for doing so were met by the actions of 'Freedom Convoy'. And, though providing a post-imprimatur to the government's actions, even Rouleau says the means used to punish Canadians exercising their "democratic rights" to express political opposition to government policy, (like freezing bank accounts of participants' non-participating spouses) was "flawed", he provides no legal remedies. Ray McGinnis is an author and retired educator. He says he "became concerned" with the disconnect between mainstream media and alternative livestream coverage of the Freedom Convoy. He subsequently attended the Public Order Emergency Commission hearings for a week in Ottawa last November, and his article on the event and its aftermath, 'Commission Reveals that Trudeau Government Lied About Nature of Truckers Protests in Ottawa Last February to Justify Invocation of Emergencies Act' is published at CovertAction Magazine. Ray McGinnis in the first half. And; much has been made of the first anniversary of Russia's so-called "Special Operation" in Ukraine by the western press. Countless hours of television, and oceans of ink have been spilt to convince citizens in NATO nations of the righteousness of Kyiv's cause - and more importantly - of "our" noble motives in supplying its army with billions of dollars and an incomprehensible amount of high-tech weaponry. Robert Freeman is Founder and Executive Director of The Global Uplift Project. He's a past educator, and author of 'The Best One Hour History' series of books covering history from 'The Renaissance' and 'The Scientific Revolution' to 'The Protestant Reformation', 'French Revolution' and great wars of the last century. Robert's recent article, published at CommonDreams.org, 'Ukraine and the Tunnel at the End of the Light' is a hard-eyed assessment of both the disaster that is the Ukraine/Russia war, and the doomed political and economic dynamics behind the conflict. Robert Freeman and shedding the rosy aura around Ukraine's war prospects in the second half. But first, Ray McGinnis and the Freedom Convoy's hard-learnt lessons for Canadians. Song: After the Revolution (from the album Return) Artist: David Rovics Chris Cook hosts Gorilla Radio, broad/webcasting since 1999. Check out the Archive at Gorilla-Radio.com, GRadio.Substack.com, and the GR blog at: http://gorillaradioblog.blogspot.com/
Welcome to Gorilla Radio, recorded March 1st, 2023. Welcome back to GR, etc. Much has been made of the first anniversary of Russia's so-called "Special Operation" in Ukraine by the western press. Countless hours of television, and oceans of ink have been spilt to convince citizens of NATO nations of the righteousness of Kyiv's cause, and more importantly, our noble motives in supplying its army with billions of dollars and an incomprehensible amount of high-tech weaponry. In fact, Washington et al has invested so much in the successful outcome of the war - for now - officially accepting the effort has been a tragic folly is all but impossible; but, just off-camera, the reality chorus is growing more voluble. Robert Freeman is Founder and Executive Director of The Global Uplift Project. He's a past educator, and author of 'The Best One Hour History' series of books, covering history from 'The Renaissance' and 'The Scientific Revolution', to 'The Protestant Reformation', 'French Revolution', and the great wars of the last century. Robert's recent article, published at CommonDreams.org, 'Ukraine and the Tunnel at the End of the Light' is a hard-eyed assessment of both the disaster that is the Ukraine/Russia war, and the doomed political and economic dynamics behind the conflict. Today, Robert Freeman and shedding the rosy aura around Ukraine's war prospects. Chris Cook hosts Gorilla Radio, broad/webcasting since 1999. Check out the Archive at Gorilla-Radio.com, GRadio.Substack.com, and the GR blog at: http://gorillaradioblog.blogspot.com/
In this episode of The Walrus Was Paul, one of Canada's most talented and respected singer/songwriter/arrangers on the indy scene, Jose Contreras, talks with host Paul Romanuk about the 1963 Beatles record With The Beatles. Jose also talks about his band, By Divine Right, and their great new album Otto Motto.You can find out loads about By Divine Right by visiting their website or, better yet, their bandcamp page.Content Notes:At one point in the episode we talk about the cover By Divine Right did of the Depeche Mode album Speak and Spell, including their homage to the cover art. Here is the original cover art. Here is By Divine Right's version.We also refer to the cover of their newest album. Here is what it looks like. We also talk about the iconic cover art of With The Beatles, photographed by Robert Freeman.
What do you get when you mash up a fantasy novel with a detective yarn? Well, in the hands of Robert Freeman Wexler you'll end up with The Silverberg Business.
In our latest Plutopia News Network podcast, with guest Robert Freeman Wexler, we discuss his early career, his work in book design and his new novel, The Silverberg Business. Robert…
Robert Freeman Wexler discusses The Silverberg Business.
Parte final acerca de la biografía de los colaboradores de la banda, como Robert Freeman, fotógrafo de los Beatles; Victor Spinetti, actor; y Richard Lester, director de cine.
It's been thirty years since Robert Freeman's badly beaten body turned up in an Easton, Pennsylvania farm field, but it seems authorities are no closer to solving his murder. His sister has given everything to find his killer and bring them to justice. So we're diving in to uncover clues and bring attention to Robert's case. #Justice4RobertFreeman Today's episode is sponsored by MANSCAPED. Use our code CDP20 by June 23 for 20% off and free shipping!
Ep.105 features Frank Wimberley. His abstract painting is a continuous adventure. Born in 1926 in New Jersey, Wimberley currently divides his time between Corona, Queens, and Sag Harbor, New York. Wimberley is a well-known presence in the art scene on the Eastern End of Long Island and an important figure in African American art since the 1960s. Acclaimed for his dynamic, multi-layered, and sophisticated paintings, Wimberley is among the leading contemporary artists to continue in the Abstract Expressionist tradition. In 2013, Wimberley had a solo exhibition at Guild Hall Museum, East Hampton; in 2018, Wimberley was included in Acts of Art and Rebuttal, an exhibition revisiting the 1971 exhibition Rebuttal to the Whitney Museum Exhibition: Black Artists in Rebuttal at the Hunter College Art Galleries; and in 2021, Wimberley was included in Creating Community: Cinque Gallery Artists at the Art Students League, New York. Wimberley is included in numerous public and private collections, including the Art Institute of Chicago; Metropolitan Museum of Art; Smithsonian American Art Museum, Washington, D.C.; and the Studio Museum in Harlem, New York. In 1969, when few African American artists were able to exhibit their work, Wimberley was included in a group exhibition at CW Post College, in Brookville, New York. This constituted the first time he displayed his work publicly. However, in the next decade, he took advantage of many opportunities to display his art, participating in shows at The Hudson River Museum, Yonkers, New York (1971) and the Penthouse Gallery, Museum of Modern Art, New York (1972). His first solo exhibitions were in 1973, at The Black History Museum, Hempstead, New York, which opened in 1970 (now the African American Museum of Nassau County), and at Acts of Art Gallery, in downtown New York. Owned by artists Nigel L. Jackson and Pat Grey, the gallery was an important part of the Black Arts Movement in the 1970s. In 1974, Wimberley had solo shows at Union Theological Seminary, New York City, and again at Acts of Art, where he displayed collages, drawings, and paintings. In February 1979, he participated in a show at Guild Hall Museum of the Eastville Artists, an informal council of African American artists on Long Island's East End devoted to promoting the arts. Other members were Alvin Loving, Robert Freeman, Nanette Carter, and Gaye Ellington (Duke Ellington's granddaughter). Reviewing the show, Helen Harrison noted that Wimberley had “embraced a cool, formal vocabulary in his assemblages of paper and found objects.” She observed that several of the works included “scraps of used canvases, suggesting the rejection of a previous mode of expression.” She felt that Wimberley was searching “but cautiously.” That summer, when Wimberley was included in an exhibition at Peter S. Loonam Gallery in Bridgehampton, Harrison felt that his collages were “busier but just as controlled in their composition.” Frank had a solo exhibition at Duck Creek Art Center in May 2022 and recently had a solo exhibition of his collages at Berry Campbell. Paintings were recently acquired by the Studio Museum in Harlem and the Smithsonian Museum. Frank Wimberley is currently represented by the Berry Campbell gallery located in Chelsea, New York City. Please visit the gallery website for additional information and an expanded bio. Photo credit: Laurie Lambrecht Artist website https://www.frankwimberleyart.com/ Berry Campbell Gallery https://www.berrycampbell.com/artist/Frank_Wimberley/works/ Expanded Bio https://www.berrycampbell.com/artist/Frank_Wimberley/info/ ABC News https://abcnews.go.com/Lifestyle/artist-frank-wimberley-94-full-surprises/story?id=76184787 27east https://www.27east.com/arts/frank-wimberley-stratum-at-duck-creek-1931943/ Rafael Contemporary https://www.rafaelcontemporary.com/artists-frank-wimberley Wikipedia https://en.wikipedia.org/wiki/Frank_Wimberley
Here's the audio from the April 20, 2022 Fantastic Fiction at KGB reading series with guests Victor LaValle & Robert Freeman Wexler, and guest host Theresa DeLucci, recorded live at the KGB Bar. If you'd like to support our Fantastic... Continue Reading →
John Pearce speaks with author and historian Dr. Steven Elliott about Revolutionary War military housing strategies, and then chats with State Rep. Robert Freeman about the rich history of Easton.
In this episode, we look at the piece of technology that dominates our living spaces, and which is the focus of huge commercial, technical and creative energy.But what do we really even mean by the word “television” nowadays? Our host Louise Taggart finds out, in the company of Charlie Neuner, of PwC's extended reality team, and technology journalist and lecturer Robert Freeman.
As NorCal football begins to embark on Week 6, we've already reached the one-third marker of the season. Hosts Chace and Ben reflect on that a bit by naming which team has surprised them the most so far. Two of the more surprising teams — Monte Vista-Danville and El Cerrito — face off in a key matchup this week. That gave Ben, an El Cerrito graduate, a chance to return to his roots and visit a Gauchos practice. There he spoke with the team's outstanding defensive back duo of Robert Freeman and Warren Smith. And with Netflix releasing its first look at its series based on Colin Kaepernick's high school days (which enters Pitman High of Turlock into the Hollywood canon), it gave the hosts a fun talking point for Coach Terry Eidson's weekly visit. Eidson shared his memories of being part of the Hollywood process during the production and release of the movie "When The Game Stands Tall." Finally, the boys share thoughts on the teams they saw in person during Week 5, and go through their usual game picks for the upcoming week.
Vick Mickunas' 2021 interview with Robert Freeman Wexler
The research keeps pouring in from dozens of new studies showing that a vegan diet can supercharge your health! Dr. Robert Freeman explores a mountain of data from the past year that links a diet free of meat and dairy to lower rates of chronic illnesses such as heart disease, diabetes, and cancer. He joins “The Weight Loss Champion” Chuck Carroll to share the exciting findings, including a 37,000-person study about red meat and its potential for creating health challenges. Among the other studies discussed: - Vegan vs. keto diets - Olive oil - Diet soda - Cinnamon and blood sugar levels Plus, Chuck celebrates the 20th anniversary of the Food for Life program when he is joined by Jean Myers. Jean was ahead of the curve when it came to healthy eating. She adopted a vegetarian diet in 1984 and became vegan in 1997, long before the plant-based diet boom that would come nearly two decades later. She became a pioneer for what would become an award-winning nutrition education and cooking class that teaches an innovative approach to improving diet-related chronic diseases. Jean shares her motivation for going vegan, her experiences as an instructor, and the powerful story of one student whose health transformation was so dramatic that she will remember it for the rest of her life! — — — Food For Life Apply: https://bit.ly/FFL2021Apply — — — Dr. Andrew Freeman http://www.vegancardiologist.com Twitter: @heartcuredoc — — — Chuck Carroll IG: @ChuckCarrollWLC Twitter: @ChuckCarrollWLC Facebook: http://wghtloss.cc/ChuckFacebook — — — Washington Post Article Plant-Based Diet and Heart Disease https://wapo.st/3yWHazg — — — Barnard Medical Center Appointments https://bit.ly/BMCtelemed 202-527-7500 — — — Physicians Committee Twitter: @PCRM IG: @PhysiciansCommittee Facebook: https://wghtloss.cc/PCRMFacebook YouTube: https://bit.ly/PCRMYouTube — — — Share the Show Please subscribe and give the show a 5-star rating on Apple Podcasts, Spotify, or many other podcast providers. Don't forget to share it with a friend for inspiration!
Sometimes inspiration comes like a bolt from the blue. On this edition of Watching America, we hear the story of “acquired savant” Tony Cicoria, who became musically inspired after being struck by lightning. His story was was brought to public attention in the book, “Musicophilia: Tales of Music and the Brain,” by Oliver Sacks. We hear another inspirational musical tale from brothers James and Robert Freeman. They are musicians who come from a notably musical family. To honor their parents, the Freeman brothers commissioned 3 compositions to honor their parents, Henry and Florence Knope Freeman. The CD is titled “Three Tributes,” and the music is composed by Kevin Puts, Andrea Clearfield, and Gunther Schuller. You can find Cicoria’s “Notes From an Accidental Pianist,” which includes “Fantasia, the Lightning Sonata,” at https://music.apple.com/us/album/notes-from-an-accidental-pianist-and-composer/295902083 You can find “Three Tributes” at https://www.innova.mu/albums/james-and-robert-freeman/three-tributes
In this episode of the A-Z of Tech, we explore the wonderful innovations and technologies that are built on an open data platform.Our guests this month are Raspberry Pi senior developer Roger Thornton, journalist and lecturer Robert Freeman, and PwC Blockchain specialist Haydn Jones. With our hosts Shreya and Louise they discuss how open source software has encouraged a generation of young people to get hands-on with computers, the advances cryptocurrencies have made recently, and how open source intelligence can help solve and prevent crime.
11-23-2020 Robert Freeman
In this episode, our hosts Shreya and Louise are joined by Alex Wright from PwC's Strategy&, journalist and lecturer Robert Freeman, and Dr Chetna Kang, consultant psychiatrist at Nightingale Hospital, to look at the upsides and the downsides of mobile technology for the economy, for society, and for individuals.
Robert Freeman, musician and retired professor, weaves together a story of his love for his wife of 42 years, their 17 canine companions and his tenured career as an educator in his latest book, Woof! A Love Story of Dogs, Music, and Life. Robert was a music school director when he fell in love with his assistant, Carol. Throughout their union they created a loving home for 17 dogs, all of which are featured through striking photography between the covers of Woof! This book is a celebration of true love between people and between people and animals. It relates the eternal truth that the world would be a better place if everyone simply took good care of each other. Robert Freeman is a musicologist, Steinway artist, and a professional musician. Over the 42 years of marriage to his wife, Carol, he has been the proud master of 17 dogs, 11 of them golden retrievers, six of them American dogs. Having made tenure at MIT, he directed the Eastman School of Music for 24 years, presided over the New England Conservatory for three, and served as dean of the College of Fine Arts at the University of Texas in Austin for seven. He is also the author of the highly praised The Crisis of Classical Music in America. For the Eastman School's website honoring Freeman, please visit https://www.esm.rochester.edu/freeman/.
In this episode, Paul revisits with two engineering students, Hooman Kasraei and Robert Freeman, who reflect upon the past couple months of adjusting to life during the early stages of the coronavirus pandemic. If you want to hear their initial thoughts from a couple months earlier when the university suddenly shifted to remote instruction, check out Episode 11. Have comments about this episode? Send your feedback to TESEpodcast@gmail.com and Paul will personally read your email. Episode edited by Paul Nissenson. Recorded on May 22, 2020 via Zoom.
In this special episode, Paul interviews two undergraduate engineering students (Hooman Kasraei and Robert Freeman) who discuss what it's been like to make the sudden transition to online instruction due to the COVID-19 pandemic. Have comments about this episode? Send your feedback to TESEpodcast@gmail.com and Paul will personally read your email. Episode edited by Paul Nissenson. Please excuse the audio quality... we didn't have access to our normal recording equipment. This episode was recorded on March 24, 2020.
Un día como hoy, pero de 1964, se pone a la venta el ’Meet The Beatles’. Fue el primer álbum del grupo editado en E. U. por el sello Capitol Records, antes de que The Beatles viajaran por primera vez al continente Americano. La portada del disco ofrecía la misma foto en blanco y negro de Robert Freeman que la que mostraba el segundo álbum oficial del grupo editado en el Reino Unido, titulado ’With the Beatles’.
Un día como hoy, pero de 1964, se pone a la venta el ’Meet The Beatles’. Fue el primer álbum del grupo editado en E. U. por el sello Capitol Records, antes de que The Beatles viajaran por primera vez al continente Americano. La portada del disco ofrecía la misma foto en blanco y negro de Robert Freeman que la que mostraba el segundo álbum oficial del grupo editado en el Reino Unido, titulado ’With the Beatles’.
Zoals altijd staan we begin januari stil bij de Beatles-gerelateerde sterfgevallen van het jaar ervoor. Oa. Hal Blaine, Peter Sissons, Robert Freeman en Neil Innes ontvielen ons in 2019. En als extraatje kijken we naar de prestaties van onze helden in 'de lijst der lijsten', de Top 2000!
Alternative Beatles researchers Matt Sergiou and Desiree Hall rejoin host Mark Devlin for the second instalment of roundtable chats exploring occult and conspiratorial aspects of the most fascinating pop group of them all.Up for discussion this time around are the 50th anniversary of the release of ‘Abbey Road’ and the ‘Paul Is Dead’ rumours, the deaths of George Harrison and John Lennon, plus the recent passing of Robert Freeman, the photographer responsible for some of the Beatles’ most iconic and symbolic record sleeves.
Marco invited back his friend and PPN co-founder Scott Bourn to the traditional “end of the year in front of the virtual fireplace” Camera and Inspiration episode. And as this is also the last show of the decade, they look back at the past ten years and how it has influenced the world of photography. This show is sponsored by COSYSPEED: http://bit.ly/STREETOMATIC COSYSPEED Lens Pouche Indigogo campaign: http://bit.ly/fundlenspouch Inspirational photographer of the month: Scott picked Japanese photographer Hiroshi Sugimoto (born 1948 in Tokyo). Scott is particularly impressed with the Diorama photography that Hiroshi Sugimoto creates. It is a great example that there are many different areas in photography away from the very common themes that are worth exploring and that can lead to an excellent portfolio and make a photographer famous in a niche genre, too. Sugimoto has more work that is worth exploring and he has won many international photo awards and exhibited his work around the world. You can find out more about Hiroshi Sugimoto by visiting his website: https://www.sugimotohiroshi.com Here is a video interview where Hiroshi Sugimoto talks about his diorama work: https://youtu.be/q9GiyPbLYPg What has happened in the past decade of photography? Some of the important photographers that have passed away in the past decade: Robert Frank 1924-2019 - 94- Swiss / American Photographer. He was working for Life, Vogue and Fortune Magazine. In 1955 he received a Guggenheim grant that allowed him to do a social documentary in the USA for 2 years. Frank took 28.000 images during this time and 83 of these images were curated and published in the book “The Americans” that turned out to be the most important photo documentary of the 1950s in the US. Peter Lindbergh (1944-2019) - He was a German fashion photographer. His image of five young models in downtown NY made the cover of the British Vogue in 1990. This started a new Zeitgeist in fashion photography after the high-gloss and make-up overkill era of the 1980s. He created a new understanding of female beauty with his black and white raw and alluring film images. Fred Herzog (1930-2019) - He was a documentary photographer who was born in Germany and migrated to Vancouver Canada in 1953 where he documented the seemingly unspectacular everyday life of the city with his Leica on Kodachrome film. Terry O’Neill (1938-2019) - He was a British celebrity photographer - He documented celebrities like the Beatles, the Rolling Stones, David Bowie, Elton John and so on. And he did it mainly in a candid photography style. Robert Freeman (1936-2019) - He was also a British photographer who is known as the Beatles photographer. Ara Güler (1928-2018) - Ara was probably the most influential Turkish photographer so far. He was also a Magnum photographer that traveled the world and captured many amazing images with his analog camera on B&W film. But most of his work portraits his home town Istanbul - his portfolio is an amazing visual history of this city. His nickname was the Eye of Istanbul. https://www.magnumphotos.com/newsroom/ara-guler-1928-2018/ Ren Hang (1987-2017) - He is regarded as a controversial Chinese photographer who was known for taking nude portraits of his friends. But he suffered from depression and took his life at age 29. His work is currently exhibited at the ℅ Berlin photo gallery it runs until February 29th, 2020. Ben Martin (1930-2017) - He was a staff photographer for TIME and LIFE magazine who covered many memorable events like presidential debates between Nixon and Kennedy, JFK’s funeral, and Dr. Martin Luther King Jr.’s civil rights events. Pete Turner (1934-2017) - He was one of the first masters of color photography. He started to experiment with colors as a teenager and his work merged the lines between art and commercial photography. He loved breaking the rules and this made him one of the most influential photographers of all time. Some of his stunning color photos can be seen in the book Color of Jazz. His most famous photo shows a giraffe silhouette with a bright red sky and purple ground. Mary Ellen Mark (1940-2015) - She was a US photojournalist and Magnum member. She focused most of her work showing people who lived at the fringes of society. Her images display the empathy that she must have felt for her subjects. Saul Leiter (1923-2013) - He was a US photographer and painter. His street photos of New York are beautifully captured and many resemble the look of a beautiful painting. There are countless more amazing photographers that we did not cover here - many not as famous as they would have deserved to be but that have created amazing work. And we’ll continue to pick one photographer on each PPN Camera and Inspiration show in the future. But if you want to share other photographers that you feel very strongly about just add that photographers' name with a quick explanation of what you like about his or her work to the show notes below. Inspirational Photo Book Pick of the Month: “Born Free and Equal - The Story of Loyal Japanese Americans ” by Ansel Adams. An overview from the publisher: “On February 19, 1942, U.S. presidential order forcibly removed more than 110,000 persons from their homes to one of ten "war relocation centers" across the country. All were of Japanese ancestry, but two-thirds were American citizens. Ralph Merritt, then director of Manzanar War Relocation Center, asked friend Ansel Adams to photograph the center, set against the remote mountains of California's Sierra Nevada. The resulting effort, Born Free and Equal: The Story of Loyal Japanese Americans, written and photographed by Adams, was released in 1944 to the American public as a book and exhibit at the Museum of Modern Art in New York. Reeling from the impact of the bombing of Pearl Harbor and unable to make the distinction between American citizens of Japanese ancestry and the Japanese enemy of war, Adams' message was essentially lost on the American public.” The book is published by: Spotted Dog Press 128 Pages Amazon US: https://www.amazon.com/Born-Free-Equal-Japanese-Americans/dp/1893343057 Links to Scott Bourne: Web: https://scottbourne.online Instagram: https://www.instagram.com/bourne.scott/ Facebook: https://www.facebook.com/scottbourne Twitter: https://twitter.com/scottbourne Podcast: https://picturemethods.com/category/podcasts/ Links to Marco Larousse: Web: www.MarcoLarousse.com Twitter: @HamburgCam Instagram: https://www.instagram.com/marco.larousse/ Facebook: https://www.facebook.com/MarcoLarousse1 Workshops: https://www.marcolarousse.com/street-photography-workshops/ Links to PPN: Web: www.PhotoPodcasts.com or PPN.fm Twitter: @Photopodcasts Facebook: https://www.facebook.com/photopodcasts/ YouTube: http://www.youtube.com/c/PPNPhotoPodcastNetwork Apple Podcasts: http://bit.ly/ppn-apple-podcasts Google Podcasts: http://bit.ly/PPN-GooglePodcast Spotify: http://bit.ly/PPN-fm Please support our show by using our B&H affiliate link (click here) or Amazon Germany link (click here) that will not cost you a penny more than when you are buying at B&H or Amazon without our link. Check out the Skylum LUMINAR software: Link: http://bit.ly/PPN-Luminar3 (use the discount code “PHOTOPODCASTS” at checkout for extra savings) And please share this podcast with your friends and subscribe via Apple podcasts, Google Podcasts, or search for “PPN” in your favorite podcast app. We would also love to get your feedback. Is there anything that you want us to cover on the show in the future? And we would appreciate if you could take a short moment to rate or post a quick review for our shows on iTunes. About this show: On the monthly “Camera and Inspiration” podcast show of the PPN - Photo Podcast Network, Marco and usually a guest discuss the essence of photography and how to photograph with more intent. Determining the “why” before the “how” in photography is essential to understanding your subject better and create stronger images. In each episode, they introduce you to an inspirational photographer of the month and also share an inspirational photo book of the month.
Alternative Beatles researchers Matt Sergiou and Desiree Hall rejoin host Mark Devlin for the second instalment of roundtable chats exploring occult and conspiratorial aspects of the most fascinating pop group of them all.Up for discussion this time around are the 50th anniversary of the release of ‘Abbey Road’ and the ‘Paul Is Dead’ rumours, the deaths of George Harrison and John Lennon, plus the recent passing of Robert Freeman, the photographer responsible for some of the Beatles’ most iconic and symbolic record sleeves.
Part 2' of the podcast series… Mark, Desiree and myself look back at the creations of Robert Freeman, the English photographer who died this year aged 82, and who'd shot many of The Beatles' earliest album-covers, two of which have caught the attention of occult-clue watchers, those being 1963's ‘With The Beatles' (what with its ‘one-eye / black-white duality'), and 1965's soundtrack to the movie of the same name, ‘Help!', featuring all four Beatles dressed in skiing gear and standing with their arms positioned in Aleister Crowley-esque fashion, you might think. Recorded and released in December 2019, ‘edition 2' of this Magical Mystery Talk podcast comes to you twenty years to the month since an attempt on George Harrison's life was made when a ‘crazed' intruder came into his stately home in Friar Park, England, and stabbed the ex-Beatle repeatedly in the lung. As you'll hear during my chat with Mark and Desiree, this was by no means the first time he'd been the focus of threats of violent intent – and as recently de-classified FBI files will attest to. We also discuss the idea that the attacker, Michael Abram – who is said to have been suffering from delusions that The Beatles were witches when he invaded Harrison's home – was yet another mind-controlled puppet same as Lennon's assassin, Mark David Chapman. Other timely topics discussed during the second edition of this podcast include the 52nd anniversary of the screening on British TV of The Beatles' film, ‘Magical Mystery Tour,' the 39th of John's shooting, and the 50th of the ‘Abbey Road' album which was re-issued this year as a box-set to mark this, and that was named after the road where it was recorded, situated in St. John's Wood, a West London district with Freemasonic connections. This podcast was recorded, December 2nd 2019… The Help! / Crowley-esque cover can be seen here: https://theoccultbeatles.files.wordpress.com/2019/12/92gdp7v25tby_640x360.jpg My site, The Occult Beatles: https://theoccultbeatles.wordpress.com/ Check out Desiree's blog here: https://thenumbernineblog.wordpress.com/ More from Mark Devlin here: https://djmarkdevlin.blogspot.com/?m=1
Part 2' of the podcast series… Mark, Desiree and myself look back at the creations of Robert Freeman, the English photographer who died this year aged 82, and who'd shot many of The Beatles' earliest album-covers, two of which have caught the attention of occult-clue watchers, those being 1963's ‘With The Beatles' (what with its ‘one-eye / black-white duality'), and 1965's soundtrack to the movie of the same name, ‘Help!', featuring all four Beatles dressed in skiing gear and standing with their arms positioned in Aleister Crowley-esque fashion, you might think. Recorded and released in December 2019, ‘edition 2' of this Magical Mystery Talk podcast comes to you twenty years to the month since an attempt on George Harrison's life was made when a ‘crazed' intruder came into his stately home in Friar Park, England, and stabbed the ex-Beatle repeatedly in the lung. As you'll hear during my chat with Mark and Desiree, this was by no means the first time he'd been the focus of threats of violent intent – and as recently de-classified FBI files will attest to. We also discuss the idea that the attacker, Michael Abram – who is said to have been suffering from delusions that The Beatles were witches when he invaded Harrison's home – was yet another mind-controlled puppet same as Lennon's assassin, Mark David Chapman. Other timely topics discussed during the second edition of this podcast include the 52nd anniversary of the screening on British TV of The Beatles' film, ‘Magical Mystery Tour,' the 39th of John's shooting, and the 50th of the ‘Abbey Road' album which was re-issued this year as a box-set to mark this, and that was named after the road where it was recorded, situated in St. John's Wood, a West London district with Freemasonic connections. This podcast was recorded, December 2nd 2019… The Help! / Crowley-esque cover can be seen here: https://theoccultbeatles.files.wordpress.com/2019/12/92gdp7v25tby_640x360.jpg My site, The Occult Beatles: https://theoccultbeatles.wordpress.com/ Check out Desiree's blog here: https://thenumbernineblog.wordpress.com/ More from Mark Devlin here: https://djmarkdevlin.blogspot.com/?m=1
Today's guest is Robert Freeman
200301 Robert Freeman - The Crisis Of Classical Music In America by Richard Dugan
Alternative Beatles researchers Matt Sergiou and Desiree Hall rejoin host Mark Devlin for the second instalment of roundtable chats exploring occult and conspiratorial aspects of the most fascinating pop group of them all.Up for discussion this time around are the 50th anniversary of the release of ‘Abbey Road’ and the ‘Paul Is Dead’ rumours, the deaths of George Harrison and John Lennon, plus the recent passing of Robert Freeman, the photographer responsible for some of the Beatles’ most iconic and symbolic record sleeves.
Alternative Beatles researchers Matt Sergiou and Desiree Hall rejoin host Mark Devlin for the second instalment of roundtable chats exploring occult and conspiratorial aspects of the most fascinating pop group of them all.Up for discussion this time around are the 50th anniversary of the release of ‘Abbey Road’ and the ‘Paul Is Dead’ rumours, the deaths of George Harrison and John Lennon, plus the recent passing of Robert Freeman, the photographer responsible for some of the Beatles’ most iconic and symbolic record sleeves.
Remembering Peter Collier, Zeke Bratkowski, Maria Perego, Robert Freeman, Bob Norris Peter Collier was the activist turned author who began his life as a radical and then converted to an anti-radical stance. Along with his colleague David Horowitz, he wrote about the destructive consequences of the 1960’s as well as biographies of the Fords, Kennedys, and Rockefellers. Zeke Bratkowski was the back-up quarterback to Bart Starr on the legendary green Bay Packer teams of the 1960’s. Maria Perego was the Italian puppeteer who created Topo Gigio, the mouse who enchanted millions on The Ed Sullivan Show. Robert Freeman was the photographer who created the memorable photo that served as the cover of “Meet The Beatles”, the group’s introductory album in the United States in 1964. Bob Norris was the model for one of the most successful advertising campaigns in history, “The Marlboro Man.”
Robert Freeman, un afamado fotógrafo, falleció la semana pasada y para recordarlo, George Harrison posteó en su cuenta de twitter una muy bonita postal de Robert y Ringo.
Robert Freeman, un afamado fotógrafo, falleció la semana pasada y para recordarlo, George Harrison posteó en su cuenta de twitter una muy bonita postal de Robert y Ringo.
Part two of our special Veterans Day episode with author of Saints at War Robert C Freeman. www.saintsatwar.com
Marcelo Figueras sobre la muerte de Robert Freeman, el hombre detrás de las fotos más icónicas de Los Beatles en #HabráConsecuencias #HabraConsecuencias La información de primera mañana que necesitás para empezar el día, con un poco de rock y mucha profundidad. Ariel Lijalad conduce acompañado por su gran equipo: Horacio Verbinsky, Marcelo Figueras, Flor Alcaraz, Nico Lantos y el gran Tucu. Lunes a viernes de 7 a 10 hs. Escúchanos en eldestaperadio.com
In this episode Kirk and Kevin Weber discuss Disney+, Robert Freeman and the Beatles, and the 2020 Modern Era Baseball Hall of Fame Ballot. Please follow them on Twitter @doubletakecast, facebook.com/doubletakecast, Instagram, email them at doubletakefeedback@gmail.com or send a voice message at Anchor.fm. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/double-take-podcast/message Support this podcast: https://anchor.fm/double-take-podcast/support
Maria chats with musician and retired professor Robert Freeman about his book "Woof! A Love Story of Dogs, Music, And Life" We learn about his life with 17 dogs, his love of classical music, and more! @AdoptDontShop
191020 Robert Freeman - WOOF by Richard Dugan
We don't realize that we are negotiating all day, everyday. Most of us just kind of fly by the seat of our pants and hope for the best. Stress often comes when we fail to get what we need and feel frustrated when we find ourselves behind the 8 ball. In this episode, Dr Janeshak talks with Robert Freeman attorney and Judge about how to negotiate with a plan. In this episode Mr Freeman gives you his 5 Pillars of Negotiating Like an Attorney. Get our your pencils, you'll want to take notes on this one.
On tap this week are friends from the Indiana Fiddlers’ Gathering, coming this weekend, June 28th– 30th in Battle Ground, Indiana. With me are Karah Rawlings, Executive Director of Indiana Fiddlers’ Gathering, and board president Cliff Harrison, as well as members of the Bum Ditty Barn Dance Band, who will be performing at the festival. Included in the band are Cliff Harrison, Robert Freeman, and Jesse Danner. We hear two numbers from Bum Ditty Dance Band and hear about the upcoming Fiddlers’ Gathering, opportunities for visiting the festival, volunteering, and participating as part of the fiddlers community.
Gestur þáttarins að þessu sinni er rithöfundurinn Eiríkur Örn Norðdahl sem sendi nýlega frá sér skáldsöguna Hans Blær. Eiríkur býr á Ísafirði, hlustar á rokk, spilar á gítar og hefur meira að segja smíðað gítar. Hann mætir með uppáhalds ROKKplötuna um klukkan 21.00 Plata þáttarins er önnur breiðskífa Bítlanna, With the Beatles sem kom út 22. nóvember 1963 - fyrir 55 árum, en þennan dag 1963 settist platan í toppsæti breska vinsældalistans og sat á toppnum í 21 viku í röð. Og það sem meira er, hún stal toppsætinu frá fyrstu plötu Bítlanna; Please Please Me sem hafði verið á toppnum frá því hún kom út 30 vikum fyrr. Platan hefur að geyma 8 lög eftir Lennon & McCartney, og fyrsta lag George Harrison sem er að finna á Bítlaplötu; lagið Don´t bother me sem er lag númer fjögur á A-hliðinni. Þar fyrir utan eru svo sex önnu rög eftir aðra en hljómsveitina, Motown, R&B og rokk-slagara eftir aðra sem þeir Bítlar héldu uppá. Umslag plötunnar sýnir andlit Bítlanna hvít á svörtum grunni og hefur verið mörgum hljómsveitum síðan innblástur fyrir myndatökur. Myndina tók tískuljósmyndari sem heitir Robert Freeman. With the Beatles er önnur plata sögunnar til að seljast í milljón eintökum í Bretlandi. Sú fyrsta sem það gerði var tónlistin úr kvikmyndinni South Pacific. Óskalagasíminn verður opnaður (5687-123) um kl. 20; GARG-fréttir eru á sínum stað og A+B er svo að þessu sinni með hljómsveitinni Þeyr. Lagalisti kvöldsins: Dimma - Í auga stormsins The White Stripes - Icky thump Slaves - Magnolia Shame - One rizla The Darkness - Christmastime (Don´t let the bells end) THe Hellacopters - I´m in the band The Beatles - It won´t be long (plata þáttarins) The Ramones - Rockaway beach Godchilla - Hannigan´s mannequin SÍMATÍMI Kul - Brop your head The Beatles - All my loving (plata þáttarins) Rolling Blackouts Coastal Fever The Buzzcocks - Ever fallen in love (With someone...) (óskalag) Greta Van Fleet - The cold wind Pink Street Boys - Blast off (óskalag) GARGFRÉTTIR Black Sabbath - NIB Nightwish - Phantom of the opera (óskalag) Bubbi - Þú mátt kalla það ást The Beatles - Don´t bother me (plata þáttarins) EIRÍKUR ÖRN NORÐDAHL - GESTUR ÞÁTTARINS AC/DC - Rising power Eiríkur Örn II Guns´n Roses - My Michelle Eiríkur Örn III Guns´n Roses - Nightrain Blue October - Hate me (óskalag) A+B Þeyr - Life transmission (A) Þeyr - Heima er best (B) Saxon - Strong arm of the law (óskalag) The Beatles - PLease mr. Postman (plata þáttarins) Deila á Facebook
Gestur þáttarins að þessu sinni er rithöfundurinn Eiríkur Örn Norðdahl sem sendi nýlega frá sér skáldsöguna Hans Blær. Eiríkur býr á Ísafirði, hlustar á rokk, spilar á gítar og hefur meira að segja smíðað gítar. Hann mætir með uppáhalds ROKKplötuna um klukkan 21.00 Plata þáttarins er önnur breiðskífa Bítlanna, With the Beatles sem kom út 22. nóvember 1963 - fyrir 55 árum, en þennan dag 1963 settist platan í toppsæti breska vinsældalistans og sat á toppnum í 21 viku í röð. Og það sem meira er, hún stal toppsætinu frá fyrstu plötu Bítlanna; Please Please Me sem hafði verið á toppnum frá því hún kom út 30 vikum fyrr. Platan hefur að geyma 8 lög eftir Lennon & McCartney, og fyrsta lag George Harrison sem er að finna á Bítlaplötu; lagið Don´t bother me sem er lag númer fjögur á A-hliðinni. Þar fyrir utan eru svo sex önnu rög eftir aðra en hljómsveitina, Motown, R&B og rokk-slagara eftir aðra sem þeir Bítlar héldu uppá. Umslag plötunnar sýnir andlit Bítlanna hvít á svörtum grunni og hefur verið mörgum hljómsveitum síðan innblástur fyrir myndatökur. Myndina tók tískuljósmyndari sem heitir Robert Freeman. With the Beatles er önnur plata sögunnar til að seljast í milljón eintökum í Bretlandi. Sú fyrsta sem það gerði var tónlistin úr kvikmyndinni South Pacific. Óskalagasíminn verður opnaður (5687-123) um kl. 20; GARG-fréttir eru á sínum stað og A+B er svo að þessu sinni með hljómsveitinni Þeyr. Lagalisti kvöldsins: Dimma - Í auga stormsins The White Stripes - Icky thump Slaves - Magnolia Shame - One rizla The Darkness - Christmastime (Don´t let the bells end) THe Hellacopters - I´m in the band The Beatles - It won´t be long (plata þáttarins) The Ramones - Rockaway beach Godchilla - Hannigan´s mannequin SÍMATÍMI Kul - Brop your head The Beatles - All my loving (plata þáttarins) Rolling Blackouts Coastal Fever The Buzzcocks - Ever fallen in love (With someone...) (óskalag) Greta Van Fleet - The cold wind Pink Street Boys - Blast off (óskalag) GARGFRÉTTIR Black Sabbath - NIB Nightwish - Phantom of the opera (óskalag) Bubbi - Þú mátt kalla það ást The Beatles - Don´t bother me (plata þáttarins) EIRÍKUR ÖRN NORÐDAHL - GESTUR ÞÁTTARINS AC/DC - Rising power Eiríkur Örn II Guns´n Roses - My Michelle Eiríkur Örn III Guns´n Roses - Nightrain Blue October - Hate me (óskalag) A+B Þeyr - Life transmission (A) Þeyr - Heima er best (B) Saxon - Strong arm of the law (óskalag) The Beatles - PLease mr. Postman (plata þáttarins) Deila á Facebook
While visiting an Anti Bullying Seminar for kids, Kenny got to chat with the owner of O.C. Kickboxing and former K1 Kickboxer Robert Freeman & the 2nd in command at the Orange County Sheriff's Department, Under Sheriff Don Barnes. Robert discusses his early years of being bullied, school transitions and fighting while Under Sheriff Barnes discusses his perspective on kids who are bullied and the bullys themselves.
While visiting an Anti Bullying Seminar for kids, Kenny got to chat with the owner of O.C. Kickboxing and former K1 Kickboxer Robert Freeman & the 2nd in command at the Orange County Sheriff's Department, Under Sheriff Don Barnes. Robert discusses his early years of being bullied, school transitions and fighting while Under Sheriff Barnes discusses his perspective on kids who are bullied and the bullys themselves.
The WIN Job Center and their employment experts are resources that provide job placement assistance, job and skill training, priority services for veterans, career counseling and referral to many other valuable services. Guests:Daphne James and Robert Freeman http://mdes.ms.gov/win-job-centers/ See acast.com/privacy for privacy and opt-out information.
In this episode of Life In Accounting: The Where Accountants Go podcast, we speak with Dena Jansen, CPA who candidly shares from her heart what she has learned as she has grown throughout her career from her first internship with Arthur Anderson to beginning her own business, which allows her to follow her dream of encouraging and inspiring others, igniting their curiosity, and arming them with confidence. Things Worth Looking For Dena started her career while still in college – she's always worked. She graduated college and began working with a local firm who she connected with by way of one of her professors, Dr. Robert Freeman, with whom she worked as a graduate assistant. She enjoyed the government accounting and it was flexible enough to allow her to study for the CPA exam. When they left Lubbock, Dena joined Deloitte and she continued to grow. An interesting thing that she learned was that she really loves and enjoys people. She also learned that you need to find a niche early in your career, along with the importance of finding out who the other experts are. Dena will tell you that she was very fortunate to be surrounded by accomplished and supportive women who demonstrated positive ways to balance work and home life. The Partner Life Dena left Deloitte and joined Maxwell, Locke, & Ritter (MLR) because she was ready for something new and different. She began serving not-for-profit clients quickly after joining the firm. She agreed to become a partner after three years and loved every minute of it. She did some soul searching before accepting the role. She talked to people and she asked many questions. She felt safe and supported by the other partners in the group and so she felt it was the right move. At MLR they believe that you should do what you are best at, so one partner's day may look completely different from another partner's day. Accounting is built on trust so we need to have the technical competencies established, but we must always honor that it truly is a people business. We should spend time building people and managing relationships with our teams, our clients, and new prospects. Networking for Introverts Build your network one by one. Go in with a goal and meet one person. Make one quality connection at a time, and your network will grow. To connect with Dena, visit www.DenaJansen.com To listen in on this interview with Dena Jansen, please use the player below:
We begin this week with a little tech talk around monitors. Is 4K the way to go, or is an ultrawide 1080 the better play? In the end it's just pixels, but most photographers want as many as they can get. We also talk about elevating photography into an art form, exemplified by the career of John Szarkowski, an iconic photo curator who recently passed away. Plus, what makes a portrait? Robert Freeman is our Photographer of the Week.
We begin this week with a little tech talk around monitors. Is 4K the way to go, or is an ultrawide 1080 the better play? In the end it’s just pixels, but most photographers want as many as they can get. We also talk about elevating photography into an art form, exemplified by the career of John Szarkowski, an iconic photo curator who recently passed away. Plus, what makes a portrait? Robert Freeman is our Photographer of the Week.
We Join our hosts as they change their mind, for good reason, and review number 3 on RollingStone Magazines Top 500 Albums of all time list: The Beatles “Revolver”, while they Just scratch the surface on little more Paul is Dead talk, compare the Beatles to the Rolling Stones and more! Visit www.MusicByNumber.com for social networking links, Events, Host Bios, the Smk Signals Podcast Network and more. ABOUT THE ALBUM Released: 5 August 1966 Recorded: 6 April – 21 June 1966 Studio EMI Studios, London Genre Rock pop psychedelic rock Length 34:43 Label Parlophone Capitol Producer: George Martin The cover for Revolver was created by German-born bassist and artist Klaus Voormann, one of the Beatles' oldest friends from their time in Hamburg during the early 1960s. Voormann's artwork was part line drawing and part collage, using photographs taken over 1964–65 by Robert Freeman and others by Robert Whitaker. The following track listing is for the original UK release, whereas the US edition omitted "I'm Only Sleeping", "And Your Bird Can Sing" and "Doctor Robert", all of which had appeared on the North American release Yesterday and Today. The 1987 CD release, the 2009 remastered CD release, and all subsequent LP re-releases conformed with the full, fourteen-song order. All tracks written by Lennon–McCartney, except tracks with * by George Harrison. Side one No. Title Lead vocals Length 1. "Taxman" (*) Harrison 2:39 2. "Eleanor Rigby" McCartney 2:06 3. "I'm Only Sleeping" Lennon 3:00 4. "Love You To" (*) Harrison 2:59 5. "Here, There and Everywhere" McCartney 2:25 6. "Yellow Submarine" Starr 2:41 7. "She Said She Said" Lennon 2:37 Side two No. Title Lead vocals Length 1. "Good Day Sunshine" McCartney 2:08 2. "And Your Bird Can Sing" Lennon 2:00 3. "For No One" McCartney 2:00 4. "Doctor Robert" Lennon 2:14 5. "I Want to Tell You" (*) Harrison 2:29 6. "Got to Get You into My Life" McCartney 2:29 7. "Tomorrow Never Knows" Lennon 2:57 PERSONNEL According to Mark Lewisohn and Ian MacDonald: The Beatles John Lennon/Paul McCartney/George Harrison/Ringo Starr Additional musicians and production George Martin – producer; mixing engineer; piano on "Good Day Sunshine" and "Tomorrow Never Knows"; Hammond organ on "Got to Get You into My Life"; tape loops of the marching band on "Yellow Submarine" Anil Bhagwat, Alan Civil, Geoff Emerick, Mal Evans, Neil Aspinall, Brian Jones, Pattie Boyd, Marianne Faithfull, Alf Bicknell, Tony Gilbert, Sidney Sax, John Sharpe, Jurgen Hess, John Underwood, Derek Simpson, Norman Jones – cellos, Eddie Thornton, Ian Hamer, Les Condon; Peter Coe, Alan Branscombe orchestrated and conducted by George Martin (with Paul McCartney) http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/the-beatles-revolver-20120524 https://en.wikipedia.org/wiki/Revolver_(Beatles_album) www.thebeatles.com Album, news reportage, and other audio clips utilized with regard to fair use under criticism and review for the purpose of education with no creative or monetary infringement intended. Music By # utilizes pod-safe and royalty free music courtesy of the royalty free youtube audio library for all Bumper, Ad, and Theme music: Opening Ad Music: Otis McDonald - "Scarlet Fire" MUB# Opening Theme: Dougie Wood - "Beach Disco" MUB# End Theme: Dougie Wood - "Disco Ball" If you enjoy MUB# and would like to help us out please Comment Rate and Subscribe wherever you fulfill your podcasting needs! We humbly appreciate any and all support! If you would like to DONATE to our equipment acquisitions fund We could use help getting new mixers, mics, and computers. Not to mention all the rental and purchasing fees associated with the films we watch and the running of our websites! Every little bit helps us keep the lights on and the movies playing! Find out more at www.gofundme.com/donateMBNpod
Album Covers were a much simpler matter in the early days of rock and roll. Any old picture of the band or artist smiling and posing would suffice. The Beatles were different. From their first legitimate LP release, they revolutionized the value of a cover photo. Their history as art students, friendship with the German existentialists, and understanding of the zeitgeist produced images that are nearly as iconic as what was in the grooves. Stay tuned to Beatling About for Parts 2 and 3, the reissues, and solo cover art.
Robert Freeman From Robert Freeman, "I was once a well conditioned and idealistic young police officer who wanted to help and protect people and after many years in that profession I came to understand things are not quite what there seemed. Unltimately my police career ended and I am now a retired policeman in a continual fight for my entitlements as a sufferer of PTSD and the clinical depression which accompanies that change in my human function. I am an Australian male born in 1960 in a large rural town in the south eastern area of this country. My father was a sportsman and trucking contractor while mum was a nurse prior to the commencement of the family. I am second of four children and the eldest of three brothers. I joined the police cadets as a 16 year old in 1977. I was a country boy and city life was completely foreign to me. The saving grace was we lived in an old 1930's hotel near the main railway station in Melbourne. I loved the cadet training. I excelled in most all the aspects of this training and while I completed and graduated high school from the cadet academy I was also voted as the Senior Cadet. My first real notable experience came in the latter part of 1977 when after we had returned from a tour of Tasmania. I had a strange experience there I had what I would describe as my 'Jesus' experience. This was about the 20th August 1977. I felt there was a presence in the room (I was alone in my room at the academy this weekend after our trip, and I felt the urge to give my truth to Jesus Christ). I was not a religious person as such and I was not made to attend church as a boy growing up. The story about how my police career came to a halt and what transpired during the period leading to that and the occurrences which followed are intertwined and quite interesting. Suffice it to say my life was in the process of an irreversible transition".
Clinical nurse specialist and tech entrepreneur Robert Freeman, ’14, discusses how Excelsior’s Master of Science in nursing program prepared him for a career in health care and innovation.
The one and only Kinnie Starr has just dropped her latest LP, From Far Away, via Aporia Records. We had the chance to speak with the longtime music maker, producer, advocate, and all-around artist about topics like our dwindling natural resources, her spot on Dr. David Suzuki's Blue Dot Tour, the struggle faced by First Nations people in Canada, and of course, how her music weaves it all together. Next is musician and author Robert Freeman. Classical music should be a vital part of our culture, yet too many orchestras and opera houses have closed down, and it has become increasingly difficult for students with a music degree to find work! As former director of three of North America's top music schools, Robert Freeman identifies what needs to be done to turn this around in his newly-released book, The Crisis of Classical Music in America.
RCQ presents a new special podcast series: RCQ Recaps The Boondocks. Join us weekly as myself Retro, Shay-Today and the Silence Brotagonist reflect back on these final twenty episodes. So sit back relax, subscribe on iTunes or listen below. RCQ We in here! Robert Freeman has no money, but as least he has the latest [&hellip The post RCQ Recaps The Boondocks: “I Dream of Siri” appeared first on RapConQueso.
RCQ presents a new special podcast series: RCQ Recaps The Boondocks. Join us weekly as myself Retro, Shay-Today and the Silence Brotagonist reflect back on these final twenty episodes. So sit back relax, subscribe on iTunes or listen below. RCQ We in here! Robert Freeman with lady troubles? That sounds familiar. With past ladies like [&hellip The post RCQ Recaps The Boondocks: “Early Bird Special” appeared first on RapConQueso.
Ghettoman and the Believers bring you a great mix of African and Caribic traditional roots and conscious reggae music with positive and authentic vibes. His message focuses on the social and the political injustice, racial and tribal prejudice and discrimination among Black people, White, Indians or Colors. He is calling the world to embrace peace and harmony among themselves, living in love with each other. In the year 1997 his fans called him “Jah anointed messenger” due to his contributions towards the development of the spiritual growth of the youths in the society. www.ghettomanlive.com Kingly T a Jamaican singer/songwriter/guitarist know as " Kingly T' in the music world. My mission is to promote positive vibes through words sound and power. Although my natural feel is roots reggae, I am not limited by the musical boundaries as I incorporate influences of lovers' rock, world beat and R&B into my style. Keeping it positive always. BOB MARLEY: THE MAKING OF A LEGEND: Esther Anderson & Gian Godoy are the film makers.The footage shot in the early seventies and lost for more than thirty years, Anderson's film takes us on a journey to Jamaica 56 Hope Road, Kingston,and portrayed the young Bob Marley before he was famous. Anderson, an actress. in early 1960s British television shows, including Dixon of Dock Green and The Avengers. played in movies like Henry Levin's Genghis Khan for Columbia Pictures, Robert Freeman's The Touchables for Twentieth Century Fox, Ted Kotcheff's Two Gentlemen Sharing, Jerry Lewis's One More Time for United Artists, and Sidney Poitier's A Warm December for First Artists. In this latter film, her role of an African princess won her a NAACP Image Award for Best Actress in 1973
The 'lost' footage "Bob Marley making of a legend" Esther Anderson. Esther Anderson, director-writer-producer,born in the Parish of St. Mary, Jamaica, Esther Anderson studied drama at the Actor's Studio in London and played roles in movies -Henry Levin's Genghis Khan for Columbia Pictures, Robert Freeman's The Touchables for Twentieth Century Fox, Ted Kotcheff's Two Gentlemen Sharing, Jerry Lewis's One More Time for United Artists, and Sidney Poitier's A Warm December for First Artists. This role of an African princess won her a NAACP Image Award for Best Actress in 1973. Esther then helped to develop the then-fledgling Jamaican music label, Island Records, from the early 1960's, promoting and managing jamaican artists like Millie Small, Jimmy Cliff, and Bob Marley and the Wailers. Gian Godoy, director-writer of Bob Marley: The Making of a Legend Born in Santiago, Chile . Co-author of the film The Three Dumas in collaboration with Esther Anderson, exploring the life and career of Alexandre Dumas. . Godoy latest film Hain was premiered at the AVIFF festival in Cannesin May 2011, an HD animation exploring the shamanic heritage of the Selknam nation from Tierra del Fuego, Patagonia, based on the works by anthropologist Martin Gusinde in 1928. BABY CHRIS Born Christopher Lloyd in the Jamaica . Baby Chris started entertaining small audiences in his community at the tender age of nine (9). He attended the Seaward All Age and Tivoli High respectively. At the Age 14 Christopher decided to make music his career choice, hence the birth of another Dancehall Artiste from Cockburn Pen community “BABY CHRIS”. The artiste got his first lesson and training in the biz by Lukie D one of his favorite Reggae Artistes. Baby Chris First Studio outings were to King Jammy's, where he was known as little Chris before he was called Baby Chris.
Esther Anderson, director-writer-producer,born in the Parish of St. Mary, Jamaica, Esther Anderson studied drama at the Actor's Studio in London and played roles in movies -Henry Levin's Genghis Khan for Columbia Pictures, Robert Freeman's The Touchables for Twentieth Century Fox, Ted Kotcheff's Two Gentlemen Sharing, Jerry Lewis's One More Time for United Artists, and Sidney Poitier's A Warm December for First Artists. This role of an African princess won her a NAACP Image Award for Best Actress in 1973. Esther then helped to develop the then-fledgling Jamaican music label, Island Records, from the early 1960's, promoting and managing jamaican artists like Millie Small, Jimmy Cliff, and Bob Marley and the Wailers. Gian Godoy, director-writer of Bob Marley: The Making of a Legend Born in Santiago, Chile, Gian Godoy studied arquitecture in Barcelonawith Enric Miralles and at Architectural Association London. Co-author of the film The Three Dumas in collaboration with Esther Anderson, exploring the life and career of Alexandre Dumas. . Godoy latest film Hain was premiered at the AVIFF festival in Cannesin May 2011, an HD animation exploring the shamanic heritage of the Selknam nation from Tierra del Fuego, Patagonia, based on the works by anthropologist Martin Gusinde in 1928. Donald Minott Singer, Song Writer,Poet based in East Hartford,CT. USA.Born in Kingston Jamaica but grew up in Central Village St. Catherine, Don Minott grew up listening to reggae artists like Delroy Wilson, Ken Boothe, Bob Andy, Heptones, Freddie Mcgregor, Burning Spear, Dennis Brown, Horace Andy and of course the original Wailers. He started writing poetry during his high school years and later attended a summer workshop in creative writing at the Creative Arts Center in Kingston. caribbeanradioshow@gmail.com caribbeanradioshow.com
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