Podcasts about Strawberry Fields

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 12ú lá de mí Bealtaine, liomsa Lauren Ní Loingsigh. I 1978 tháinig nuacht amach nach raibh in ainm a bheith amach chuig an phobail ón rialtas faoi chás á fhiosrú ag na Gardaí. I 2000 bhí an Bank of Ireland ag pleanáil chun 40 áis a dhúnadh ach ní dúirt siad aon rud faoi aon phost. I 1998 stop cluiche I gcoinne Durlas agus Knock de bharr gur bhuail duine réiteoir Michael Webster de bharr gur chuir sé imreoir as an bpáirc. I 2005 tháinig an nuacht amach go raibh The Congregation of the Sisters of the Sacred Hearts of Jesus and Mary ag aistarraingt óna seirbhís do na daoine le míchumas intleachta ag St Anne's I Ros Cré. Bhí an áis ag soláthair cúram cónaithe agus seirbhís I rith an lae I Ros Cré agus na baile timpeall air. Ag an am bhí 125 áit do chúram cónaithe, 4 áit faoiseamh agus 131 áit do sheirbhís I rith an lae. Sin Britney Spears le Oops! I Did It Again – an t-amhrán is mó ar an lá seo I 2000. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1968 bhí Brian Jones le The Rolling Stones don uair dheireanach nuair a chan siad ag ceolchoirm New Musical Express Poll Winners sa Bhreatain. Bháigh é nuair a bhí drugaí agus alcól ina chóras nuair a chuaigh sé I gcóir snámh I mí Iúil 1969. Fuair sé bás ag aois 27. I 2000 ghoid daoine na geataí den Strawberry Fields sainchomhartha ó amhrán ó The Beatles. Fuair siad na geataí ag mangaire dramh-mhiotal sa Learpholl cúpla lá tar éis. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Tony Hawk I Meiriceá I 1968 agus rugadh aisteoir Rami Malek I Meiriceá ar an lá seo I 1981 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 12th of May, with me Lauren Ní Loingsigh 1978: Leakage of highly confidential Government papers were to lead to a major garda investigation. 2000: Bank of Ireland was planning to close up 40 branches but was not saying what this wouldve meant in terms of jobs. 1998 - A junior hurling league game between Thurles Fennelly's and Knock was abandoned after Referee Michael Webster was struck as he sent off a player.  2005 - The Congregation of the Sisters of the Sacred Hearts of Jesus and Mary would withdraw from the provision of services to persons with intellectual disability at St Anne's, Roscrea. The headquarters of the service, known as St Anne's Service, provides residential and day services in Roscrea and the neighboring towns. St. Anne's service provides 125 residential places, 4 respite places, and 131 day places.  That was Britney Spears with Oops! I Did It Again – the biggest song on this day in 2000. Onto music news on this day In 1968 Brian Jones made his final live appearance with The Rolling Stones when they appeared at the New Musical Express Poll Winners Concert at the Empire Pool, Wembley, England. Jones drowned while under the influence of drugs and alcohol after taking a midnight swim in his pool, on 3rd July 1969 aged 27. 2000 Thieves stole the gates to Strawberry Fields the Merseyside landmark immortalised by The Beatles song. The 10' high iron gates were later found at local scrap metal dealers in Liverpool. And finally celebrity birthdays on this day – Tony Hawk was born in America in 1968 and actor Rami Malek was born in America on this day in 1981 and this is some of the stuff he has done I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 12ú lá de mí Bealtaine, liomsa Lauren Ní Loingsigh. I 1978 tháinig nuacht amach nach raibh in ainm a bheith amach chuig an phobail ón rialtas faoi chás á fhiosrú ag na Gardaí. I 2000 bhí an Bank of Ireland ag pleanáil chun 40 áis a dhúnadh ach ní dúirt siad aon rud faoi aon phost. I 1989 bhí treocht ann chun post a thabhairt chuig daoine óga le pá níos lú nó post páirtaimseartha a thabhairt dóibh mar go raibh siad ag iarradh obair. I 2000 bhí an corp de Damien Monahan ag teacht isteach chuig aerfort na Sionainne do sheirbhís sochraide ina baile Inis don deireadh seachtain. Sin Britney Spears le Oops! I Did It Again – an t-amhrán is mó ar an lá seo I 2000. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1968 bhí Brian Jones le The Rolling Stones don uair dheireanach nuair a chan siad ag ceolchoirm New Musical Express Poll Winners sa Bhreatain. Bháigh é nuair a bhí drugaí agus alcól ina chóras nuair a chuaigh sé I gcóir snámh I mí Iúil 1969. Fuair sé bás ag aois 27. I 2000 ghoid daoine na geataí den Strawberry Fields sainchomhartha ó amhrán ó The Beatles. Fuair siad na geataí ag mangaire dramh-mhiotal sa Learpholl cúpla lá tar éis. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Tony Hawk I Meiriceá I 1968 agus rugadh aisteoir Rami Malek I Meiriceá ar an lá seo I 1981 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 12th of May, with me Lauren Ní Loingsigh 1978: Leakage of highly confidential Government papers were to lead to a major garda investigation. 2000: Bank of Ireland was planning to close up 40 branches but was not saying what this wouldve meant in terms of jobs. 1989: There was a growing trend among employers to offer low wage or temporary employment to a large pool of young people who were desperately seeking work. 2000: The body of dutch murder victim, Damien Monahan was to arrive in shannon airport this afternoon for a funeral service in his native Ennis at the weekend. That was Britney Spears with Oops! I Did It Again – the biggest song on this day in 2000. Onto music news on this day In 1968 Brian Jones made his final live appearance with The Rolling Stones when they appeared at the New Musical Express Poll Winners Concert at the Empire Pool, Wembley, England. Jones drowned while under the influence of drugs and alcohol after taking a midnight swim in his pool, on 3rd July 1969 aged 27. 2000 Thieves stole the gates to Strawberry Fields the Merseyside landmark immortalised by The Beatles song. The 10' high iron gates were later found at local scrap metal dealers in Liverpool. And finally celebrity birthdays on this day – Tony Hawk was born in America in 1968 and actor Rami Malek was born in America on this day in 1981 and this is some of the stuff he has done I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Today on AirTalk, President Trump authorizes 100% tariff on any and all movie productions coming outside of the U.S.; the idea of 'old age'; phonetics-based teaching; NASA's Golden Record exhibit in Santa Barbara and how strawberries took root across the region. Today on AirTalk Trump's latest tariff on all movies made outside the US (0:15) The idea of 'old age' (18:48) Phonics-based teaching in CA (51:27) NASA's Golden Record exhibit (1:13:00) Strawberry fields forever (1:26:23)

Hoy te comparto esta nueva Playlist de Strawberry Fields con una selección de canciones que George Harrison publicó en la década de 1980 en sus álbumes oficiales para que te acompañe mientras caminas, haces deporte, las tareas de tu casa, vas camino del trabajo o donde quiera que te encuentres. Espero que la disfrutes. Beatles Forever! Si quieres escuchar la versiones extendidas de los episodios, disfrutar de contenido extra, descargas y sorteos, apoya al podcast aquí: https://www.ivoox.com/support/1111010 Con tu apoyo también contribuyes a la sostenibilidad de Strawberry Fields. Tienda de LaTostadora: https://www.latostadora.com/shop/sfbeatlespodcast/?shop_trk Grupo de Telegram: https://t.me/strawberryfieldspodcast Tienes todos los enlaces de interés aquí: https://linktr.ee/sfbeatlespodcast Este episodio está dedicado a todos nuestros mecenas, los Strawberry Dreamers: Andrés Vallejo, Marc Royo, Sonia Bolea, Rafael Tapia Dávila, Móni-K, Aris Abad, Joki2003, Filopalomo, Mercè Barrera, Kuratti46, Opicula, Joan M. Lorente Vinardell, Alejandro Salazar Rocha, Virginia Maestro, Fidel López Barquiel, Raúl Sánchez, Rafael Romero Díaz, Amparo García, Fran López de Ahumada, Fivecast, Fernando Silva, Néstor Bogajo, Fernando Castejón, Antonio José Maestro Moya, Vicente Alonso Peñas, Fernando Sánchez, Alberto Pérez Cabrera, Harrisein, Jaume Gil Escarcelle, El Submarí Groc, Jesús Ibias Sánchez, Martina Alvarado, Eva Paula Bonora, Carmen García Peralta, Fátima García y un oyente anónimo. Suscríbete, deja tu comentario y comparte el programa con todas aquellas personas a las que le gusten The Beatles. Puedes unirte a los Strawberry Dreamers desde 1'49€ y eso te dará acceso a episodios exclusivos y más otras ventajas por el precio de un café. Además estarás contribuyendo a que este espacio continúe siendo sostenible y pueda seguir realizándose en un futuro. Puedes escucharnos también en: Radio Oasis Salamanca. 105.9 FM (Salamanca). https://radiooasis.es/player/radiooasis-en-directo.html Todos los martes a las 22:00 y los viernes [medianoche del jueves al viernes] a las 0:00 (redifusión). Radio Free Rock. https://radiofreerock.com/player/ Todos los viernes a las 19:00. Escúchame en Querido Lennon: https://go.ivoox.com/sq/1746368 Escucha Querido McCartney: https://go.ivoox.com/sq/2519388 Escúchame en Noches Templarias: https://go.ivoox.com/sq/2496835 Únete al Strawberry Fun Club aquí: https://www.strawberryfest.es/strawberryfest/?page_id=1344/#fcinfo ¿Quieres anunciarte en nuestro podcast? Hazlo con advoices.com/podcast/ivoox/1111010 Equipo de Strawberry Fields: José Ángel Martín: dirección, elaboración de guiones, narración, grabación, producción y edición. Fátima García: colaboración. Eva Paula Bonora: colaboración y voz de cuñas y entradillas. Chefo Martín: apartado técnico y sonido. Andrés Vallejo: diseño del logotipo. Muchísimas gracias por escuchar Strawberry Fields. Sin ti esto no sería posible.

Join Prof. Subbarao Kambhampati and host Tim Scarfe for a deep dive into OpenAI's O1 model and the future of AI reasoning systems. * How O1 likely uses reinforcement learning similar to AlphaGo, with hidden reasoning tokens that users pay for but never see * The evolution from traditional Large Language Models to more sophisticated reasoning systems * The concept of "fractal intelligence" in AI - where models work brilliantly sometimes but fail unpredictably * Why O1's improved performance comes with substantial computational costs * The ongoing debate between single-model approaches (OpenAI) vs hybrid systems (Google) * The critical distinction between AI as an intelligence amplifier vs autonomous decision-maker SPONSOR MESSAGES: *** CentML offers competitive pricing for GenAI model deployment, with flexible options to suit a wide range of models, from small to large-scale deployments. https://centml.ai/pricing/ Tufa AI Labs is a brand new research lab in Zurich started by Benjamin Crouzier focussed on o-series style reasoning and AGI. Are you interested in working on reasoning, or getting involved in their events? Goto https://tufalabs.ai/ *** TOC: 1. **O1 Architecture and Reasoning Foundations** [00:00:00] 1.1 Fractal Intelligence and Reasoning Model Limitations [00:04:28] 1.2 LLM Evolution: From Simple Prompting to Advanced Reasoning [00:14:28] 1.3 O1's Architecture and AlphaGo-like Reasoning Approach [00:23:18] 1.4 Empirical Evaluation of O1's Planning Capabilities 2. **Monte Carlo Methods and Model Deep-Dive** [00:29:30] 2.1 Monte Carlo Methods and MARCO-O1 Implementation [00:31:30] 2.2 Reasoning vs. Retrieval in LLM Systems [00:40:40] 2.3 Fractal Intelligence Capabilities and Limitations [00:45:59] 2.4 Mechanistic Interpretability of Model Behavior [00:51:41] 2.5 O1 Response Patterns and Performance Analysis 3. **System Design and Real-World Applications** [00:59:30] 3.1 Evolution from LLMs to Language Reasoning Models [01:06:48] 3.2 Cost-Efficiency Analysis: LLMs vs O1 [01:11:28] 3.3 Autonomous vs Human-in-the-Loop Systems [01:16:01] 3.4 Program Generation and Fine-Tuning Approaches [01:26:08] 3.5 Hybrid Architecture Implementation Strategies Transcript: https://www.dropbox.com/scl/fi/d0ef4ovnfxi0lknirkvft/Subbarao.pdf?rlkey=l3rp29gs4hkut7he8u04mm1df&dl=0 REFS: [00:02:00] Monty Python (1975) Witch trial scene: flawed logical reasoning. https://www.youtube.com/watch?v=zrzMhU_4m-g [00:04:00] Cade Metz (2024) Microsoft–OpenAI partnership evolution and control dynamics. https://www.nytimes.com/2024/10/17/technology/microsoft-openai-partnership-deal.html [00:07:25] Kojima et al. (2022) Zero-shot chain-of-thought prompting ('Let's think step by step'). https://arxiv.org/pdf/2205.11916 [00:12:50] DeepMind Research Team (2023) Multi-bot game solving with external and internal planning. https://deepmind.google/research/publications/139455/ [00:15:10] Silver et al. (2016) AlphaGo's Monte Carlo Tree Search and Q-learning. https://www.nature.com/articles/nature16961 [00:16:30] Kambhampati, S. et al. (2023) Evaluates O1's planning in "Strawberry Fields" benchmarks. https://arxiv.org/pdf/2410.02162 [00:29:30] Alibaba AIDC-AI Team (2023) MARCO-O1: Chain-of-Thought + MCTS for improved reasoning. https://arxiv.org/html/2411.14405 [00:31:30] Kambhampati, S. (2024) Explores LLM "reasoning vs retrieval" debate. https://arxiv.org/html/2403.04121v2 [00:37:35] Wei, J. et al. (2022) Chain-of-thought prompting (introduces last-letter concatenation). https://arxiv.org/pdf/2201.11903 [00:42:35] Barbero, F. et al. (2024) Transformer attention and "information over-squashing." https://arxiv.org/html/2406.04267v2 [00:46:05] Ruis, L. et al. (2023) Influence functions to understand procedural knowledge in LLMs. https://arxiv.org/html/2411.12580v1 (truncated - continued in shownotes/transcript doc)

Paula Barros, better known as Pauley McPaulerson, joins Billy Corben in the co-host chair today. David Samson joins the show to talk about a potential publicly financed sporting venue in Orlando. And Scott Maxwell of the Orlando Sentinel talks about his dealings with potential United States Attorney General Pam Bondi. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Happy New Year! Welcome back or to the show if it is your first time. We have a lot planned for the upcoming year, some new fun and informational episodes about record collecting, saving cash as a collector, new interviews, merch, and whatever else we feel like! We appreciate your support, if you like the show follow us on Instagram, YouTube, Facebook, Patreon @noise_avocation everywhere.

Hoi lieve vriendjes! Guru Woof hier. Ga je mee naar een magische plek? Vandaag gaan we samen naar de slaperige aardbeienvelden vol heerlijke, zoete aardbeien!

Hoi lieve vriendjes! Guru Woof hier. Ga je mee naar een magische plek? Vandaag gaan we naar de slaperige aardbeienvelden vol heerlijke, zoete aardbeien! Uitgegeven door Moon Tunes B.V. Spreker: Guru Woof

Programa 173 de este espacio dedicado a The Beatles, dirigido y presentado por José Ángel Martín. El 8 de diciembre marca en el calendario otro año más sin John Lennon. En el particular homenaje que le realizamos hoy se nos unirán Bob Dylan, Elton John, Mike Oldfield, Paul McCartney, George Harrison, Queen, The Cranberries y The Outfield para rendir tributo al genio de Liverpool con canciones dedicadas a su memoria. Espero que disfrutes del episodio. John Lennon Forever! Apoya al podcast aquí: https://www.ivoox.com/support/1111010 Grupo de Telegram: https://t.me/strawberryfieldspodcast Tienes todos los enlaces de interés aquí: https://linktr.ee/sfbeatlespodcast Este episodio está dedicado a todos nuestros mecenas, los Strawberry Dreamers: Móni-K, Aris Abad, Joki2003, Filopalomo, Mercè Barrera, Kuratti46, Opicula, Antonio José Guerrero Gómez, Joan M. Lorente Vinardell, Alejandro Salazar Rocha, Virginia Maestro, Fidel López Barquiel, Raúl Sánchez, Rafael Romero Díaz, Amparo García, Fran López de Ahumada, Fivecast, Fernando Silva, Néstor Bogajo, Fernando Castejón, Antonio José Maestro Moya, Vicente Alonso Peñas, Fernando Sánchez, Alberto Pérez Cabrera, Harrisein, Jaume Gil Escarcelle, El Submarí Groc, Jesús Ibias Sánchez, Martina Alvarado, Eva Paula Bonora, Carmen García Peralta, Fátima García y un oyente anónimo. También puedes leer el programa en el blog próximamente. Suscríbete, deja tu comentario y comparte el programa con todas aquellas personas a las que le gusten The Beatles. Puedes unirte a los Strawberry Dreamers desde 1'49€ y eso te dará acceso a episodios exclusivos y más otras ventajas por el precio de un café. Además estarás contribuyendo a que este espacio continúe siendo sostenible y pueda seguir realizándose en un futuro. Puedes escucharnos también en: Radio Oasis Salamanca. 105.9 FM (Salamanca). https://radiooasis.es/player/radiooasis-en-directo.html Todos los martes a las 22:00 y los viernes [medianoche del jueves al viernes] a las 0:00 (redifusión). Radio Free Rock. https://radiofreerock.com/player/ Todos los viernes a las 19:00. Escúchame en Querido Lennon: https://go.ivoox.com/sq/1746368 Escúchame en Café Sonoro, con Virginia Maestro: https://go.ivoox.com/sq/2397979 ¿Quieres anunciarte en nuestro podcast? Hazlo con advoices.com/podcast/ivoox/1111010 Equipo de Strawberry Fields: José Ángel Martín: dirección, elaboración de guiones, narración, grabación, producción y edición. Fátima García: colaboración. Virginia Maestro: colaboración. Eva Paula Bonora: colaboración y voz de cuñas y entradillas. Chefo Martín: apartado técnico y sonido. Andrés Vallejo: diseño del logotipo. Muchísimas gracias por escuchar Strawberry Fields. Sin ti esto no sería posible.

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Fluent Fiction - Italian: City of Inspiration: Rediscovering Creativity in NYC Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2024-11-30-23-34-01-it Story Transcript:It: Luca camminava lungo le strade affollate di New York, con l'aria fresca di novembre che gli pizzicava il viso.En: Luca walked along the crowded streets of New York, with the fresh air of November pinching his face.It: Era la sua prima volta nella Grande Mela, e ogni angolo offriva una nuova scoperta.En: It was his first time in the "Grande Mela", and every corner offered a new discovery.It: Con il cuore pieno di aspettative, si dirigeva verso Central Park, sperando di trovare ispirazione per il suo progetto.En: With his heart full of expectations, he headed towards Central Park, hoping to find inspiration for his project.It: Il parco era un'oasi nel caos urbano, un luogo dove la natura si incontrava con la città.En: The park was an oasis in the urban chaos, a place where nature met the city.It: Le foglie rosse e arancioni danzavano nell'aria, creando un tappeto colorato sotto i piedi dei passanti.En: Red and orange leaves danced in the air, creating a colorful carpet under the feet of passersby.It: Intorno a lui, le famiglie si riunivano per il Giorno del Ringraziamento, unici nel loro entusiasmo e calore.En: Around him, families gathered for "Giorno del Ringraziamento", unique in their enthusiasm and warmth.It: Ma Luca si sentiva distratto.En: But Luca felt distracted.It: Il rumore della città e la folla gli impedivano di concentrarsi.En: The noise of the city and the crowd prevented him from concentrating.It: Aveva bisogno di un luogo tranquillo, ma sembrava che niente riuscisse a calmare il flusso incessante di pensieri.En: He needed a quiet place, but it seemed that nothing could calm the incessant flow of thoughts.It: Si sedette su una panchina e osservò la gente intorno a lui, sperando che qualcosa accendesse una scintilla nel suo animo.En: He sat on a bench and observed the people around him, hoping that something would spark a light in his soul.It: Fu allora che Giulia e Matteo si avvicinarono.En: It was then that Giulia and Matteo approached.It: Erano una giovane coppia, sorridenti e pieni di vita.En: They were a young couple, smiling and full of life.It: "Stai cercando qualcosa?"En: "Are you looking for something?"It: chiese Giulia, notando la mappa aperta tra le mani di Luca.En: asked Giulia, noticing the map open in Luca's hands.It: "Sì," rispose Luca, "cerco ispirazione.En: "Yes," replied Luca, "I'm looking for inspiration.It: Sono un architetto e questo posto è...En: I'm an architect and this place is...It: travolgente."En: overwhelming."It: Matteo sorrise.En: Matteo smiled.It: "New York è così, ma ha i suoi angoli segreti.En: "New York is like that, but it has its secret spots.It: Conosci il Bow Bridge?En: Do you know the Bow Bridge?It: E l'area vicino a Strawberry Fields?"En: And the area near Strawberry Fields?"It: Giulia intervenne, "Vieni con noi, ti mostreremo la nostra città.En: Giulia chimed in, "Come with us, we'll show you our city.It: Abbiamo storie da raccontare."En: We have stories to tell."It: Mentre camminavano insieme, Luca ascoltava le storie di Giulia e Matteo.En: As they walked together, Luca listened to the stories of Giulia and Matteo.It: Imparò dei concerti improvvisati vicino al lago, degli artisti di strada che trasformavano le strade in palcoscenici colorati.En: He learned about impromptu concerts near the lake, about street artists who transformed the streets into colorful stages.It: Sentì parlare delle luci di Harlem e del jazz nei club nascosti.En: He heard of the lights of Harlem and the jazz in hidden clubs.It: Osservando il parco attraverso i loro occhi, Luca cominciò a vedere la città in modo diverso.En: Observing the park through their eyes, Luca began to see the city differently.It: Le loro parole e l'atmosfera magica del parco accendevano la sua immaginazione.En: Their words and the magical atmosphere of the park ignited his imagination.It: Sentiva la connessione tra il verde degli alberi e i grattacieli, tra la storia di New York e il suo futuro.En: He felt the connection between the greenery of the trees and the skyscrapers, between the history of New York and its future.It: Seduto di nuovo sulla panchina, Luca prese il suo taccuino e cominciò a disegnare.En: Sitting back on the bench, Luca took out his notebook and began to draw.It: Le idee fluivano come mai prima d'ora, unendo la tradizione italiana con la vitalità di New York.En: Ideas flowed like never before, combining Italian tradition with the vitality of New York.It: "Grazie," disse Luca con un sorriso ai nuovi amici.En: "Thank you," said Luca with a smile to his new friends.It: "Avete cambiato la mia prospettiva."En: "You have changed my perspective."It: Tornato in albergo, con il cuore colmo di gratitudine, Luca sapeva che era il contatto umano, il calore e lo scambio di culture, ad aver acceso il fuoco della sua creatività.En: Back at the hotel, with his heart full of gratitude, Luca knew it was the human contact, the warmth and the exchange of cultures, that had ignited the fire of his creativity.It: New York gli aveva insegnato una lezione preziosa, una che avrebbe portato con sé per sempre.En: New York had taught him a valuable lesson, one he would carry with him forever. Vocabulary Words:the streets: le stradecrowded: affollatethe air: l'ariapinching: pizzicavaoasis: oasiurban chaos: caos urbanothe leaves: le fogliepassersby: passantifamilies: le famiglieenthusiasm: entusiasmowarmth: caloredistracted: distrattothe noise: il rumorethe crowd: la follaquiet: tranquillothe flow: il flussothe thoughts: i pensierithe bench: la panchinathe soul: l'animoyoung couple: giovane coppiasmiling: sorridentioverwhelming: travolgentesecret spots: angoli segretistories: storieimpromptu: improvvisatistreet artists: artisti di stradastages: palcoscenicihidden clubs: club nascostiskyscrapers: grattacielithe notebook: il taccuino

Strawberry Fields 4 Eva. ep. 162

Living is easy with eyes closed, misunderstanding all you see. It's getting hard to be someone but it all works out. It doesn't matter much to me. Let me take you down, cause I'm going to Strawberry Fields. Nothing is real... (Paul McCartney, John Lennon)

In this episode: We record live at Open Streets! We also meet UWS resident and singer/musician/producer, Adam Huie. He performs one of his singles, Silly Man, LIVE on the show—at Open Streets! You'll also get to hear another track, a bonus, Aquarius. Ultimately, Adam co-hosts this one! Be sure to let us know what you think! We also end up talking about being an artist in general, the challenges artists face, and what to do about it. Today's Topics - Guest/Co-host Adam Huie - Shout-out to the lady in the apartment above Tenzan with the orange spider web in the window. - John Lennon's birthday jam at Strawberry Fields. - Composting and the new bins... How is it going? Will it lead to more rats? Reach out! - This show's 4th anniversary! It's this month, in October! - Small business sandwich boards with clever adages or tips - Is the end of September too soon to put up Halloween decorations? - It's Rosh Shashannah! Shana Tova! - Artists Convo: Self-publishing, putting oneself out there, getting paid, BandCamp, don't wait for someone to say. “No.” Just do it, doesn't have to be perfect. Upload your one track on Spotify, Apple Music for $1.29 or wherever you can get PAID! - “Be rigorous with the process and put it out there!” - Adam Huie - Make your art accessible! Stickers are art for people! - Want an UWS Corner Talk sticker? Click here. - Adam Huie performs Silly Man. His track, Aquarius, can be found there, too. What did you think? Email us! - When opportunity knocks, answer the door! - Please donate to the BID near you, several of which sponsor Open Streets —if you feel so moved! - If you put up a flier, put your main contact info ABOVE the tags! (Refer to our IG for the pic of the one we're talking about!) ⦿ For the complete transcript, email the show.  ⦿ Get your UWS Corner Talk sticker here. ⦿ Get notified of new episodes  here.

Programa 160 de este espacio dedicado a The Beatles dirigido y presentado por José Ángel Martín. El anuncio del regreso de Oasis ha provocado un terremoto para los que crecimos con su música. Ellos crecieron y se empaparon de la de The Beatles y en su obra hay infinidad de referencias a los Fab Four, además de múltiples versiones de su catálogo. Espero que lo disfrutes. Beatles Forever! Apoya al podcast aquí: https://www.ivoox.com/support/1111010 Tienes todos los enlaces de interés aquí: https://linktr.ee/sfbeatlespodcast Este episodio está dedicado a todos nuestros mecenas, los Strawberry Dreamers: Filopalomo, Mercè Barrera, Kuratti46, Opicula, Antonio José Guerrero Gómez, Joan M. Lorente Vinardell, Alejandro Salazar Rocha, Virginia Maestro, Fidel López Barquiel, Raúl Sánchez, Rafael Romero Díaz, Amparo García, Marta Mora, Fran López de Ahumada, Fivecast, Fernando Silva, Néstor Bogajo, Fernando Castejón, Antonio José Maestro Moya, Andrés Cutillas, Vicente Alonso Peñas, Fernando Sánchez, Alberto Pérez Cabrera, Harrisein, Jaume Gil Escarcelle, El Submarí Groc, Jesús Ibias Sánchez, Martina Alvarado, Eva Paula Bonora, Carmen García Peralta, Fátima García y un oyente anónimo. También puedes leer el programa en el blog próximamente... Suscríbete, deja tu comentario y comparte el programa con todas aquellas personas a las que le gusten The Beatles. Puedes unirte a los Strawberry Dreamers desde 1'49€ y eso te dará acceso a episodios exclusivos y más otras ventajas por el precio de un café. Además estarás contribuyendo a que este espacio continúe siendo sostenible y pueda seguir realizándose en un futuro. Puedes escucharnos también en: Radio Oasis Salamanca. 105.9 FM (Salamanca). https://radiooasis.es/player/radiooasis-en-directo.html Todos los martes a las 22:00 y los viernes [medianoche del jueves al viernes] a las 0:00 (redifusión). Radio Free Rock. https://radiofreerock.com/player/ Todos los viernes a las 19:00. Escúchame en Querido Lennon: https://go.ivoox.com/sq/1746368 Escúchame en Café Sonoro, con Virginia Maestro: https://go.ivoox.com/sq/2397979 ¿Quieres anunciarte en nuestro podcast? Hazlo con advoices.com/podcast/ivoox/1111010 Equipo de Strawberry Fields: José Ángel Martín: dirección, elaboración de guiones, narración, grabación, producción y edición. Fátima García: colaboración. Virginia Maestro: colaboración. Eva Paula Bonora: colaboración y voz de cuñas y entradillas. Chefo Martín: apartado técnico y sonido. Andrés Vallejo: diseño del logotipo. Muchísimas gracias por escuchar Strawberry Fields. Sin ti esto no sería posible.

Still without their host, Albert, Vinnie, Googs, and Heisey review a Bulleit single barrel. This is the bourbon that started it all! Heisey also wants to find his bourbon Mendoza line.

In Melbourne the names of Jacob Malmo and Tom Evans are well known as solo artists. Together, they have carved a niche for themselves as The Journey, a name synonymous with sturdy progressive. It's a sound that's been forged with their combined 20 years plus of dance music experience - and one that's gaining traction internationally. Alongside multiple European tours, they have graced stages at iconic festivals like Rainbow Serpent, Pitch Music & Arts, Subsonic, and Strawberry Fields. Labels from Monaberry to Stil Vor Talent to Einmusika have signed their music and they've collaborated with artists including Bebetta, Tim Engelhardt, and Florian Kruse. Their name is an apt one too: a Journey set can take exciting turns which never feels forced. On this almost two hour set they deliver on that sentiment with an adventurous sound that is minimal in aesthetic yet maximal in impact. With tracks and remixes from Sébastien Léger, UNKLE, Tim Engelhardt, Guy Gerber and more, this one deserves your full attention. @thejourneymusicaus

Session 4 - Strawberry Fields Festival 2024 - Morning Session with Q&A for David HoffmeisterDavid starts the session by talking about music. Music is a higher form of communication that goes directly to our hearts, bypassing concept analysis and intellectual maneuverings. It is a theme in today's activities, as it serves as the soundtrack of our experience on Earth. The movie tonight will be strong in the music and collaboration themes, as Jesus teaches us that miracles are a collaborative venture. Jesus also teaches us that the solitary journey to God fails because it is of joining and connecting.David emphasizes the importance of understanding that our union is in our minds and that we share the same mind with God. Jesus teaches us that our earthly conditions differ from the kingdom of heaven and that we long for a sense of connection, relaxation, ease, flow, and harmony. This longing is our natural condition, and Jesus tells us we long for these things because it is how we were created.Competition can hinder our connection and unity. Jesus encourages us to come together without the pressure of productivity or trying to forge a desired outcome. Instead, we should come together like in jam sessions where everyone plays their part, letting the music come through naturally without any sense of trying to direct or control it personally.Recorded on the morning of July 14, 2024, at the Living Miracles Monastery in Utah, USA 

On today's episode, Vicky Boyd hears from Cal Poly Strawberry Center Director Gerald Holmes on the upcoming August 8 Strawberry Field Day at Cal Poly.

Session 1 - "Embracing Divine Trust: A Journey from Dreams to Awakening"

168 | This week we discover the strawberry fields of Wimbledon and how the humble strawberry became the slam's most famous food, how TikTok is exploding with “RUBBER FRUIT, and how raw milk went from a Whole Foods staple to a conservative signal. Strawberry Fields of Wimbledon TikTok Rubber Fruit How Raw Milk Went from a Whole Foods Staple to a Conservative Staple Welcome to “Discover Ag” where agriculture meets pop culture. Hosted by a western tastemaker & millennial cattle rancher @‌NatalieKovarik and a sought after dairy sustainability speaker & millennial dairy farmer @‌TaraVanderDussen - Discover is your go to podcast for food news. Every Thursday your hosts dish up their entertaining and informative thoughts to keep you in the know & help you “discover” what's new in the world of food. Connect on a more personal level with your hosts by JOINING “CLUB DISCOVER”. Our once weekly newsletter where Natalie & Tara share all their latest discoveries from what they are watching, eating, cooking, reading, buying, listening tom wearing and more. It's the insider scoop on all the things your hosts are LOVING AND DISCOVERING!!!! THANK YOU TO OUR SPONSORS!!!! TURTLEBOX: The loudest, most durable outdoor speaker on the market ARMRA COLOSTRUM: Our favorite supplement Code “DISCOVER” TOUPS & CO: 100% natural tallow based skincare & makeup Code “DISCOVER” WILDGRAIN: Artisan breads, pasta & pastries directly to your door Code “DISCOVER” WILD WEST KIDZ: Children's book subscription dedicated to western lifestyle children's books. Code “DISCOVER” ENCHANTMENT VINEYARDS Family-owned winery & the only ingredient in their wine is grapes. No additives. Code “DISCOVER20” Please note this episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct or indirect financial interest in products or services referred to in this episode.

I often think about persisting impasses and persistent patterns in life. How can you "live with" -- handle -- habitual defeats, whether from outward circumstance or inward personality, without wanting to throw yourself overboard; or, as Herr Moltmann used to say, without wanting to turn in your train ticket and get your money back. Seems there is almost always one thing, one situation, one frailty, which just won't go away. St. Paul talks about this in Second Corinthians 12 when he invokes his own "thorn in the flesh", which even a three-times repeated prayer for release has failed to take away. Then he hears the Lord say, "My grace is sufficient for you, for my power is made perfect in your weakness." Paul therefore concludes: "When I am weak, then I am strong." I believe this. And not because one has come to idealize or enshrine persistent weakness for its own sake. But rather because I have seen God come in, time and time again, when I have given up, or rather, been forced by circumstance to give up. In this episode I invoke a movie from 1942, entitled The Big Street (starring Lucille Ball and Henry Fonda, and based on a story by Damon Runyan). The Big Street is an almost perfect instantiation of St. Paul. A character goes down to the lowest possible point of weakness and then discovers a kind of triumph (within one-way love) that not only moves the viewer, but elates the viewer. You are literally weeping and exulting at the same time! There's even a secondary character at the end who puts our bi-focal reaction into timeless words. (See The Big Street.) If "I must decrease", as it says in John 3, Verse 30, then at the exact same time, "He must increase". Personally, that has proved consistently true in my own life. "Let me take you there, 'cause I'm going... to... Strawberry Fields". One now sees the tragic element within one's life ... optimistically. This cast is dedicated to Brent White, man of God and true original.

Programa 156 de este espacio dedicado a The Beatles dirigido y presentado por José Ángel Martín. John Lennon y Paul McCartney ya se conocían de vista, pero fueron presentados el 6 de julio de 1957 por un amigo común. Revive la magia de uno de los momentos más importantes en la historia de la música en este episodio especial. Espero que te guste. Beatles Forever! Apoya al podcast aquí: https://www.ivoox.com/support/1111010 Tienes todos los enlaces de interés aquí: https://linktr.ee/sfbeatlespodcast Este episodio está dedicado a todos nuestros mecenas, los Strawberry Dreamers: Filopalomo, Mercè Barrera, Kuratti46, Opicula, Roberto Way Menéndez, Antonio José Guerrero Gómez, Joan M. Lorente Vinardell, Alejandro Salazar Rocha, Virginia Maestro, Fidel López Barquiel, Raúl Sánchez, Rafael Romero Díaz, Amparo García, Marta Mora, Fran López de Ahumada, Fivecast, Fernando Silva, Néstor Bogajo, Fernando Castejón, Antonio José Maestro Moya, Andrés Cutillas, Vicente Alonso Peñas, Fernando Sánchez, Alberto Pérez Cabrera, Harrisein, Jaume Gil Escarcelle, El Submarí Groc, Jesús Ibias Sánchez, Martina Alvarado, Eva Paula Bonora, Carmen García Peralta, Fátima García y un oyente anónimo. También puedes leer el programa en el blog próximamente. Suscríbete, deja tu comentario y comparte el programa con todas aquellas personas a las que le gusten The Beatles. Puedes unirte a los Strawberry Dreamers desde 1'49€ y eso te dará acceso a episodios exclusivos y más otras ventajas por el precio de un café. Además estarás contribuyendo a que este espacio continúe siendo sostenible y pueda seguir realizándose en un futuro. Puedes escucharnos también en: Radio Oasis Salamanca. 105.9 FM (Salamanca). https://radiooasis.es/player/radiooasis-en-directo.html Todos los martes a las 22:00 y los viernes [medianoche del jueves al viernes] a las 0:00 (redifusión). Radio Free Rock. https://radiofreerock.com/player/ Todos los viernes a las 19:00. Escúchame en Querido Lennon: https://go.ivoox.com/sq/1746368 Escúchame en Café Sonoro, con Virginia Maestro: https://go.ivoox.com/sq/2397979 ¿Quieres anunciarte en nuestro podcast? Hazlo con advoices.com/podcast/ivoox/1111010 Equipo de Strawberry Fields: José Ángel Martín: dirección, elaboración de guiones, narración, grabación, producción y edición. Fátima García: colaboración. Virginia Maestro: colaboración. Eva Paula Bonora: colaboración y voz de cuñas y entradillas. Chefo Martín: apartado técnico y sonido. Andrés Vallejo: diseño del logotipo. Muchísimas gracias por escuchar Strawberry Fields. Sin ti esto no sería posible.

TVC 651.1: Part 2 of a conversation that began last week with Marc Cushman, author of Long Distance Voyagers: The Story of The Moody Blues, a two-volume, total-immersion experience into the six-decade career of The Moody Blues, the Rock and Roll Hall of Fame group that not only was the first rock group to champion the “concept album,” but influenced such other groups as Yes, Deep Purple, and ELO. Volume 1 of Long Distance Voyagers covers the formation of The Moody Blues, their breakthrough in the 1960s, and their “classic seven” albums throughout the 1970s. Volume 2 begins with the release of the Long Voyager Album album in 1981, shortly after founding member Mike Pinter left the group (to be replaced by former Yes keyboardist Patrick Moraz) and continues with the evolution of the Moody Blues over the next four decades. Topics this segment include the friendly relationship between The Moody Blues and The Beatles, including how Mike Pinder encouraged John Lennon and Paul McCartney to use the Mellotron on their Strawberry Fields album, a few months before the release of Days of Future Passed; how the success of Days of Future Passed typecast the Moodies for a while in the 1970s, even though they were selling out huge stadiums at the time; how Patrick Moraz helped The Moody Blues reinvent themselves with Long Distance Voyager, paving the way for their success in the 1980s and 1990s; and why it took more than a year to release Long Distance Voyager. Volumes 1 and 2 of Long Distance Voyagers: The Story of The Moody Blues are available now wherever books are sold through Jacobs Brown Media Group. Learn more about your ad choices. Visit podcastchoices.com/adchoices

For many students, college internships are a rite of passage, an opportunity to experience different workplaces and enhance their resumes. They are even more meaningful when the interns are first-generation Latino college students whose immigrant parents are America's farmworkers. In this episode of Power Station, I continue a tradition that I cherish, interviewing exceptional young people whose life trajectories are flourishing through their connections to the National Migrant and Seasonal Head Start Association. Isaac Ramon Peña and Berenice Verdugo talk about the migrant Head Start programs that impacted their lives, providing a safe space while their parents worked the fields, starting at 4am, as well as educational enrichment that made them kindergarten ready. They recognize that NMSHSA is a vital support system for Migrant Head Start Centers and a singular resource for their parents, from bringing the USDA Farmworker Relief Program to life to promoting well-being through the Vaccine Project. Isaac and Berenice are thrilled to be learning about policymaking and advocacy through their placements with the United Farm Workers and UnidosUS. And they shout out NMSHSA's incredible team, for helping them navigate their first time to Washington, DC, including, of course, the incomparable Cleofas Rodriguez. IYKYK.  

Kali Mattheus joins us with a story of finding comfort in our memories and letting go of the guilt of missing a goodbye. Kali Mattheus is a podcaster, producer, videographer, editor, and writer who has called Lexington, Kentucky home for more than half her life. She has a rich background in television and movie production that stems from a deep love of storytelling. She sits on the advisory boards for BCTC's Filmmaking and Cinematic Arts and Tahlsound Concert Series, where she also serves as the Internship Director and Videographer. She has a love for connecting people and helping them with their passion projects. Theme song "Appalachian Lofi" composed and performed by Bryan Klausing and Christine Cole.

Programa especial de este espacio dedicado a The Beatles dirigido y presentado por José Ángel Martín. Hoy te comparto el último lanzamiento de Paul McCartney & Wings, One Hand Clapping. Espero que te guste. Beatles Forever! Apoya al podcast aquí: https://www.ivoox.com/support/1111010 Tienes todos los enlaces de interés aquí: https://linktr.ee/sfbeatlespodcast Este episodio está dedicado a todos nuestros mecenas, los Strawberry Dreamers: Fconcejero, Mercè Barrera, Kuratti46, Opicula, Roberto Way Menéndez, Antonio José Guerrero Gómez, Joan M. Lorente Vinardell, Alejandro Salazar Rocha, Virginia Maestro, Fidel López Barquiel, Raúl Sánchez, Rafael Romero Díaz, Amparo García, Marta Mora, Fran López de Ahumada, Fivecast, Fernando Silva, Néstor Bogajo, Fernando Castejón, Antonio José Maestro Moya, Andrés Cutillas, Vicente Alonso Peñas, Fernando Sánchez, Alberto Pérez Cabrera, Harrisein, Jaume Gil Escarcelle, El Submarí Groc, Jesús Ibias Sánchez, Martina Alvarado, Eva Paula Bonora, Carmen García Peralta, Fátima García y un oyente anónimo. Suscríbete, deja tu comentario y comparte el programa con todas aquellas personas a las que le gusten The Beatles. Puedes unirte a los Strawberry Dreamers desde 1'49€ y eso te dará acceso a episodios exclusivos y más otras ventajas por el precio de un café. Además estarás contribuyendo a que este espacio continúe siendo sostenible y pueda seguir realizándose en un futuro. Puedes escucharnos también en: Radio Oasis Salamanca. 105.9 FM (Salamanca). https://radiooasis.es/player/radiooasis-en-directo.html Todos los martes a las 22:00 y los viernes [medianoche del jueves al viernes] a las 0:00 (redifusión). Radio Free Rock. https://radiofreerock.com/player/ Todos los viernes a las 19:00. Escúchame en Querido Lennon: https://go.ivoox.com/sq/1746368 Escúchame en Café Sonoro, con Virginia Maestro: https://go.ivoox.com/sq/2397979 ¿Quieres anunciarte en nuestro podcast? Hazlo con advoices.com/podcast/ivoox/1111010 Equipo de Strawberry Fields: José Ángel Martín: dirección, elaboración de guiones, narración, grabación, producción y edición. Fátima García: colaboración. Virginia Maestro: colaboración. Eva Paula Bonora: colaboración y voz de cuñas y entradillas. Chefo Martín: apartado técnico y sonido. Andrés Vallejo: diseño del logotipo. Muchísimas gracias por escuchar Strawberry Fields. Sin ti esto no sería posible.

Programa 151 de este espacio dedicado a The Beatles dirigido y presentado por José Ángel Martín, donde podremos disfrutar de un episodio que gira en torno a la pregunta "¿es Taylor Swfit más grande que The Beatles?" basándonos en los últimos records de la artista y comparándolos con los conseguidos por los de Liverpool. Espero que te guste. Beatles Forever! Apoya al podcast aquí: https://www.ivoox.com/support/1111010 Tienes todos los enlaces de interés aquí: https://linktr.ee/sfbeatlespodcast Este episodio está dedicado a todos nuestros mecenas, los Strawberry Dreamers: Fconcejero, Mercè Barrera, Kuratti46, Opicula, Roberto Way Menéndez, Antonio José Guerrero Gómez, Joan M. Lorente Vinardell, Alejandro Salazar Rocha, Virginia Maestro, Fidel López Barquiel, Raúl Sánchez, Rafael Romero Díaz, Amparo García, Marta Mora, Fran López de Ahumada, Fivecast, Fernando Silva, Néstor Bogajo, Fernando Castejón, Antonio José Maestro Moya, Andrés Cutillas, Vicente Alonso Peñas, Fernando Sánchez, Alberto Pérez Cabrera, Harrisein, Jaume Gil Escarcelle, El Submarí Groc, Jesús Ibias Sánchez, Martina Alvarado, Eva Paula Bonora, Carmen García Peralta, Fátima García y un oyente anónimo. También puedes leer el programa en el blog: https://strawberryfields-beatlespodcast.blogspot.com/2024/06/programa-151-strawberry-fields.html Suscríbete, deja tu comentario y comparte el programa con todas aquellas personas a las que le gusten The Beatles. Puedes unirte a los Strawberry Dreamers desde 1'49€ y eso te dará acceso a episodios exclusivos y más otras ventajas por el precio de un café. Además estarás contribuyendo a que este espacio continúe siendo sostenible y pueda seguir realizándose en un futuro. Puedes escucharnos también en: Radio Oasis Salamanca. 105.9 FM (Salamanca). https://radiooasis.es/player/radiooasis-en-directo.html Todos los martes a las 22:00 y los viernes [medianoche del jueves al viernes] a las 0:00 (redifusión). Radio Free Rock. https://radiofreerock.com/player/ Todos los viernes a las 19:00. Escúchame en Querido Lennon: https://go.ivoox.com/sq/1746368 Escúchame en Café Sonoro, con Virginia Maestro: https://go.ivoox.com/sq/2397979 ¿Quieres anunciarte en nuestro podcast? Hazlo con advoices.com/podcast/ivoox/1111010 Equipo de Strawberry Fields: José Ángel Martín: dirección, elaboración de guiones, narración, grabación, producción y edición. Fátima García: colaboración. Virginia Maestro: colaboración. Eva Paula Bonora: colaboración y voz de cuñas y entradillas. Chefo Martín: apartado técnico y sonido. Andrés Vallejo: diseño del logotipo. Muchísimas gracias por escuchar Strawberry Fields. Sin ti esto no sería posible.

Exploring Central Park should be on your NYC bucket list. In this article, we're gonna simplify the best ways to get around Central Park so you can see all the sights efficiently. Pedicabs/Horse-Drawn Carriage On Central Park's website: pedicab tours are $150/hr and this is the discounted price. Usually cost $3-7 per minute. I've seen as high as $10/min. This is so expensive and no one on these tours ever looks like they are actually enjoying it. You'll miss most of the most famous spots just because the pedicabs can't go to the best places. Horse-drawn carriage on Central Park's website-$120 for a 30 min ride. $160 for 45 min ride. This does not include tip! Walk up prices will be much more expensive. Bike/Scooter Rental Bike rentals as low as $11/hr/person. Scooter rental is around $20-25/hr/person. Citi Bike: Day pass for $19/day. Free unlocks + 30 minute of free riding on a standard bike or $0.30/minute on an eBike Normal unlock: $4.79 for 30 minutes on a standard bike or $0.30/minute on an eBike Rollerblading or Skateboarding Rollerblade rental- $25 for 24-hour rental. Comes with helmet and pads. Would not recommend this option unless you are a very good rollerblader. The central park roads are sometimes uneven and the loop can get crowded. Would be fun if you are good but could easily be miserable if you are a novice. Skateboarding-- Same deal. You should be good at this. Probably best if you already live here and have one. This Episode's You'll Have to Check It Out Segment - Turnstyle Underground Market Located in the Columbus Circle subway station, right under the Shops at Columbus Circle. This market has a wide variety of food spots, shops, and dessert/drink places. Some include: Doughnuttery - Small, unique donuts Criollas - Empanadas Down Under Coffee - Coffee shops Lisa's Dumplings - Dumplings Panda Bubble Tea - Bubble teas and drinks Dog shop, barbershop, clothing boutiques Bike/Scooter Tours Bike tour, around $50/person for 2 hour tour. Scooter Tour, around $95/person for 2 hour tour. Walking Can use the free central park audio guide and choose your own adventure. Check out our Central Park Audio Guide Podcast Episode! Price: Free Subway + Walking On West side of the park: B/C subway runs along Central Park West. 72nd street stop drops you off by The Lake, Bethesda Terrace, Bow Bridge, Strawberry Fields, The Ramble. 10 min walk to Bethesda Terrace. 81st St Museum of Natural History B/C drops you off by Belvedere Castle, the Great Lawn, Turtle Pond, The Ramble. Price: Subway costs $2.90/swipe. Enjoy Central Park!

In this episode, we're excited about new books: Strawberry Fields by Patrick D. Joyce and The Warm Hands of Ghosts by Katherine Arden. Dave shares some events worth traveling to in 2024. This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/StrongSense and get on your way to being your best self. Links Strawberry Fields by Patrick D. Joyce Back in the USSR by Patrick D. Joyce Patrick Joyce's website The Wall by Peter Sís Prague Spring by Simon Mawer Podcast: Prague: Castles and Cobblestones The Warm Hands of Ghosts by Katherine Arden The Bear and the Nightingale by Katherine Arden Podcast: The Forest: Meet a Witch, Climb a Tree The Invisible Life of Addie LaRue by V.E. Schwab National Geographic: 10 unmissable events worth travelling for in 2024 Bosphorus Cross-Continental Swim in Istanbul Ride Africa Child.org Transcript of this episode. The Library of Lost Time is a Strong Sense of Place Production! https://strongsenseofplace.com Do you enjoy our show? Want access to fun bonus content? Please support our work on Patreon. Every little bit helps us keep the show going and makes us feel warm and fuzzy inside - https://www.patreon.com/strongsenseofplace As always, you can find us at: Our site Instagram Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices

Programa 123 de este espacio dedicado a The Beatles dirigido y presentado por José Ángel Martín, donde podremos disfrutar de un episodio especial donde recordaremos la relación entre The Beatles y David Bowie al cumplirse un nuevo aniversario del fallecimiento del Duque Blanco. Espero que te guste. Beatles Forever! Los Strawberry Dreamers son: Amparo García, Raúl Sánchez, Marta Mora, Fran López de Ahumada, Fivecast, Fernando Silva, Joan M. Lorente Vinardell, Néstor Bogajo, Fernando Castejón, Antonio José Maestro Moya, Andrés Cutillas, Vicente Alonso Peñas, Fernando Sánchez, Alberto Pérez Cabrera, Harrisein, Jaume Gil Escarcelle, El Submarí Groc, Jesús Ibias Sánchez, Martina Alvarado, Eva Paula Bonora, Carmen García Peralta, Fátima García y un oyente anónimo. También puedes leer el programa en el blog próximamente... Suscríbete, deja tu comentario y comparte el programa con todas aquellas personas a las que le gusten The Beatles. Puedes unirte aquí a los Strawberry Dreamers desde 1'49€ al mes, y eso te dará acceso a episodios exclusivos y más otras ventajas por el precio de un café. Además estarás contribuyendo a que este espacio continúe siendo sostenible y pueda seguir realizándose en un futuro ⬇️ https://www.ivoox.com/support/1111010 Tienes todos los enlaces de interés aquí: https://linktr.ee/sfbeatlespodcast Puedes escucharnos también en: https://radiooasis.es/ Radio Oasis Salamanca 105.9 FM (Salamanca). Todos los martes a las 16:00 y los viernes [medianoche del jueves al viernes] a las 0:00 (redifusión). ¿Quieres anunciarte en nuestro podcast? Hazlo con advoices.com/podcast/ivoox/1111010 Equipo de Strawberry Fields: José Ángel Martín: dirección, elaboración de guiones, narración, grabación, producción y edición. Fátima García: colaboración. Eva Paula Bonora: colaboración y voz de cuñas y entradillas. Chefo Martín: apartado técnico y sonido. Andrés Vallejo: diseño del logotipo. Muchísimas gracias por escuchar Strawberry Fields. Sin ti esto no sería posible.

Bonus blurb. 16 Songs of 1966: No.17: Pantomime Everywhere It's ChristmasIn 1966 there was a 17th song - the only thing heard from the Beatles between Revolver and Strawberry Fields Forever. For their annual Christmas fan club disc instead of the usual thank yous, they produced a collection of music and sketches. Like Revolver and Strawberry Fields, it showed where they'd been, and where they were going.  Live on tape from Dublin & Belfast, it's Nothing Is Real. Website: http://www.nothingisrealpod.comTwitter: @BeatlesPodFacebook Group: http://tiny.cc/NIRFBGYouTube: http://tiny.cc/NIRYT Support: http://tiny.cc/NIRsupportSupport this show http://supporter.acast.com/nothing-is-real-a-beatles-podcast. Become a member at https://plus.acast.com/s/nothing-is-real-a-beatles-podcast. Hosted on Acast. See acast.com/privacy for more information.

”FN-systemet håller på att bryta sönder i Gaza” - Jan Eliasson, tidigare vice generalsekreterare FN. (Som om vore det planerat.) Non-Violence , även känd som The Knotted Gun , är en bronsskulptur av svenske konstnären Carl Fredrik Reuterswärd av en överdimensionerad Colt Python .357 Magnum- revolver med nospartiet knutet i en knut. Carl Fredrik Reuterswärd gjorde denna skulptur efter mordet på John Lennon, som Reuterswärd var bekant med. När han fick reda på mordet stannade han uppe hela natten för att arbeta med verket, inspirerad av idén att göra en knut på det skjutvapen som mördaren Mark David Chapman hade använt. Han hade tidigare gjort bitar av knutna pennor, som Medium's Memory i Kristianstad 1977. Under 1980-1981 gjorde Reuterswärd en prototyp av ett skjutvapen i naturlig storlek i gips och ett i brons. Dessa förvaras nu i samlingen av Museet för skisser för offentlig konst i Lund. Den överdimensionerade offentliga versionen av verket planerades för John Lennons minnesmärke Strawberry Fields i Central Park . Denna skulptur gjordes 1984, men när minnesmärket öppnades 1985 valde Reuterswärd att inte placera den där, med hänvisning till farhågor att den skulle bli stulen. 1988 köpte den luxemburgska regeringen och donerade den till FN. Skulpturen flyttades precis utanför FN:s högkvarter. Här tolkades det inte bara som ett minnesmärke för John Lennon, utan som en symbol mot våld och krig var som helst i världen. Med facit i hand vet vi ju hur det ligger till med den saken... De Fria är en folkrörelse som jobbar för demokrati genom en upplyst och medveten befolkning! Stöd oss: SWISH: 070 - 621 19 92 (mottagare Sofia S) PATREON: https://patreon.com/defria_se HEMSIDA: https://defria.se FACEBOOK: https://facebook.com/defria.se

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

Former Ohio State Senator and founder of We Are Somebody, Nina Turner, joined the America's Work Force Union Podcast to discuss her new pro-labor organization fighting for workers' rights and protections. Estlin Hiller and Tavis Barton, Budtenders with Strawberry Fields United — and members of Teamsters Local 413 —- joined the America's Work Force Union Podcast to discuss becoming the first cannabis industry workers in Ohio to be unionized, issues with organizing and what anti-union threats they faced from their employer.

Have you dreamt of stepping away from the humdrum of corporate life and delving into entrepreneurial ventures of your own? Well, our guest today, Stacy Fields, did just that. With her family, she embarked on a journey of transforming a raspberry farm in Fletcher, North Carolina into a successful business venture, despite having no prior farming experience. Stacy's story is a masterclass in the power of hard work, research, and understanding the industry and its customer base. Her insights on making calculated decisions driven by logic and financial analysis are invaluable lessons for budding entrepreneurs.Stacy didn't stop at the farm though. She navigated the complex terrain of starting a bakery, Mini Batch Bakery, from navigating through legal considerations to managing logistics in a confined space. She shares with us the intricacies of starting a business and how to make informed business decisions. Stacy's story is a testament to the importance of education and commitment in building successful businesses. Stacy is not just an entrepreneur, she's an inspiration for anyone with dreams of starting their own business. She shares her faith, her inspiration, and the importance of steadfast commitment to turning dreams into reality. Tune in to hear her incredible journey of building an incredible business and legacy.Raspberry Fields - Sustainable Farm - Hendersonville, North Carolina https://www.bing.com/ck/https://www.bing.com/ck/Being a Business Owner is Lonely. But It Doesn't Have to Be...Join The Entrepreneur Experience. Be sure to visit BizRadio.US to discover hundreds more engaging conversations, regional events and more.

Strawberry Fields is a new ambient and chill music podcast by Ken Steele. Please check out this relaxing and soothing podcast. Artist names and song titles are in order of play...THE AMBIENTALIST-ASHES, AMBYION-SUNLIGHT, ANDY LEECH-FALLING, ROALD VELDON-COMPLICATED, ONYCS-SHINE, SONIC SCOPE-ANGEL ROAD, JAY MELLOCK-SOULMATES, MARION-MAKE A WISH, OSCURO-INTO THE SUN, VICTORIYA-STRAWBERRY, DJ TAZ RASHID-ROAD LESS TRAVELED, HIATUS-RETURNING, LUKAS TERMENA-FREEDOM II, DREAM MAN-NEYTIN'S SONG, SORROW-LUNILU (Stumbleine Remix), End. Night sounds as the ending. Thanks for listening from Ken Steele Music. 

How does Strawberry ice cream get you busted?  let's find out...

In this episode, we'll show you 3 notorious tourist traps in NYC. By shedding light on these deceitful practices, we aim to arm tourists with knowledge and awareness, empowering them to navigate the city with confidence and avoid falling victim to these cunning schemes. Here are 3 common tourist traps in NYC: Scammers to see the Statue of Liberty Pedicabs & horse-drawn carriage rides Break dancers in parks & crowded areas Alright, let's look at each tourist trap below.

Ryan discusses his trip to a strawberry festival/carnival, we all discuss our current dating situations and much more!

Author Kate Watson is on the show today, and we're chatting all about small town romance books and her latest novel Strawberry Fields for Never! Don't miss it! Order your copy of Strawberry Fields for Never by Kate Watson! https://a.co/d/4SrNQbn

Let me take you down, cuz we're going to... Strawberry Fields, nothing is real, episode 214 forever! Forever and ever and deep into the hot topics of grandma's house, decorative plates, expiration dates, remakes, AI, pizza, writers' strike, Chat GPT, A's baseball, and motivation. This one just might make y'think! Or not! But, that's a risk you're clearly signing up for so please enjoy and leave a kind rating/review on iTunes if y'don't mind, good folks. Logo art by Brandon Lai Music by Micah Julius Linen pants wrinkled by leaving them in dryer

If you're looking to make a fast and direct connection with a woman for instantaneous attraction, playing small games or gambits with them is one of the best ways to direct the conversation away from boring platonic topics into something that invokes a deeper emotional response. In today's episode Mark is sharing one such gambit known as “Strawberry Fields”, add this trick to your arsenal and you'll never be left struggling for topics to get a woman into her emotions. Get Your FREE 1 on 1 Breakthrough Session By CLICKING HERE Watch UMP Episodes on YouTube: https://www.youtube.com/channel/UCybix9PZoDgcyyt5hNxPLuw Grab Mark's Free Program: "The Approach Formula": http://www.CoachMarkSing.com/The-Approach-Formula Follow Mark on Instagram: https://www.instagram.com/coachmarksing/ Contact Mark Directly: CoachMarkSing@Gmail.com

Chris Oliviera returns to the show for a Patreon exclusive episode about The Beatles-related content TMBG have done over their career. Hear this 41 minutes teaser with us talking about TMBG's overall love of the Beatles as well as our own, and a focus on "Savoy Truffle."    Sign up as a Patreon subscriber to hear the rest of this episode where we discuss their instrumental McCartney solo "Ram On" cover, their parody of "Yellow Submarine," and their "Strawberry Fields"-inspired "Particle Man." Hear all the exclusive eps and get sick merch at our Patreon!

We paid the ransom to unlock our beer poll, got some wooden spoon tips from Great Grandma Bonnie Runyan, talked about the Open Mic at Torch 180 with Rhonda Callahan and then headed to scrapyard for the gates to Strawberry Fields.

Every garden has gaps that need to be filled from time to time. Whether you are looking for a short-term stand-in while a bed is being reworked or a quick fix after another plant dies, it is nice to have a list of pinch-hitters that can step in and fill space quickly. Listen in as Danielle, Carol, and expert guest Lisa Bauer share some of their favorite choices for gracefully filling the vacancies that are a natural part of a garden's evolution. Expert guest: Lisa Bauer is the owner of Chartreuse Garden Design in Seattle.   Danielle's Plants Spider flower/Cleome (Cleome hassleriana and cvs., annual) Appalachian sedge (Carex appalachica, Zones 3-7) Creeping petunia (Petunia  spp. and cvs., annual) Caladium (Caladium  spp. and cvs., Zones 9-11)   Carol's Plants Prairie dropseed (Sporobolus heterolepis, Zones 3-9) Snow on the mountain (Euphorbia marginata, annual) ‘Strawberry Fields' gomphrena (Gomphrena ‘Strawberry Fields, annual) ‘Pink Cotton Candy' betony (Stachys officinalis ‘Pink Cotton Candy', Zones 4-8)   Expert's Plants Black Lace® elderberry (Sambucus nigra ‘Eva', Zones 5-7) ‘Cavatine' pieris (Pieris japonica ‘Cavatine', Zones 5-8) ‘Blue Star' juniper (Juniperus squamata ‘Blue Star', Zones 4-8) ‘Bressingham White' bergenia (Bergenia ‘Bressingham White', Zones 3-8) Liverleaf (Hepatica nobilis, Zones 5-8)

Few people knew John Lennon as intimately as May Pang. Pang was Lennon's lover during the infamous “Lost Weekend” which lasted 18 months during late 1973 through 1975.  In this exclusive interview, we learn about their relationship and the kind of person John Lennon really was. During this highly creative time for Lennon, Pang took candid photos of Lennon in a comfortable, relaxed environment. A collection of these private photographs will be on display in various cities, including at City Winery in NYC this Sat April 8 and Sun April 9. The exhibition entitled, “The Lost Weekend – The Photography of May Pang” coincides with the feature film documentary “The Lost Weekend : A Love Story” that premieres in theaters beginning April 13th. Admission to the exhibit is free to the public and all works are available to purchase. Advance tickets to the film premiere screening are on sale now at: https://www.thelostweekendtickets.com/?campaign=IconicYT. Watch the trailer here: https://youtu.be/6v07NzukoZU. May Pang will be in attendance at City Winery NYC and signing copies of her fine art photographs for customers. On Sunday, the fabulous Beatles band “Strawberry Fields” will be performing their weekly Ultimate Beatles Brunch concert at noon (admission required, tickets available at https://citywinery.com/NewYork/Online/Article/new-york-strawberry-fields-lp-2023.) Billed as “a weekend that lasted 18 months and a love story that took 50 years to tell”, THE LOST WEEKEND: A LOVE STORY (from Iconic Releasing) explores the 18-month relationship (1973-1975) that John Lennon spent with May Pang, his Chinese American assistant turned lover (on Yoko Ono's insistence and which she came to regret). With May's help, he had his most artistically and commercially productive period post-Beatles—with the albums "Mind Games", "Walls and Bridges", which included his only #1 Hit Single "Whatever Gets You Through the Night", "Rock and Roll" and collaboration with Rock legends Elton John, David Bowie, Harry Nilsson, Mick Jagger, and Ringo among others. Also, on that album Pang can be heard on the song “#9 Dream” where she whispers John's name in the song. Another song on the album “Surprise, Surprise (Sweet Bird of Paradox)” was written about Pang. Pang chronicles it all revisiting her younger self, as a naïve 22-year-old experiencing her first unforgettable love. Pang also encouraged Lennon to reconnect with his family and his friends, which ultimately led to a reunion with Paul McCartney and a memorable jam session between the two Beatles. Pang also arranged for Julian Lennon to visit his father for the first time in almost three years. One of Pang's photographs of Julian Lennon graces the cover of Julian's latest album entitled “Jude.”  Lennon also went into the studio with friend Harry Nilsson during this time and produced his album “Pussy Cats.” It was during this time that Pang rented a house in Santa Monica and moved in with Lennon and fellow partiers Ringo Starr, Keith Moon (The Who) and Harry Nilsson. Several photos from this time also appear in the exhibition.  “The Lost Weekend – The Photography of May Pang” exhibition will provide fans a rare opportunity to see John Lennon in a new light, through the lens of someone who knew him intimately during one of the most creative periods of his life. Pang's photos will be on display and available to purchase for two days only. Check out the show and meet May Pang at City Winery NYC, 25 11th Avenue (at 15th Street), New York, NY for two days only, Saturday, April 8 and Sunday, April 9, 2023.

How does strawberry ice cream get you busted? Lets find out!

Flowers and foliage get most of the fanfare, but a plant with eye-catching seed heads will add interest for weeks or even months after its bloom time is over. The textures and shapes of these seed-bearing structures are delightfully diverse, ranging from alliums' showy starbursts to plump peony pods and the feathery tassels of clematis. Our hosts and expert guest will share some favorite selections that look great after they go to seed. Expert guest: Amanda Thomsen is a horticulturist, garden designer, and author based in suburban Chicago.   Danielle's Plants 'Purple Sensation' allium (Allium 'Purple Sensation', Zones 3-9)  'Kopper Kettle' Itoh peony (Paeonia 'Kopper Kettle', Zones 3-8)  'Goldsturm' black-eyed Susan (Rudbeckia fulgida var. sullivantii 'Goldsturm', Zones 3-9)  Baptisia (Baptisia australis, Zones 3-9)    Carol's Plants ‘Strawberry Fields' gomphrena (Gomphrena haageana ‘Strawberry Fields', Zones 9-11) Tibetan clematis (Clematis tibetana, Zones 6-9) Kamchatka sedum (Sedum kamptschaticum, Zones 3-8) ‘Blue Glow' globe thistle (Echinops bannaticus, Zones 3-8)   Expert's Plants Angel's trumpet (Datura innoxia, Zones 9-10) Love-in-a-mist (Nigella damascena, annual) Love lies bleeding (Amaranthus caudatus, annual)