Links from the show:* Connect with Frank on Twitter* Read Frank's newsletter* Frank's booksAbout my guest: Frank Furedi is a sociologist and social commentator. He is Emeritus Professor of Sociology at the University of Kent in Canterbury. Since the late 1990s, Frank has been widely cited about his views on why Western societies find it so difficult to engage with risk and uncertainty. He has published widely about controversies relating to issues such as health, parenting children, food and new technology. His book Invitation To Terror; Expanding the Empire of the Unknown (2007) explores the way in which the threat of terrorism has become amplified through the ascendancy of precautionary thinking. It develops the arguments contained in two previous books, Culture of Fear (2002) and Paranoid Parenting (2001). Both of these works investigate the interaction between risk consciousness and perceptions of fear, trust relations and social capital in contemporary society. Frank has also written extensively about issues to do with education and cultural life. His book, Wasted: Why Education Is Not Educating (2009) deals with the influence of the erosion of adult authority on schooling. On Tolerance (2011) offers a restatement of the importance of this concept for an open society. Authority: A Sociological History (2013) examines how the modern world has become far more comfortable with questioning authority than with affirming it. Frank is committed to promoting the ideals of a humanist education and his writings on higher education are devoted to affirming the value of the liberal arts. His forthcoming book is titled Democracy Under Siege: Don't Let Them Lock It Down! and will be published by Zer0 Books in October 2020. The book offers a positive affirmation of the principle and the value of democracy. At present he is engaged in a research project that explores the history of the relationship between the problem of identity and the difficulty that western society has in engaging with issues pertaining to morality. His work has as its focus on the process of socialisation and intergenerational relations. Furedi's studies on the problem of morality run in parallel with his exploration of the problem of cultural authority. Since Authority, A Sociological History (Cambridge University Press 2013) he has published a study a study The First World War: Still No End In Sight – which interprets this event as the precursor of today's Culture Wars. His study, Populism And The Culture Wars In Europe: the conflict of values between Hungary and the EU, discusses the sociological implications of the tension between populists and anti-populist political currents. His forthcoming book, Why We Need Borders seeks to explain the significance that physical borders and symbolic boundaries have for providing communities with meaning. Frank's books and articles offer an authoritative yet lively account of key developments in contemporary cultural life. Using his insights as a professional sociologist, he has produced a series of agenda-setting books that have been widely discussed in the media. His books have been translated into 13 languages. Frank regularly comments on radio and television. He has appeared on Newsnight, Sky News and BBC News, Radio Four's Today programme, and a variety of other radio television shows. Internationally, he has been interviewed by the media in Australia, Canada, the United States, Poland, Holland, Belgium, Brazil, and Germany. His articles have been published in New Scientist, the Guardian, the Independent, the Financial Times, the Daily Telegraph, the Daily Express, the Daily Mail, the Wall Street Journal, the Independent on Sunday, India Today, L'Espresso, The Times, The Sunday Times, the Observer, the Sunday Telegraph, the Globe and Mail (Toronto), the Christian Science Monitor, the Times Higher Education Supplement, spiked, the Times Literary Supplement, Harvard Business Review, Die Welt and Die Zeit, among others. Get full access to Dispatches from the War Room at dispatchesfromthewarroom.substack.com/subscribe
All police officers to be vetted as if new, Cross Question & should cake be banned in the workplace? Joining Iain Dale on Cross Question this evening are Tech Minister Paul Scully, Liberal Democrat Chief Whip Wendy Chamberlain, Labour councillor Satvir Kaur and Tony Diver from the Sunday Telegraph.
Joining Iain Dale on Cross Question this evening are Tech Minister Paul Scully, Liberal Democrat Chief Whip Wendy Chamberlain, Labour councillor Satvir Kaur and Tony Diver from the Sunday Telegraph.
Zoe Strimpel, historian and Sunday Telegraph columnist, talks to Brendan O'Neill about the perils of risk-aversion, the allure of victimhood and how woke ‘anti-racism' is fuelling anti-Semitism Read spiked here: https://www.spiked-online.com/ Become a spiked supporter: https://www.spiked-online.com/supporters/ Sign up to spiked's newsletters: https://www.spiked-online.com/newsletters/ Check out spiked's shop: https://www.spiked-online.com/shop/
Tim flourished in a journalism, a 25-year career in the national press that saw him (among other things) deputy-edit The Sunday Telegraph and be Sports Editor of The Daily Mail. Tim joined PHA in 2014 – to lead the firm's reputation work. He utilises his unique experiences in the field to advise clients including a Premier League football club (Crystal Palace), and he also works with businesses facing reputational issues. For more about The PHA Group: https://thephagroup.com **************** For a free mentoring session with Anthony Astbury of The Whole Man Academy: https:go.one hub.com/wholemanacademy
Welcome to Season 2, Episode 28 of the 3%ers Business Coaching podcast. This latest episode is an interview with Darren Jamieson This is how Darren describes himself; Darren has been in the field of digital marketing since the late '90s, and has worked with brands such as Sony, the NHS, the Environment Agency and as the in-house web designer for GAME back in 2000. He's been in digital marketing so long, when he started Google wasn't the largest search engine and the dot com bubble had yet to burst. Working for several agencies around the UK, he has witnessed every Google update, seen every trick to manipulate search rankings come and go, and has formulated search marketing strategies that has seen clients stay with him, and at the top, for over a decade. After co-founding Engage Web in 2009, the company now handles the digital marketing campaigns for clients ranging from small, local businesses, to global brands across the UK, Australia, Canada and the United States. Engage Web also supplies other digital marketing agencies with content for their clients, having produced over 200,000 blogs. Darren has previously featured on the BBC, ITV, Channel 4, Channel 5, Sky News, BBC Radio and in newspapers and magazines such as The Sunday Telegraph, Net Magazine, The Franchise Magazine and The Big Issue. https://www.engageweb.co.uk https://engagingmarketeer.com https://podcasts.apple.com/gb/podcast/engaging-marketeer/id1612454837 https://www.linkedin.com/in/darrenjamieson/ https://twitter.com/EngageWeb I highly recommend that you go and check out Engage Web and see the amazing work that they do. Now, I hope that you are enjoying the new improved quality of these podcast recordings since I have started using Riverside and if you want to know more, please head over to https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=rich-hunter-rice. Yes, it is an affiliate link and I will potentially earn a coffee or so every 6 months if you start subscribing to Riverside.FM – but I am loving the product and it is taking my podcast to another level. Please leave me a review wherever you are listening to this podcast and don't forget to subscribe so you are the first to be notified about the latest episodes every Tuesday & Friday morning at 08:00 BST and about any bonus episodes that we never market! Finally, I have opened the Q&A to the show notes so got a question – go for it! Rich Minerva Growth Take Action Now email@example.com https://www.facebook.com/richhunterrice/ Whatsapp +44 7940 209 504 --- Send in a voice message: https://anchor.fm/rich-hunter-rice/message
Subscribe to Mamamia Nearly 20 years ago, Kathleen Folbigg was sentenced to 40 years in jail for the murder of three of her children, and the manslaughter of her fourth. She was described as Australia's worst female serial killer. But what if the system got it wrong? Jane Hansen is the Sunday Telegraph's senior reporter and the host of the podcast Mother's Guilt - which examines Kathleen's crimes. And on No Filter this week she joins us to discuss Kathleen's story and why now, over 150 world-renowned scientists are petitioning for Kathleen's release. THE END BITS: Subscribe to Mamamia With thanks to Jane Hansen. Listen to the Mother's Guilt podcast here Feedback? We're listening! Call the pod phone on 02 8999 9386 or email us at firstname.lastname@example.org Need more lols, info, and inspo in your ears? Find more Mamamia podcasts here. CREDITS: Host: Mia Freedman. You can find Mia on Instagram here and get her newsletter here. Executive Producer: Elissa Ratliff Assistant Producer: Emmeline Peterson Audio Producer: Madeline Joannou Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures. Just by reading or listening to our content, you're helping to fund girls in schools in some of the most disadvantaged countries in the world - through our partnership with Room to Read. We're currently funding 300 girls in school every day and our aim is to get to 1,000. Find out more about Mamamia at mamamia.com.au See omnystudio.com/listener for privacy information.
I'm pleased to share this podcast with Daniel Pailthorpe, Co-Principal Flautist with the BBC Symphony Orchestra. We had a fascinating discussion about his musical journey growing up, parallels between flute playing and singing, solo performances, what it's like playing for one of the top symphony orchestras in the country, performing at the BBC Proms and Royal Albert Hall (including a memorable concert involving the then five members of Monty Python!), tone production and vibrato. Podcast interview recorded 26 September 2022 at Daniel's home in Richmond, London; Daniel's additional commentary about tone production and throat tuning recorded 12 November 2022; podcast released 16 November 2022. Due to some digital noise when I started recording, here's also what he said when I asked him about his musical journey growing up: "I actually don't come from a particularly musical family. My father loved music but was not a trained musician at all. Bach was his passion and he transferred that to me. It was just a very pure love of music without having an instrument but they very much encouraged me in my music, took me to concerts. It so happened that both of my godparents who they chose when I was born were both very keen musicians and so they helped to introduce me to the world of music." Crumb - Voice of the Whale: https://www.youtube.com/watch?v=bd76Q-yA5M4. Daniel's arrangement of Prokofiev's Scenes from Romeo and Juliet - https://www.youtube.com/watch?v=Wmca0PTyy-c. Daniel's arrangement of Scenes from Romeo and Juliet for oboe - https://youtu.be/lB07FNY84DQ. End music: Margaret Hubicki (2005). From the Isles of the Sea [performed by Daniel Pailthorpe and James Kirby]. On Dedication in Time: Chamber Music by Margaret Hubicki. Chandos. (Premiere recording). Podcast intro and outro music by Helena and Annabelle Lee. Podcast edited by Joe Eftihiou, additional edits from Daniel Pailthorpe and Annabelle Lee. One of the few orchestral principals of international standing who plays on a modern wood flute, Daniel Pailthorpe has gained a world-wide following for the uniqueness and breadth of his sound as well as the warmth of his musicianship. As co-principal flautist of the BBC Symphony Orchestra, Daniel is regularly heard on BBC Radio 3 and at the Proms. He features prominently on the BBCTV 'Symphony' series and is a familiar face on the Last Night of the Proms. Together with his wife Emily Pailthorpe and the pianist Julian Milford, he founded the London Conchord Ensemble. The group has rapidly gained an international reputation, performing in some of the world's most prestigious concert series. His recordings, ranging from Poulenc to Bach and George Crumb, have enjoyed many accolades, among them Sunday Telegraph's CD of the week and Classic FM's CD of the month. Singing featured prominently in Daniel's musical training: he began as a choirboy aged six, was a finalist in the UK Chorister of the Year competition, and went on to become a Choral scholar at Clare College, Cambridge. After a year of postgraduate study at the Royal Academy of Music, Daniel was the recipient of the Leonard Bernstein Fellowship at the Tanglewood Music Centre, USA. His flute studies took him to Paris and America and his teachers include William Bennett, Derek Honner, Gaston Crunelle, Thomas Nyfenger and Geoffrey Gilbert. He has gone on to be much in demand as a guest principal with many orchestras, including the London Symphony Orchestra and the Chamber Orchestra of Europe. He is one of London's most sought-after session musicians, featuring on the soundtracks for many films. As a teacher Daniel has been a coach for the National Youth Orchestra and is a Professor of flute at the Royal College of Music. --- Send in a voice message: https://anchor.fm/talking-classical-podcast/message
Rachel and Simon speak to the journalist, author and editor Tina Brown. She began working as a freelance journalist as a student and contributed to publications including the New Statesman, the Sunday Times and the Sunday Telegraph; in 1973 she won the Catherine Pakenham award for the most promising female journalist under the age of 25. In 1979 she was invited to edit Tatler, in 1984 she took over at Vanity Fair and in 1992 she became the first woman to become editor-in-chief of the New Yorker, a position she held until 1998. She was inducted into the Magazine Editors' Hall of Fame in 2007—the same year "The Diana Chronicles", her bestselling biography of the Princess of Wales, was published. In 2008 she set up the Daily Beast, a news website. We spoke to Tina about breaking into journalism and running Tatler in her 20s, editing marquee American publications in the 1980s and 1990s, and her latest book on the British royal family, "The Palace Papers". You can find us online at alwaystakenotes.com, on Twitter @takenotesalways and on Instagram @alwaystakenotes. Our crowdfunding page is patreon.com/alwaystakenotes. Always Take Notes is presented by Simon Akam and Rachel Lloyd, and produced by Artemis Irvine. Our music is by Jessica Dannheisser and our logo was designed by James Edgar.
Felicity Beckett talks to Tim Minchin about his new stage tour Back, coming to Picturehouse cinemas in late November. After selling out his international tour in record-breaking time and receiving rave audience reviews, multi-award-winning musician, comedian, writer and composer, Tim Minchin is bringing his latest stage tour, BACK, to the big screen. Filmed live at the Shepherd's Bush Empire, London with an 8-person band, Tim Minchin's BACK, is a comedy and music extravaganza that critics have called “Spectacular” (The Times) and a “Roof-raising return” (The Sunday Telegraph). With his trademark satirical musings combined with ‘Old songs, New Songs and F*** You Songs', Minchin brings his eclectic repertoire, hilarious wit and philosophical reflections to cinemas for the first time in a truly unmissable show. If you'd like to send us a voice memo for use in a future episode, please email email@example.com. Subscribe on Apple Podcasts. Follow us on Spotify. Find us on Twitter, Facebook and Instagram with @picturehouses. Find our latest cinema listings at picturehouses.com. Produced by Stripped Media. Proudly supported by Kia. Thank you for listening. If you enjoy the show, please subscribe, rate, review and share with your friends. Vive le Cinema.
In conversation with Colum McCann ''The heir to Nabokov'' (The Sunday Telegraph), Irish novelist John Banville won the Man Booker Prize for The Sea, a story of loss and the fickle nature of memory. His many other novels include The Book of Evidence, Mrs. Osmond, The Untouchable, and April in Spain. He has earned the James Tait Black Memorial Prize, the Irish PEN Award, the Franz Kafka Prize, and the Prince of Asturias Award, Spain's most prestigious literary honor. A fellow of the Royal Society of Literature, Banville is also an acclaimed playwright, nonfiction writer, screenwriter, and crime novelist. In The Singularities, a mysterious man with a borrowed name returns to the estate of his youth to find it occupied by the descendants of a famous but controversial scientist. Colum McCann won the 2009 National Book Award for Let the Great World Spin. His other novels include Song Dogs, This Side of Brightness, and the Man Booker Prize-shortlisted TransAtlantic . His most recent novel, Apeirogon, was a New York Times bestseller and won the Prix Montluc, the Elle Prize, and the Jewish National Book Award.The Thomas Hunter Writer in Residence at Hunter College in New York and the co-founder of the non-profit global story exchange organization Narrative 4, McCann has written for The New Yorker, Esquire, and the Paris Review, among other publications. (recorded 11/4/2022)
Dr. Björn Lomborg is an academic and author of the bestselling titles "False Alarm: How Climate Change Panic Costs Us Trillions, Hurts the Poor, and Fails to Fix the Planet", "The Skeptical Environmentalist" and "Cool It". He is currently a visiting fellow at Stanford University's Hoover Institution and President of the Copenhagen Consensus Center, a think tank convening the world's top economists to conduct research on the most effective methods for resolving global humanitarian crises. Dr. Lomborg's primary area of research interest is climate change, and his work is dedicated towards edification of the general public as well as policymakers. He is a contributor to preeminent publications such as The New York Times, The Wall Street Journal, USA Today, The Economist, Washington Post, Forbes Magazine, Globe & Mail, The Guardian, The Daily and Sunday Telegraph, The Times, The Australian, Los Angeles Times, Boston Globe and Der Spiegel.
Not content with manufacturing cars, generating energy, getting into space travel - Elon Musk is in the midst of a $44bn takeover of Twitter. Now he has also been involved in foreign policy conflicts - from Russia-Ukraine to China and Taiwan. Musk clearly considers himself a geopolitical player, but he is entering a world in which he has no expertise, just interests.Contributors:Chris Stokel-Walker - Technology journalist & author, TikTokBoomPeter Micek - General counsel, Access NowJason Jay Smart - Special correspondent, Kyiv PostSiva Vaidhyanathan - Professor of media studies, University of Virginia; author, Anti-social MediaOn our radar:Rupert Murdoch is on the verge of yet another business move, wanting to combine the two halves of his media empire: the TV side - Fox Corp - with the online news business - News Corp. Producer Meenakshi Ravi explores how the merger is much more an exercise in succession planning than a business deal in itself.Striking Back: UK's Unions vs the Media:With the United Kingdom in a state of political disarray, a rare wave of work stoppages has put trade unions – and the media's treatment of them – into the spotlight. Following successive rail strikes, right-wing newspapers have blamed the unions for travel disruptions, but one union leader - Mick Lynch - has flipped the script – putting journalists on the defensive over their habitual anti-union approach. Daniel Turi reports on the coverage of labour issues in the British media.Contributors:Aditya Chakrabortty - Senior economics commentator, The GuardianJulia Langdon - Former political editor, The Sunday Telegraph; former political editor, The Daily Mirror; chairwoman, British Journalism ReviewNicholas Jones - Former industrial correspondent, BBCSubscribe to our channel http://bit.ly/AJSubscribeFollow us on Twitter https://twitter.com/AJEnglishFind us on Facebook https://www.facebook.com/aljazeeraCheck our website: http://www.aljazeera.com/Check out our Instagram page: https://www.instagram.com/aljazeeraenglish/@AljazeeraEnglish#Aljazeeraenglish#News
In this episode, Dr. Tony Nader sits down with Dr. Iain McGilchrist, psychiatrist, neuroscientist, researcher and author, to discuss our various human worldviews, perception and decision making. How can individuals and society be deeply influenced by the primacy of one or the other of the two brain hemispheres? Dr. Nader and Dr. McGilchrist discuss the importance of each and the dangers of excessively relying on only one, especially the left half of the brain. In order to understand ourselves and the world, we need science and intuition, reason and imagination. The right side of the brain plays an important yet often neglected part in our ability to have a holistic, balanced perspective. Dr. McGilchrist's most recent publication is the two-volume work ‘The Matter With Things'. A sustained critique of reductive materialism which explores the questions ‘Who are we? What is the world? What is the nature of time and space? And what is consciousness?' He is a former Fellow of All Souls College, Oxford, a Fellow of the Royal College of Psychiatrists and of the Royal Society of Arts, as well as a former research Fellow in neuroimaging at Johns Hopkins University Medical School in Baltimore. He has published original research and articles in many papers and journals, including the British Journal of Psychiatry, The Wall Street Journal, The Sunday Telegraph and The Sunday Times. Dr Iain McGilchrist | Website https://stgmcgil.wpengine.com/home/ Dr Iain McGilchrist | Twitter https://twitter.com/dr_mcgilchrist Dr Iain McGilchrist | YouTube https://www.youtube.com/channel/UCW0LCKUFTTtgitH33Mx6u-A Dr Iain McGilchrist | Facebook https://www.facebook.com/DrIainMcGilchrist/ Dr Tony Nader | Instagram http://instagram.com/drtonynader Dr Tony Nader | Twitter http://twitter.com/drtonynader Dr Tony Nader | YouTube https://www.youtube.com/user/DrTonyNader Dr Tony Nader | Facebook http://facebook.com/DrTonyNader
Esta es una muestra de "El viejo expreso de la Patagonia". La versión completa tiene una duración total de 17 h 39 min. Encuentra este audiolibro completo en https://bit.ly/3POYkY5Narrado por: Diego RousselonEn este libro pionero de 1979, Paul Theroux relata su periplo de seis meses por el continente americano en ferrocarril. La aventura comienza en un tren de cercanías de Boston y acaba cuando un viejo expreso llega a la ciudad de Esquel, en plena Patagonia argentina. Entremedias, el autor cruza México, se interna en América Central, visita Machu Picchu o se toma unos días de descanso en Buenos Aires en compañía de Jorge Luis Borges. Sin embargo, su relato nunca cae en el pintoresquismo, sino que logra evocar un fascinante fresco cultural con observaciones memorables y fina ironía. Más de cuarenta años después de su publicación, El viejo expreso de la Patagonia es también un documento de primer orden sobre la historia convulsa de un continente. La crítica ha dicho:«Uno de los libros de viaje más cautivadores que se han escrito en nuestro tiempo».Financial Times«Escritura de viajes al más alto nivel».The Sunday Telegraph© 2022, Penguin Random House Grupo Editorial, S. A. U.#penguinaudio #audiolibro #audiolibros #Theroux #PaulTheroux Hosted on Acast. See acast.com/privacy for more information.
Regret is one of the most common negative emotions we experience as humans. Yet, most people are reluctant to explore or even talk about their regrets with others because of the growing ‘no regrets' philosophy that demonizes the presence of regret. However, when used properly, regret can be a powerful tool by illuminating where our values and priorities lie, which can help us avoid making the same mistakes in the future. If you want to transform your regrets into actionable advice and change the way you live your life, you won't want to miss this interview with Daniel Pink, bestselling author and expert on regret. Daniel is the author of five books, most recently The Power of Regret, which outlines how regret can reveal the pathway to living our best life. He is also the creator of The American Regret Project and The World Regret Survey, which have interviewed thousands of people about their biggest regrets in life. In this episode of YAP, Daniel and Hala talk about why we need regret and what it can teach us. They dive into the four foundational regrets and why people experience regrets of inaction far more than regrets of action. They discuss how to reframe your self-talk in order to cultivate compassion for yourself and how to consult your future self to make informed decisions. Topics Include: - “Me search” - How we process regret - Counterfactuals - The only people who don't have regrets - Why do we need regret? - The problem with the ‘no regrets' worldview - The American Regret Project - The World Regret Survey - Four foundational regrets - Why we should push past awkwardness - Regrets of action vs. inaction - Consulting your future self - Mental subtraction - And other topics… Daniel Pink is a bestselling author, keynote speaker, and thought leader. In 2011, he was named one of Thinkers50's top 50 most influential minds. He was also the host and co-executive of the television series “Crowd Control,” a National Geogrpahic program about human behavior that aired in more than 10 countries. He also hosts a popular master class on sales and persuasion. He has written for several notable publications, including Fast Company, The Sunday Telegraph, The New York Times, Harvard Business Review, The Atlantic, Slate, and Wired. He is the author of seven books, the latest being The Power of Regret: How Looking Backward Moves Us Forward. His books cover topics like business, work, creativity, and behavior. They have won multiple awards, have been translated into 42 languages, and have sold millions of copies around the world. Resources Mentioned: YAP episode #50: https://podcasts.apple.com/us/podcast/50-the-science-of-perfect-timing-with-daniel-pink/id1368888880?i=1000459718753 Daniel's Website: https://www.danpink.com/ Daniel's Book, The Power of Regret: https://www.danpink.com/the-power-of-regret/ Sponsored By: Delta Air Lines - Visit delta.com/travelwell to learn more. Lands End - Go to business.LandsEnd.com/YAP and use promo code YAP for 25% off. Constant Contact - Go to constantcontact.com to get started for free today Shopify - Go to shopify.com/profiting, for a FREE fourteen-day trial and get full access to Shopify's entire suite of features Connect with Young and Profiting: Hala's LinkedIn: https://www.linkedin.com/in/htaha/ Hala's Instagram:https://www.instagram.com/yapwithhala/ Hala's Twitter: https://twitter.com/yapwithhala Clubhouse: https://www.clubhouse.com/@halataha Website: https://www.youngandprofiting.com/ Text Hala: https://youngandprofiting.co/TextHala or text “YAP” to 28046 Learn more about your ad choices. Visit podcastchoices.com/adchoices
Get early access to our latest psychology lectures: http://bit.ly/new-talks5 In a previous two-hour lecture for TWU, I argued for the nature of consciousness as a foundational element in the cosmos, not derivative from anything else. In this talk, I will not attempt to repeat that argument, but start from where I left off. In a new book, The Matter with Things: Our Brains, Our Delusions and the Unmaking of the World (Perspectiva Press, November 2021), I ask how we come to know anything at all, and move on to consider what we can say about the irreducible ‘building blocks' of reality: time, space, matter, consciousness, values, purpose and the sense of the sacred. I take value and purpose to be implied by the very nature of consciousness itself; constitutive of reality, not ‘invented' (though obviously particular values and particular purposes may be); that although science is popularly thought to contradict such a view it does not, rightly understood, do so at all; and that reason and evidence strongly supports such a conclusion. I hold that our failure to understand this lies at the heart of our global predicament. --- Dr. McGilchrist has published original research and contributed chapters to books on a wide range of subjects, as well as original articles in papers and journals, including the British Journal of Psychiatry, American Journal of Psychiatry, The Wall Street Journal, The Sunday Telegraph and The Sunday Times. He has taken part in many radio and TV programmes, documentaries, and numerous podcasts, and interviews on YouTube, among them dialogues with Jordan Peterson, David Fuller of Rebel Wisdom, and philosopher Tim Freke. His books include Against Criticism, The Master and his Emissary: The Divided Brain and the Making of the Western World, The Divided Brain and the Search for Meaning, and Ways of Attending. He published his latest book: The Matter With Things, a book of epistemology and metaphysics. You can keep up to date with his work at https://channelmcgilchrist.com Dr Iain McGilchrist is a Psychiatrist and Writer, who lives on the Isle of Skye, off the coast of North West Scotland. He is committed to the idea that the mind and brain can be understood only by seeing them in the broadest possible context, that of the whole of our physical and spiritual existence, and of the wider human culture in which they arise – the culture which helps to mould, and in turn is moulded by, our minds and brains. He was formerly a Consultant Psychiatrist of the Bethlem Royal and Maudsley NHS Trust in London, where he was Clinical Director of their southern sector Acute Mental Health Services. -- Links: - Get our latest psychology lectures emailed to your inbox: http://bit.ly/new-talks5 - Check out our next event: http://theweekenduniversity.com/events - Dr McGilchrist's website: https://channelmcgilchrist.com - Dr McGilchrist's books: https://amzn.to/3eU89TF -- The Weekend University's mission is to make the best minds and ideas in psychology more accessible, so that you can use the knowledge to improve your quality of life. We release 95% of our content for free and don't run any ads during the show. That said, we'd love to expand our reach and get the knowledge shared by our speakers into the hands of more people so they can benefit too. So, if you're in the mood for doing a random act of kindness today, and helping others improve their lives in the process, it would make a huge difference if you could take just 30 seconds and leave a short review on your favourite podcast provider - whether that's iTunes (https://bit.ly/iTunes-podcast-review), Stitcher (https://bit.ly/stitcher-podcast-review) or Spotify (https://bit.ly/spotify-podcast-ratings). In addition, we'll pick one review each month and that person will get a free ticket to our monthly online conference, which usually costs £50. Thanks for your time and I hope you enjoy the show!
Our Season Three Finale guest this week is Sabine Durrant, author of the psychological thriller “Sun Damage.” Sabine is a former assistant editor of The Guardian and a former literary editor at The Sunday Times, who currently writes for The Sunday Telegraph and contributes to The Guardian's family section. She is the author of several books, including six psychological thrillers. “Sun Damage,' her lastest book, tells the story of Ali and Sean, two con artists pulling cons in the South of France. But when one of these cons goes horribly wrong, Ali goes on the run, fleeing the toxic and domineering Sean, and assuming a false identity. From there, it gets even crazier. In our conversation, Sabine discusses what draws her to the psychological thriller genre, the art of the con, whether it's important to have likeable characters, and much more. Then, she treats us to a reading from “Sun Damage.”https://twitter.com/SabineDurranthttps://www.instagram.com/sabinedurrant/Join our Book Club: patreon.com/parisundergroundradioFind Us OnlineWebsite: https://www.parisundergroundradio.com/storytimeinparisFacebook: https://www.facebook.com/parisundergroundradioInstagram: https://www.instagram.com/parisundergroundradio/CreditsHost and Producer: Jennifer Geraghty. Facebook, Instagram, and Twitter: @jennyphoria; Website: http://jennyphoria.comMusic CreditsHip Hop Rap Instrumental (Crying Over You) by christophermorrow https://soundcloud.com/chris-morrow-3 Creative Commons — Attribution 3.0 Unported— CC BY 3.0 Free Download / Stream: http://bit.ly/2AHA5G9 Music promoted by Audio Library https://youtu.be/hiYs5z4xdBUAbout UsSince well before Victor Hugo looked up at Notre Dame and thought, "Huh... what if a hunchback lived in there?" authors have been inspired by Paris. The Storytime in Paris podcast will help keep this tradition alive with short interviews and readings from your favorite contemporary authors with a French connection. Every episode will feature five questions, asked by you, our authors' biggest fans, and answered live on air. Then, our authors will treat us to a reading of an excerpt from their book. Who knows? Maybe you'll even be inspired to write your own Great French Novel. Happy listening!
The top noises that you want to ban including leaf blowers and snoring, MG's happiest songs ever & Jess wants answers as we try to Explain Men. Plus MG's Footy Tips for round 21 of the NRL and all the latest NRL news with The Sunday Telegraph's David Riccio. Triple M Breakfast With MG, Jess & PageySee omnystudio.com/listener for privacy information.
Chief Sports Writer of the Sunday Telegraph David Riccio joined Gerard to continue the discussion on the Manly pride jersey story, and to explain why he thinks "heads could roll" at the Sea Eagles, why the NRL still has a long way to go on inclusivity, how Des Hassler has handled the issue, and more.
In this episode we speak to the author Lucy Waterlow about the process of ghostwriting. Lucy has ghostwritten four books including Nell McAndrew's Guide to Running plus an additional guide to running and two running memoirs. Lucy is also a freelance journalist and writes for a number of different outlets including the Sunday Telegraph, Daily Mail, Women's Running and OK! Magazine. The author Lucy Waterlow Twitter: https://twitter.com/lucyrunningfeat (@LucyRunningFeat) Instagram: https://www.instagram.com/runningfeatlucy (@runningfeatlucy) Books Nell McAndrew's Guide To Running Run Mummy Run: Inspiring Women to be Fit, Healthy and Happy Ghostwriter of ultra runner Mimi Anderson's two memoirs: Beyond Impossible: From Reluctant Runner to Guinness World Record holder, and Limitless: An Ultrarunner's Story of Pain, Perseverance and the Pursuit of Success https://www.amazon.co.uk/Lucy-Waterlow/e/B00T6PX7I2%3Fref=dbs_a_mng_rwt_scns_share (https://www.amazon.co.uk/Lucy-Waterlow/e/B00T6PX7I2%3Fref=dbs_a_mng_rwt_scns_share) Publisher Bloomsbury https://www.bloomsbury.com/uk/author/lucy-waterlow/ (https://www.bloomsbury.com/uk/author/lucy-waterlow/) Summersdale https://summersdale.com/sd-author/lucy-waterlow/ (https://summersdale.com/sd-author/lucy-waterlow/) Journalism https://muckrack.com/lucy-waterlow (https://muckrack.com/lucy-waterlow)
This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter. While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko", the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar, and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --