Podcasts about Tiger Beat

We're back by popular demand! This week in questions: Which Brady had the most interesting storylines? Did any of their real-life siblings spend time on set? How was being interviewed for Tiger Beat magazine?.. and more!    It's Q&A #61. Get your questions for the next Q&A submitted to Ed on our Facebook page @realbradybros  To advertise on this podcast please email: ad-sales@libsyn.com    Or go to: https://advertising.libsyn.com/therealbradybros

Anne Raso is a freelance writer and editor who has been working in the publishing industry since the ‘80s, and since then she's written about everything from New Kids on the Block to fine dining in New York City, and she came through to talk about all of that and then some like the years she spent editing and writing for one of the foundations of Crushgasm, Tiger Beat! Yes, one of the teen magazines of yesteryear that made fangirls everywhere squeal with delight. Find out which genre of artists were the easiest to get to back in the day, which boy band was hilarious, and a little something-something about Justin Bieber. All of that and more as we dive into the pages of Tiger Beat! Find Anne Raso Below: Official Site: https://luxelifenyc.comNew York Lifestyles Magazine: https://newyorklifestylesmagazine.comInstagram: https://www.instagram.com/anne_raso X: https://x.com/anne241Crushgasm:Official Site: https://crushgasmpodcast.comTwitter: https://twitter.com/CrushgasmPodInstagram: https://www.instagram.com/crushgasmpodcastFacebook: https://www.facebook.com/CrushgasmAnchor: https://anchor.fm/crushgasmiHeartRadio: https://www.iheart.com/podcast/269-crushgasm-105402093/ Stitcher: https://www.stitcher.com/show/crushgasmYouTube: https://www.youtube.com/channel/UCV5fMDy4_uGsQ-izsXURCXAGoodpods: https://goodpods.com/podcasts/crushgasm-190310Brought to you as part of the I Did Not Make These Rankings Podcast NetworkAn Evening at the MoviesCrime RewindCrushgasmLiterature ReapersLove is Black PodcastMass-DebatersThe Sip Listidnmtrpodcastnetwork.blog

Erica plays songs especially for fans of magazines like Tiger Beat, Flip, and Teen

The Boys are joined once again by good friend and fellow professional drafter, Kevin 'Duffy' Truax. Kevin shares the same passion and enthusiasm for drafting as The Boys, and it shows here with his deep cuts of First Crushes. These are all the women and cartoons that got our jimmy's jigglin' when we were young and on our path to manhood. If you see Kevin, or find him on social media, wish him a Happy Birthday! www.jabroniu.com

Original Tiger Beat editor Ann Moses guests on this brand new Fake Show podcast with host Jim Tofte...enjoy!!!

Happy St. Patrick's Day! The Mouths of Madness are in a boy band and are on their way to Las Vegas for a music contest! They have hired a new manager who has a short temper and a lot of big ideas.. But before they're on their way, they review the classic from 2000, Leprechaun In The Hood! It's Coolio?!… Nooo it's The Mouths of Madness and you can hear their latest hit song- Bearclaw In The Hood live during this episode. Tiger Beat, eat your heart out!Your Hosts- Kevin, Dan, Bearclaw, and Logan. Produced by Nathan. Join The Madness!https://linktr.ee/mouths.of.madnesshttps://www.youtube.com/@MouthsofMadnesshttps://www.instagram.com/mouths.of.madnesshttps://www.facebook.com/profile.php?id=61553903151151&mibextid=LQQJ4d

The pages of teen magazines like Seventeen and Tiger Beat raised us. But what happened to these pillars of our youth? And more importantly, what happened to the existence of the Tween? It's time we chat all about the good, the bad, and the fuzzy of the magazines that shaped us.IGThe Fuzzy PodMeganMadiYoutubeThe Fuzzy Pod

Child stardom is a strange thing. One day you're on the cover of Tiger Beat, plastered on every teen girl's locker, and starring on a popular TV show with the guy from "Jaws." The next day, you're chewed up and spit out like a piece of gum stuck on the Hollywood Walk of Fame. Jonathan Brandis was on top of the world at 17. At 27, he was gone. Behind the striking blue eyes and lovable smirk, was a river of sadness. This is the story of a young actor caught between who he was, who he wanted to be, and who the industry thought he should be.Send us a message!Support the showDeath in Entertainment is hosted by Kyle Ploof and Alejandro DowlingNew episodes every week!https://linktr.ee/deathinentertainment

Well, it's come to this the end of Melanie Griffmonth with quite possible the most insane movie ever made, 1981's Roar! The hell is this why are they living with Lions? And Tigers? And no Bears… oh my. But an elephant that gave Tippi Hedron gangrene. Plus, David gets a ticket for Natasha Bettingfield, Gary is an Astrology Witch and Carlene is a foot model. 

The Corpse Vanishes offers Chris and Charlotte a corsage, which induces them to talk about orchids, Tiger Beat, Teen Beat, Wham-O, and tag. With the short, Radar Men from the Moon, part 3.

The Talk of Fame Podcast got to talk with Carrie Berk! Carrie already has a life's worth of accomplishments under her belt. It's no wonder Bella Magazine declared her “an ambitious and dedicated boss babe,” and The Wall Street Journal dubbed her “a community-minded young creator.” She is a verified content creator across several social media channels including TikTok (3.9M+ followers; 117M+ likes), Instagram (950K+ followers), Snapchat (105K+followers), YouTube (100K+ followers) and Pinterest (227K+ followers; 10M monthly views), with a monthly engagement of more than 100M. A journalism major in college, Carrie is currently a reporter/contributing writer for HuffPost, Newsweek.com, The Daily Dot and others, on topics ranging from beauty and style to celebrity and sports. She has served as an on-camera correspondent for TigerBeat and Girls' Life, covering red carpet arrivals and interviewing celebs at the Radio Disney Music Awards, New York Fashion Week, and the Teen Choice Awards. She has contributed to Seventeen Magazine and Girls' Life's print and digital channels. She has acted on two Brat TV series, Stage Fright (as Karina) and Crown Lake (as the voice of Heather). She is a bestselling children's book author with twenty-one books to her credit. She penned her first book, Peace, Love and Cupcakes, in 2012. The Cupcake Club series went on to publish twelve books (selling 300,000+ copies worldwide), and became an award-winning Off-Broadway show and featured selection in 2017's New York Musical Festival. Her second book, Fashion Academy, stems from her passion for fashion. The six-book series also became an Off-Broadway production at Vital Theatre and is currently licensed worldwide by Concord Music Publishing. FOLLOW ME:  INSTAGRAM:  Officialkyliemontigney  Talkoffamepod  Facebook:  Officialkyliemontigney  Talkoffame  Twitter:  Kyliemontigney4  ABOUT ME: Hi, I am Kylie! I love sports, spending time with my family, traveling, and meeting people that inspire me. I love listening to other people's stories and sharing their journeys.

We're halfway through the show and we gave another pair of tickets away at 8:10! Weird Stories lead to a rabbit hole on whales and took us to Canada. Then, Caroline Kepnes joined us in studio to talk Tiger Beat, celeb gossip and her upcoming work! Listen to Billy & Lisa Weekdays From 6-10AM on Kiss 108 on the iHeartRadio app! 

Join us for Mother Lover Month where we discuss Tammy's Mom's pick of Just Friends and answer questions like:Is Matt a method actor?How did they do coke back in the day?andWhat is your grilled cheese method?Learn all about Quad Pro Quo at: https://linktr.ee/quadproquopod

Josh's Guests: Jolie Root - researcher, Carlson How Fish Oil helps keep our skin healthy and youthful Tony DeFranco - lead singer The DeFranco Family Talks about being a Tiger Beat teen idol Mollie Engelhart - restaurateur, Sage Vegan Bistro & Gracias Madre West Hollywood CA How regenerative agriculture is improving soil health and our health find us at: www.HeresToYourHealthWithJoshuaLane.com  

Remember when your heart skipped a beat at the sight of Donny Osmond or the mention of Ralph Macchio? We do, and we're taking you with us on a nostalgic journey back to the days when teen idols ruled our world, from the charming Donny to the dreamy Vince Van Patten. As we saunter through the halls of memory, we'll share the tunes and shows that shaped our youth.Prepare to laugh and maybe even blush as we recount our personal brushes with celebrities like C. Thomas Howell and the days when Tiger Beat was our bible. This episode is a heartfelt homage to the teen idols who once decorated our walls and the music that still plays in the back of our minds. It's a gathering of friends under the banner of nostalgia, and you're invited to join the party.Join our ladies only Facebook group!Support our podcast with a small donation!Here's a podcast that we LOVE! The Pop Culture Preservation SocietyLeave us a voicemail!To inquire about advertising  on Uncluttered and Unfiltered: email  edenocr@gmail.comWatch and Subscribe on YoutubeVisit our website and sign up to be notified of all our new episodesFollow us on Instagram: UnclutteredandUnfilteredFollow us on Facebook: Uncluttered and UnfilteredNeatly Designed @neatlydesignedEden on Instagram @edenkendalljaxShop Christine's  Amazon StoreShop Christine's LTKBROUGHT TO YOU BY CAREX.COM SAVE 20% ON CAREX WITH THE CODE UNCLUTTERED20 Uncluttered and Unfiltered is supported by Hearts4Minds.org

A momentary gaze into the eyes of an ancient enemy sets the heroes down a new path. *** Support us on Patreon! Patrons get access to weekly premium episodes, including behind-the-scenes insights into our game, spoiler-free specials featuring games-related chat, and tons more. Tabletop Gold is Lars Casteen, David Chernicoff, Zoe Chernicoff, R. Matt Humphreys, and Robin Lange. If you enjoy the show, please leave us a rating and review at the podcast service of your choice, and find our website at www.tabletopgold.com. The Roots of Ruin is a production of the Pathfinder Adventure Path Abomination Vaults for Pathfinder Second Edition. Licensed music by Nicolas Jeudy / Dark Fantasy Studio, Phat Phrog Studio, and GameDev Market. Original music by Lars Casteen. The Roots of Ruin is a Tabletop Gold production, produced under the Paizo Incorporated Community Use policy.  The Roots of Ruin uses trademarks and/or copyrights owned by Paizo Inc., used under Paizo's Community Use Policy (paizo.com/communityuse).  We are expressly prohibited from charging you to use or access this content.  Paizo does not recognize, endorse, or sponsor this project in any way.  Original characters and content are the property of Tabletop Gold.  For more information about Paizo Inc. and Paizo products, visit paizo.com…

Sleep all day. Podcast all night. It's fun to listen to Kill By Kill as we get a taste for a true vampire flick classic and talk 1987's THE LOST BOYS!! Join us as we cruise the “murder capital of the world” for the sexiest Tiger Beat-ready bloodsuckers ever to grace the silver screen!! Along the way, we talk about the film's rocky journey to theaters, Santa Clara's wild music scene, the town's laze-faire attitude towards its missing kid problem, the golden age of cool video stores, and one of the best horror movie bedrooms we've ever covered!! All this, plus a Choose Your Own Deathventure bound to give plumbers nightmares, and we tackle the conundrum of kid vampires in cinema!! Take flight with 80s horror classic and us today!!   Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today! Our linker.ee Click here to visit our TeePublic shop for killer merch! Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast!! Join us on Threads or even Bluesky Check out Gena's Substack called Gena Watches Things!! Check out the films we've covered & what might come soon on Letterboxd! Get even more episodes exclusively on Patreon!

Remember when Jared Kushner tried in late 2016 to establish a secret back channel to talk to Russia? Jared and Ivanka ran the Trump transition team, with Paul Manafort operating from the shadows, where he blooms like mold, pretending to have taken a step back to avoid the heat of, well, having been outed by a Ukrainian investigative journalist for being a highly paid Kremlin operative. The latest back channel between the Trump Crime Cabal and Russia is Hungarian strongman Viktor Orbán, the Tiger Beat idol of CPAC. This Friday, on International Women's Day no less, Orbán and Trump will meet at Mar-a-Lago, where America's nuclear secrets get their own cabana. For months now Gaslit Nation has warned that Orbán is the new Manafort, the Kremlin's guy to make sure Trump comes to power, making their shared autocratic dreams come true. As Trump's coup against our democracy continues, Andrea discusses Trump's blatant shadow foreign policy with Russia mafia expert Olga Lautman and analyst Monique Camarra of the Kremlin File podcast, and the many challenges and bold action needed for democracy to fight encroaching authoritarianism, before it's too late.  The sharks are circling, with China setting up police stations in Hungary, a European Union state. Will our democracy survive? As always, it comes down to us, as grassroots power is the most reliable power we have left. See the all new Gaslit Nation 2024 Survival on our homage – GaslitNationPod.com – for simple ways for us to pitch in as it's all hands on deck!  Fun announcement for our Gaslit Nation community! On April 11 at 7 pm ET we're holding another MAKE ART workshop exclusively for our subscribers at the Truth-teller level and higher on Patreon. Got questions about the creative process or the business side of things? Ever wanted to make art but didn't know where or how to start? Want to know how to bring your art out into the world? Ask Andrea anything! Art is survival, and we need your mind and creativity more than ever! To get access to that, be sure to subscribe to the show at the Truth-teller level or higher on Patreon.com/Gaslit. Thank you to everyone who supports the show – we could not make Gaslit Nation without you! Show Notes   We'll post a link to 'Hedge Your Bets' on our social media feeds and in the show notes for this episode on our Patreon page. You can find more of The Detroit Rebellion's music on Bandcamp at detroitrebellion.bandcamp.com or detroitrebellion.blogspot.com   Submit your song to be featured on Gaslit Nation here! https://tr.ee/BuEdw13Nw-   Introducing…The Gaslit Nation 2024 Survival Guide! https://www.gaslitnationpod.com/2024-survival-guide   Trump Tyranny Tracker: Your Daily Reminder https://open.substack.com/pub/trumptyrannytracker/p/trump-tyranny-tracker-your-daily-089?r=3gxpg3&utm_campaign=post&utm_medium=email   Why Trump's Mar-a-Lago Meeting With Viktor Orbán Should Terrify Us All: With Trump set to host Orbán at his Mar-a-Lago retreat this week, it's time to get serious about the rise of the global far right and why its worldview poses such a dire threat. https://newrepublic.com/article/179510/trump-viktor-orban-mar-a-lago-meeting-terrify   Kushner Is Said to Have Discussed a Secret Channel to Talk to Russia https://www.nytimes.com/2017/05/26/us/politics/kushner-talked-to-russian-envoy-about-creating-secret-channel-with-kremlin.html   How Tony Blinken's Stepfather Changed the World—and Him: Samuel Pisar was a Holocaust survivor who pushed rival nations to engage in commerce, and he left an imprint on the likely next secretary of State. https://www.politico.com/news/magazine/2021/01/19/samuel-pisar-tony-blinken-secretary-of-state-460155

Episode Notes S5E13 -- Join us as we dive into the mind of award winning writer & cartoonist Dave Shelton. He'll take us on his journey from Tigers beat to Snuggy bear and beyond.. An award winning film and television writer, cartoonist, author, musician and voice actor, Dave has had his writing compared to the likes of Ray Bradbury and David Lynch and his cartoon work to that of Charles Schulz, one of Dave's idols. As senior writer and head of cartoons at National Lampoon, he put out two best-selling cartoon collections while handling writing and cartooning for the flagship magazine. He was also involved with Comic Relief. His early work includes art for Tim Allen and Robert Wuhl's HBO specials and, as cartoonist and writer for Tiger Beat's Superteen Magazine he created the popular cartoon Toon Groupies©. Dave's character Snuggy Bear© was licensed for multiple brands including children's eyewear by Crystal Clear Vision Group, selling out worldwide after a highly successful premiere in NYC at the International Vision Expo. Dave is also the creator of the popular Hackidu characters for Everybody Loves Raymond. NEWS FLASH: You can now purchase Toking with the Dead full novel here https://a.co/d/7uypgZo https://www.barnesandnoble.com/.../toking.../1143414656... You can see all your past favorite episodes now streaming on https://redcoraluniverse.com/ OR Show your support by purchasing FB stars. Send stars to the stars fb.com/stars Toking with the Dead: https://www.stilltoking.com/ https://www.facebook.com/TokingwiththeDead?tn=-]C-R https://www.instagram.com/stilltokingwith/?hl=en https://twitter.com/thetoking?lang=en https://pinecast.com/feed/still-toking-with Check out Toking with the Dead Episode 1 https://www.youtube.com/watch?v=awhL5FyW_j4 Check out Toking with the Dead Episode 2 https://www.youtube.com/watch?v=SaUai58ua6o Buy awesome Merchandise! https://www.stilltoking.com/toking-with-the-dead-train https://teespring.com/stores/still-toking-with Our booking agent: https://www.facebook.com/AmyMakepeace https://www.facebook.com/groups/3770117099673924 Sponsorship Opportunities: https://www.stilltoking.com/become-a-sponsor or email us at bartlett52108@gmail.com thetokingdead@gmail.com ————————————— Follow our guest https://snuggybear.com/ https://www.imdb.com/name/nm1267026/ https://twitter.com/DaveShelton https://www.linkedin.com/in/dave-shelton-40b5774 https://www.amazon.com/Dave-Shelton/e/B0034OXG96 https://www.facebook.com/dave.shelton.5 ———————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 https://thedorkeningpodcastnetwork.com/ ————————————— Produced by Leo Pond and The Dorkening Podcast Network https://TheDorkening.com Facebook.com/TheDorkening Youtube.com/TheDorkening Twitter.com/TheDorkening Dead Dork Radio https://live365.com/station/Dead-Dork-Radio-a68071 MORE ABOUT THE GUEST: Dave has illustrated several popular children's books including Bellaboo, the Purple Princess written by General Hospital star Nancy Lee Grahn and The Lemming Shepherds, distributed throughout China and Taiwan and is being adapted into a feature film. He illustrated and helped edit the book Full Frontal Tenudity from famed comedienne Judy Tenuta. Dave's own book, Brain Explosion (Bear Manor Media Publishing), a collection of his cartoons and writings from his National Lampoon days has become a best-seller and is available on Amazon and Barnes and Noble. Dave's kids show, Professor Creepy's Scream Party(c) had huge premieres at the 2013 Phoenix Comic Con and Son of Monsterpalooza convention in Burbank, CA. It has been receiving rave reviews and was written up in iconic Famous Monsters of Filmland magazine (April, 2013). Professor Creepy won the Bronze trophy at the 2014 International Independent Film Awards and was an official selection in the 2014 R.I.P. Horror Film Festival. The pilot was picked up for airing on the Monster Channel, August, 2017 and in 2018 was the top show on Roku's Around the World in 80 Screams, airing on 28 networks on Halloween. Dave's documentary, From Cheesecake to Cheesecake: The Joy Harmon Story (WGAw), about the life of 1960's film/TV icon Joy Harmon, won the 2013 Hollywood & Vine Film Festival and was a top five finalist in the prestigious 2014 Taste Awards and won the Silver trophy at the 2014 International Independent Film Awards. Find out more at https://still-toking-with.pinecast.co Send us your feedback online: https://pinecast.com/feedback/still-toking-with/6c44d5ba-2e0d-4bea-b375-93656289c1dd

How many folks can say they've written for DC and Tiger Beat? Well, author Arie Kaplan can. He was also a longtime writer for MAD Magazine, wrote books about Taylor Swift, and penned children's stories for Golden Books. He has also done incredible interviews and research on Jewish history in comics. For more information, visit ariekaplan.com._____________________Check out a video version of this episode on our YouTube channel: youtube.com/dollarbinbandits.If you like this podcast, please rate, review, and subscribe on Apple Podcasts. And if you really like this podcast, support what we do as a member of the Dollar Bin Boosters: buzzsprout.com/1817176/support.Looking for more ways to express your undying DBB love and devotion? Email us at dollarbinbandits@gmail.com. Follow us @dollarbinbandits on Facebook and Instagram, and @DBBandits on X._____________________Dollar Bin Bandits is the official podcast of TwoMorrows Publishing. Check out their fine publications at twomorrows.com.Support the show

Welcome to episode 21 of the Hot Nuance Book Club, where it's time for lessons in kissing and redemption in the Ruins of Ambrai.Do you remember Tiger Beat, Cosmo, or Seventeen? Cailet clearly got her kissing information from a similar source. Ali has some big feelings about the culmination of the parental and sibling relationships we've been following all this time.Pre-order Queen of Dreams by Kit Rocha https://a.co/d/60e4Vqm Wheel Takes live-reaction to Percy Jackson and the Olympianshttps://youtu.be/bTqzuT-uR0Y?si=v9MY1HADN4RQ5G8Q A new t-shirt is available! https://www.zazzle.com/the_roast_of_gorynel_desse_t_shirt-256326532836089172 == Buy the Ebook ==Amazon: https://amzn.to/3p0jU3kKobo: https://www.kobo.com/us/en/ebook/exiles-58Barnes & Noble: https://www.barnesandnoble.com/w/ruins-of-ambrai-melanie-rawn/1101213569?ean=9781101666319== Buy our merch ==https://www.zazzle.com/store/hotnuancebookclub Once you're caught up, come hang with us on our Discord server and tell us all of your thoughts! Discord: https://discord.gg/fdcaA75UkMTranscripts by AnnaArt by BreeProduced by Aradia | Fox And Raven Media== Follow Us ==Twitter: https://twitter.com/hotnuancepodWebsite: https://www.hotnuancebookclub.com/Patreon: https://www.patreon.com/TheHotNuanceBookClub

Stalking. Celebrity. Chicken Sandwiches.

After becoming convinced that Brooke Mac-El-Dee himself is listening to this podcast, we take a deep dive into his poor history with the ellipsis (and other punctuation). You see, in one strip, he makes a point of "educating" everyone about the use of an ellipsis. According to The Master, it is only used to indicated omitted words. And that is not only not true, it is also not how he has EVER used the ellipsis in his own work. In fact, we're not sure he has used it that way even once. So we go back through the strips we've already discussed and actually count the periods. (So many periods.) We also talk about a handful of strips where he "has fun" with punctuation with "hilarious" results. All in all, a fitting way to end the year. The Chickweed strips we discuss this episode: You can find all of the strips either on Twitter by clicking here (https://x.com/9chickweedRAGE/status/1740402215402283477?s=20), or on Instagram by clicking here (https://www.instagram.com/p/C1Zx41jrT4n/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==). This episode includes: Sneezing Diet Cokes Christmas Back trouble riding a Segway spot-eyed cats semi-colon misuse Ross & Rachel Sam & Diane Katniss & Peeta motorboating Eddie Izzard talks about Englebert Humperdinck (https://www.youtube.com/watch?v=yjaRR4ofudA) Underwood Farms Goat habitrail Goat poop Welcome Back, Kotter Peanuts Comma splice Kilroy Was Here Tiger Beat Leif Garrett Shaun Cassidy William Frawley's pants (https://www.youtube.com/watch?v=jtmC2I8K6mo) Mowgli from The Jungle Book The Dark Crystal Talk to Us! Having trouble understanding what's going on in a 9 Chickweed Lane strip you just read? Send it our way! We'll take a shot at interpreting it for you! Or maybe you just want someone to talk to? We're on Twitter: @9ChickweedRAGE (https://twitter.com/9chickweedRAGE). And we're on Instagram: @9ChickweedRage (https://www.instagram.com/9chickweedrage/).

Sit down with Ann Moses, the iconic editor of Tiger Beat magazine during its heyday in the 60s and 70s. Ann takes us on a nostalgic journey through the glittering world of teen idols, sharing behind-the-scenes stories from her time at Tiger Beat and insights from her book, "Meow, My Groovy Life with Tiger Beat's Teen Idols. Show Highlights: The Genesis of Tiger Beat: Ann delves into the origins of Tiger Beat magazine, detailing its transition from a teen magazine to a fan magazine focused on the Beatlemania craze. The Name and Fame of Tiger Beat: Discover how Tiger Beat got its unique name and evolved into a significant cultural phenomenon, linking fans with their favorite teen idols. In the Heart of Hollywood: Ann recalls her experiences in Hollywood, offering intimate anecdotes about interacting with famous teen idols on set and in their personal lives. The Teen Idol Lifestyle: Insights into the lives and careers of teen idols like Donny Osmond and David Cassidy, exploring the ups and downs of fame and its lasting impact. The Changing Landscape of Teen Media: Reflecting on how the landscape of teen media and fandom has evolved from print magazines to today's digital platforms. Ann's Personal Journey: Ann shares her personal journey from editor to author, discussing the importance of preserving the memories and stories of a bygone era in pop culture. Ann's Book - "Meow! My Groovy Life with Tiger Beat's Teen Idols": Dive into Ann's book, where she unveils more untold stories and personal reflections from her time at the forefront of teen media. About the Guest: Ann Moses, the iconic former editor of Tiger Beat, has been an influential figure in the realm of teen pop culture. Her work has been instrumental in shaping the narrative of teen idols in the 60s and 70s, giving a voice to a generation of young fans.   You're going to love my conversation with Ann Moses Ann's website Ann's Instagram Ann's Facebook Ann's Book (Meow! My Groovy Life with Tiger Beat's Teen Idols)   Follow Jeff Dwoskin (host): Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Join my mailing list Buy me a coffee (support the show) Subscribe to my Youtube channel (watch Crossing the Streams!) Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show Love the books I talk about on the show? Here is my Amazon store to shop.  

Join us in this empowering episode of Fearlessly Authentic as we dive into the incredible journey of twenty-year-old dynamo, Carrie Berk who already has a life's worth of accomplishments under her belt. It's no wonder Bella Magazine declared her “an ambitious and dedicated boss babe,” and The Wall Street Journal dubbed her “a community-minded young creator.” She is a verified content creator across several social media channels including TikTok (3.9M followers; 119M likes), Instagram (950K followers), Snapchat (133K followers), YouTube (101K followers) and Pinterest (227K followers; 10M monthly views), with a combined monthly engagement of more than 100M. Carrie has collaborated with top fashion, beauty, and lifestyle brands including Netflix, HBO Max, Walt Disney World, Pixar, Instagram, Revolve, Wet n Wild, MAC Cosmetics, Roller Rabbit, VS PINK, Alice + Olivia, Chips Ahoy!, Dunkin' and more. She has been profiled in The Wall Street Journal, The Washington Post, Bloomberg, New York Daily News and others. Carrie is currently a reporter/contributing writer for the New York Post, Page Six, HuffPost, Newsweek, Decider and more, on topics ranging from beauty and style to celebrity and sports. She has served as an on-camera correspondent for TigerBeat and Girls' Life, interviewing red carpet arrivals at the Radio Disney Music Awards, New York Fashion Week and the Teen Choice Awards. She has contributed to Seventeen Magazine and Girls' Life's print and digital channels. She has acted on two Brat TV series, Stage Fright (as Karina) and Crown Lake (as the voice of Heather), and appeared on the Paramount+ series Next Influencer. She is a bestselling children's book author with twenty-one books to her credit. She co-penned her first book, Peace, Love and Cupcakes, in 2012. The Cupcake Club series went on to publish twelve books (selling 300,000+ copies worldwide), and became an award-winning Off-Broadway show and featured selection in the 2017 New York Musical Festival. Carrie co-wrote the script for and starred in the show, earning her critical praise and an award for Outstanding Individual Performance. Carrie's second book, Fashion Academy, stems from her passion for fashion. The six-book series also became an Off-Broadway production at Vital Theatre and is currently licensed worldwide by Concord Music Publishing. Her most recent series, Ask Emma, springs not just from her boundless imagination, but from her personal experience as a teen lifestyle website creator and someone who has experienced cyberbullying firsthand. To purchase My Real-Life Rom Com by Carrie Berk, click the link below https://www.amazon.com/dp/B0BWWM4VZ6?ref_=cm_sw_r_cp_ud_dp_HD8F2ENDH0GQR8KGJHAN

Join us in this empowering episode of Fearlessly Authentic as we dive into the incredible journey of twenty-year-old dynamo, Carrie Berk who already has a life's worth of accomplishments under her belt. It's no wonder Bella Magazine declared her “an ambitious and dedicated boss babe,” and The Wall Street Journal dubbed her “a community-minded young creator.” She is a verified content creator across several social media channels including TikTok (3.9M followers; 119M likes), Instagram (950K followers), Snapchat (133K followers), YouTube (101K followers) and Pinterest (227K followers; 10M monthly views), with a combined monthly engagement of more than 100M. Carrie has collaborated with top fashion, beauty, and lifestyle brands including Netflix, HBO Max, Walt Disney World, Pixar, Instagram, Revolve, Wet n Wild, MAC Cosmetics, Roller Rabbit, VS PINK, Alice + Olivia, Chips Ahoy!, Dunkin' and more. She has been profiled in The Wall Street Journal, The Washington Post, Bloomberg, New York Daily News and others. Carrie is currently a reporter/contributing writer for the New York Post, Page Six, HuffPost, Newsweek, Decider and more, on topics ranging from beauty and style to celebrity and sports. She has served as an on-camera correspondent for TigerBeat and Girls' Life, interviewing red carpet arrivals at the Radio Disney Music Awards, New York Fashion Week and the Teen Choice Awards. She has contributed to Seventeen Magazine and Girls' Life's print and digital channels. She has acted on two Brat TV series, Stage Fright (as Karina) and Crown Lake (as the voice of Heather), and appeared on the Paramount+ series Next Influencer. She is a bestselling children's book author with twenty-one books to her credit. She co-penned her first book, Peace, Love and Cupcakes, in 2012. The Cupcake Club series went on to publish twelve books (selling 300,000+ copies worldwide), and became an award-winning Off-Broadway show and featured selection in the 2017 New York Musical Festival. Carrie co-wrote the script for and starred in the show, earning her critical praise and an award for Outstanding Individual Performance. Carrie's second book, Fashion Academy, stems from her passion for fashion. The six-book series also became an Off-Broadway production at Vital Theatre and is currently licensed worldwide by Concord Music Publishing. Her most recent series, Ask Emma, springs not just from her boundless imagination, but from her personal experience as a teen lifestyle website creator and someone who has experienced cyberbullying firsthand. To purchase My Real-Life Rom Com by Carrie Berk, click the link below https://www.amazon.com/dp/B0BWWM4VZ6?ref_=cm_sw_r_cp_ud_dp_HD8F2ENDH0GQR8KGJHAN

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Dave, an award winning film and television writer, cartoonist, author, musician and voice actor, has had his writing compared to the likes of Ray Bradbury and David Lynch and his cartoon work to that of Charles Schulz, one of Dave's idols. As senior writer and head of cartoons at National Lampoon, he put out two best-selling cartoon collections while handling writing and cartooning for the flagship magazine. He was also involved with Comic Relief. His early work includes art for Tim Allen and Robert Wuhl's HBO specials and, as cartoonist and writer for Tiger Beat's Superteen Magazine he created the popular cartoon Toon Groupies©. Dave's character Snuggy Bear© was licensed for multiple brands including children's eyewear by Crystal Clear Vision Group, selling out worldwide after a highly successful premiere in NYC at the International Vision Expo. Dave is also the creator of the popular Hackidu characters for Everybody Loves Raymond. Dave has illustrated several popular children's books including Bellaboo, the Purple Princess written by General Hospital star Nancy Lee Grahn and The Lemming Shepherds, distributed throughout China and Taiwan and is being adapted into a feature film. He illustrated and helped edit the book Full Frontal Tenudity from famed comedienne Judy Tenuta. Dave's own book, Brain Explosion (Bear Manor Media Publishing), a collection of his cartoons and writings from his National Lampoon days has become a best-seller and is available on Amazon and Barnes and Noble. Dave's kids show, Professor Creepy's Scream Party(c) had huge premieres at the 2013 Phoenix Comic Con and Son of Monsterpalooza convention in Burbank, CA. It has been receiving rave reviews and was written up in iconic Famous Monsters of Filmland magazine (April, 2013). Professor Creepy won the Bronze trophy at the 2014 International Independent Film Awards and was an official selection in the 2014 R.I.P. Horror Film Festival. The pilot was picked up for airing on the Monster Channel, August, 2017 and in 2018 was the top show on Roku's Around the World in 80 Screams, airing on 28 networks on Halloween. Dave's documentary, From Cheesecake to Cheesecake: The Joy Harmon Story (WGAw), about the life of 1960's film/TV icon Joy Harmon, won the 2013 Hollywood & Vine Film Festival and was a top five finalist in the prestigious 2014 Taste Awards and won the Silver trophy at the 2014 International Independent Film Awards. Dave's sitcom pilot Against Type, starring Roland Kickinger (Terminator Salvation), Stephen Furst (Animal House) and ICarly's Jennette McCurdy, aired domestically in over forty US markets and was picked up for international distribution by the Global Broadcasting Company in Spring, 2010, CETV (Chinese Entertainment Television) and The Dish Network's Simply Kids channel in 2011. It was also a finalist in the 2015 Taste Awards. Dave is a successful infomercial writer/director in China and his voice work can be heard on the SyFy Channel films Path of Destruction and Lake Placid vs. Anaconda and in the animated series Alien House, co-starring Kim Possible's Christy Carlson Romano and the new series Cozmo's.  Dave was also a celebrity judge on ICN TV China's top rated talent competition show, American Stars. He is in the classic rock documentary What is Classic Rock (2018) and entered his documentary Ask Me if I C.A.R.E. into festivals. In October, 2016, Dave's song, I am A Zombie, charted on kids syndicated radio network JenniRadio. In June, 2018, Dave's script for the short film, Selfie, was selected for the 2018 AT&T Create-A-Thon, beating out over 500 scripts to get into the finals. The film was shot at Warner Bros. In 2019, Dave played guitar on the single, Running, by actor Larry Thomas (Seinfeld's The Soup Nazi). Dave's weekly national horror radio show, Cemetery GoGo, began airing on WRSG 91.5 FM December 14th, 2019. In December, 2020, and was picked up in June, 2021 by WAKI FM radio. Dave's children's book, Bag Boy and Sweet Slob(c) was released by Headline Books Inc publishers and is now available worldwide on Amazon and wherever books are sold. In February, 2021, Bag Boy and Sweet Slob won the Reader's Favorite 5 Star Award and honorable mention at the 2021 San Francisco Book Festival in June. Against Type and Professor Creepy's Scream Party were picked up by Amazon Prime TV in December, 2020. In September, 2021, Bag Boy and Sweet Slob won the Bronze Medal at the 2021 International Book Awards sponsored by Readers' Favorite. UPDATE: Dave's syndicated hit radio show, Cemetery GoGo(c), airs on radio stations around the country including WAKI Radio out of Anapolis, Maryland, Classic WJEG in West Virginia, WBNY 91.3 FM out of Buffalo, NY and WCMO 98.5 FM out of Marietta, Ohio. His hit Spotify podcast, Bitching with Bitchy the Clown(c), is on multiple platforms and is being adapted into a TV talk show. Brain Explosion is being adapted into a TV sketch comedy show. Dave's original songs, The Visitor and Elementary in the Cemetery (recorded by Bitchy the Clown) are included in the soundtrack of the indie horror movie, Slice, which premiered at the legendary Chinese Theatre in Hollywood November 16, 2022. Other credits: Wrote theme song for Special Olympics, which named several of their teams after Snuggy Bear©. His cartoon work is part of the Charles M. Schulz (Snoopy) museum in Santa Rosa, CA and the Haig Museum of Cartoons in New York. Former song writing partner of the late Albert Hague (Fame, How the Grinch Stole Christmas). A direct descendent of Vlad the Impaler (inspiration for Dracula). An avid golfer, Dave has been sponsored by Roger Dunn Golf Shops. On the board of the prestigious Environment of People Foundation. Coached basketball with legendary UCLA coach Jim Harrick and former LA Lakers and Clippers coach Mike Dunleavy. website and more info: https://psychedelia1.wixsite.com/snuggybear

Neil & Scott discuss Death Corner 3, The MART (monster cereal mascots/Tiger Beat 70s Teen Idols/Humanoid Looney Tunes characters/vegetables/Movie Dances/SpongeBob SquarePants characters), and there's BONUS celebrity birthdays!!

The BTRL Boys are back and discuss the latest & greatest news in Wrestling, Sports & The Culture as we know it. From Jamie Foxx to Carlee's "disappearance" to Elliott Wilson & the current state of Hip Hop Journalism.

We're going back to a magical time when the scent of electric youth was wafting in the air and when a bunch of young fresh faces took over the airways and pop culture in general. This week we are discussing teen idols with the one and only Debbie Gibson joining host Lyndsey Parker (Yahoo Music Entertainment Editor) to discuss her career, Star Search, fashion, and the '80s pop scene (like New Kids on the Block, The Jets, Tiffany, Menudo and more).See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Join Michael Gray, the beloved star of Shazam!, in a captivating conversation as he unveils the secrets of his iconic role as Billy Batson. From working with legendary co-stars like Les Tremayne, John Davey, and Jackson Bostwick to sharing thrilling stories about guest stars such as JoAnna Cameron and Jackie Earle Haley, this conversation is a nostalgic journey into the world of the beloved Saturday morning TV show.   My guest, Michael Gray, and I discuss: Michael Gray's thrilling surprise cameo in "Shazam! Fury of the Gods" Unforgettable moments with Zachary Levi on the set of "Shazam! Fury of the Gods" The rollercoaster ride of being a teen idol and gracing the covers of "Tiger Beat" magazine Unbreakable bonds: Michael's friendships with Davy Jones and The Osbournes The legendary cameo as Burt Reynolds' brother in "Run Simon Run" that skyrocketed Michael's popularity and landed him in "Tiger Beat" magazine Michael's time at the Pasadena Playhouse Hair-raising fan encounters during the glory days of teen idolhood Michael Gray's transformation into Archer's beloved "TV's Michael Gray" Michael's time on "The Little People," later renamed "The Brian Keith Show" and the story of how he learned he wasn't going to be in season two. The remarkable journey of landing the role of Billy Batson on the iconic Saturday morning TV show, "Shazam!" and collaborating with Les Tremayne, John Davey, and Jackson Bostwick A star-studded experience: Working with an incredible lineup of guest stars on "Shazam!" including JoAnna Cameron, Jackie Earle Haley, Dabbs Greer, and Dannie Bonnaduche Hilarious anecdotes from autograph shows with Burt Ward and Adam West, who coincidentally voiced one of the elders on "Shazam!" Michael Gray as Marsha Brady's charming boyfriend, Jeffrey, on "The Brady Bunch" Michael's struggle to find roles after being typecast as Billy Batson Prepare to be captivated as Michael Gray shares even more captivating stories and surprises!   You're going to love my conversation with Michael Gray IMDB Instagram Website Twitter Facebook   Follow Jeff Dwoskin (host): Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Join my mailing list Buy me a coffee (support the show) Subscribe to my Youtube channel (watch Crossing the Streams!) Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show      

MORMON GOES METAL! Frizz and Bob crack open a bottle of sexy, smoky Ardbeg Uigeadail and dive head first into The Osmonds' banger of a rock album, Crazy Horses. We get to the bottom of how barbershop goes Tiger Beat... then goes headbanger, discover what makes Utah cool enough to get its own riffs, unravel the surprising political issue the brothers rallied against, and shock you with how Elvis and the Ninja Turtles completely changed how you'll see the Osmonds forever.

In this episode, multi award winning film and TV writer, cartoonist, author, musician, and voice actor Dave Shelton talks about cultivating a very long and extremely varied career starting out at Tiger Beat magazine and moving on to National Lampoon, Everybody Loves Raymond, Mtv, Marvel and working with Cheap Trick, Cynthia Rothrock, and Jamie Kennedy amongst many others. Plus, listen to a pitch for the craziest movie you have ever heard. You can check out Dave at the following locations: https://www.imdb.com/name/nm1267026/ https://headlinebooks.com/book-author-profile/dave-shelton/ https://vimeo.com/user20364944 https://www.facebook.com/dave.shelton.5 Paul works a day job and puts out vinyl and puts on shows via Katzulhu Productions https://www.facebook.com/paul.neil.12 https://www.facebook.com/katzulhu

We're talking Pop and Rock Magazines! You know those Waldenbooks Newsstand classics you had to stock up on like Creem, YM, Sassy, Smash Hits and Tiger Beat? Join host Lyndsey Parker (Yahoo Music Entertainment Editor) and guests, esteemed music journalists and authors Dave DiMartino (Creem Editor in Chief 1979-1986) and Lori Majewski (Teen People co-founder), as they discuss all things '80s magazines: the artist access, the covers, the captions, the publicists and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What if those teen fan magazines from Elizabeth's youth – think Tiger Beat, Teen Beat & Bop – were updated to target where she's at today? Instead of winning a date with Shaun Cassidy, maybe now you could enter to win the opportunity to have a beer with Keanu - it doesn't have to be weird. Nostalgia is the order of the day on this week's episode. Join us. Radiant BadassChris Martin, Creativity Coach

This week: Did Barry ever watch the show with his kids? What memorabilia do the guys have? Who has recipes in Alice's cookbook? And more stories! It's Q&A #30! Barry, Chris, and our exec producer, Ed Mann are here to answer the questions submitted to our Facebook page @realbradybros. Ask away for the next one! Advertising Inquiries: https://www.advertisecast.com/

Happy New Year - again!  My mastermind/podcasting/vegan accountant/fellow pop-culture/Gen X buddy is back - and that's my gal-pal Heather Zeitzwolfe.  This means - Heartthrobs and Tiger Beat Magazine is back! This week, Heather and I are talking 80's Heartthrobs you might have seen on the cover of Tiger Beat during the 1980s.  Sure, a couple of them possibly carried over from the 70's just a tad, but for me and Heather they were all 80's boys.  Now we both made it to college in the later part of the 80's so you can be fairly sure there will not be a '90s edition of Heartthrobs. It IS pretty interesting what constituted a heartthrob crush for each of us - we have various different reasons and stories behind each of our obsessions and it's HIGHLY Gen X because this was the big age of renting VHS videos from the local video stores.  Heather even started her own Fanclub, but we'll let you listen to that story to learn the rest! There are more livecasts coming up as well, so make sure that you are following me on Instagram (@krismaspeak) and for sure send us an email at hello@thetopfivepofcast.com if you'd like to comment on our lists or pitch an idea for the show!

In this ENCORE of Episode 42, “Tiger Beat's Top 10 Teen Idol Countdown,” we're sharing an all new opening conversation about these idols, adding in a few others and telling you about one of them we're going to MEET IRL soon! Then we'll replay this fun conversation where we RANKED Tiger Beat's Top 10 Teen Idols! Who made it past our “PCPS Crushology Scale” (trademark pending) to take a place on the list? Bobby Sherman? Donny Osmond? Leif Garret? Shaun Cassidy? Listen NOW to find out if YOUR favorite Tiger made it to the top!Nite of Dreams: 70s Teen Idol Dinner PartyPurchase “I Think I Love You” on Amazon or Bookshop.orgFollow the PCPS on Instagram, Facebook, Twitter and TikTokBecome a supporter of the PCPS on Patreon. Check our all the fun perks you get here.Subscribe to The Weekly Reader, the PCPS' fun weekly email newsletter.

Madonna, Michael Jackson, Arnold Schwarzenegger, Tom Cruise, Mike Tyson, and Wayne Gretzky. If these six names bring you back to a time when the celebrity culture shined the brightest, then this episode of It Came From The 80s is for you!   Join Jay and Tony as they discuss all things celebrity in the 1980s. The boys talk about who the biggest celebrities were back in the day, their earliest memories of the celebrities of the 1980s, and if they've ever interacted with or met any celebrities. Also this week the tables are turned as Tony quizzes Jay in a round of Where Are They Now, and Jay breaks down the history of celebrities from ancient times till now!  So if you are ready to reminisce about the good old days when celebrity culture was truly invented and the stars never shined brighter, listen in, and you won't regret it! IG :  https://www.instagram.com/camefromthe80s Twitter: https://twitter.com/CameFromThe80s Email: camefromthe80s@gmail.com   

The guys force each other to blind-watch three Christmas movies none of them have seen before, including a new-release musical comedy starring Will Ferrell and Ryan Reynolds, a Hallmark movie starring a former Superman, and a late-90s comedy starring Tiger Beat stalwart Jonathan Taylor Thomas. Watch this episode: https://youtu.be/V-I4jUCWXbU Follow Cinereelists: Facebook – Twitter – Instagram – TikTok Follow James: Letterboxd – Twitter Follow Zach: Letterboxd – Twitter Follow Kyle: Letterboxd Support the show on Patreon. Subscribe: iTunes / RSS Have a film suggestion you think we've never seen and want us to discuss on the show? Send your pick...

From Seventeen to Tiger Beat, YM, J-14 and more, an entire generation of teen girls grew up reading magazines. I spoke with Angel Martinez, who wrote an incredible article on this subject for Vice. She shares the history of teen magazines, how brands started targeting teenagers, and how they've evolved over the years. Read the Vice article here: The Teen Magazine Raised an Entire Generation of Girls Follow Angel Martinez on Twitter: @angxlmartinez Follow Angel on Instagram: @AngxlicaMartinez

The NC-17 Blonde has hit Netflix, and boy, are people fired up (“necrophiliac entertainment” wrote Manohla Dargis at NYT). At nearly three hours, the fictionalized version of Marilyn Monroe's life is tough to watch — unrelentingly bleak, a bit disjointed, with a camera that can be as vulturous as the vultures it critiques — but damn if that movie didn't haunt us both, and Ana de Armas gives an incandescent performance that has both of us thinking of cutting and bleaching our hair (which Sarah promised to do if we get enough paid subscribers). We talk about the fame trap, whether the film is “anti-abortion,” and if Hollywood will ever stop feeding on Marilyn's corpse. The fame trap came for Anthony Bourdain, the restless wanderer and beloved chef who gets the unauthorized biography treatment later this month with Down and Out in Paradise. How did the man generally regarded as having the best job in the world end up taking his own life? Can a book sourced only by the people left behind by “the Tony train” possibly give a full account? We talk addiction, how journalism can turn ghoulish, and the very complicated figure of Asia Argento.A kiss on the hand may be quite continental, but don't you think it's better to become a free or paid subscriber?Episode Notes:Friday Night Lights on Hulu and Bloodline on NetflixGratuitous photos of Kyle Chandler and Taylor Kitsch (Ed: What is this, Tiger Beat? NR: Hush! Dibs on Chandler. SH: Fine, he's yours. Tim Riggins, let me fix you.)Blonde official trailerMarilyn, by Gloria SteinemBaz Lurhmann's ELVIS (2022) and Elvis Presley: The Searcher (2018)“‘Blonde,' ‘Elvis' and the challenge of telling the truth about icons,” by Sonny Bunch (Washington Post)“What's Fact and What's Fiction in Blonde, Netflix's Marilyn Monroe Biopic,” by Ellin Stein (Slate)“Intentional or Not, Blonde Has an Anti-Abortion Message,” by Tess Garcia (Glamour)Bobby Cannavale in The Station Agent, a really good little movie…… and Boardwalk Empire, a great series“The Last Painful Days of Anthony Bourdain,” by Kim Severson (New York Times)“Author Responds to Family's Unrest Over Controversial New Anthony Bourdain Book,” by Nardine Saad (Los Angeles Times)Down and Out in Paradise: The Life of Anthony Bourdain, by Charles LeerhsenRoadrunner: A Film About Anthony BourdainKitchen Confidential Updated Edition: Adventures in the Culinary Underbelly, by Anthony Bourdain“Asia Argento's Time is Up,” by Nancy Rommelmann (Reason)Chef Reactions will bring you joy with more than a little of that Bourdain vibeWhat's in your hotbox?Nancy: Dr. Loretta Intense Replenishing Serum, available widely and at Heyday, and Arcana Holocene Intense Lipid Repair Balm, at Beauty Heroes for a very good price!Sarah: The Elton John double-album “Goodbye Yellow Brick Road” (Spotify)Outro song: “Love Lies Bleeding” by Elton JohnDon't let the sun go down on you before you become a free or paid subscriber.To commemorate the 1973 double album Yellow Brick Road, Nancy went looking for a teen pic of herself in Seventies garb but instead found one in which she appears to be dressed in someone's shower curtain. Sarah found a pic of herself dressed the way a 15 year old in 1990 thinks people looked in the Seventies. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit smokeempodcast.substack.com/subscribe

Shall we compare all nine of you to a dope ass queen?With flowing locks enviable by every babe of the eighties-nineteen.We're as stoked for this week as a Tiger Beat held by a tween,Because we love ya so much, it makes us try to rhyme like George Gershween....Ok that was a stretch, but hey we tried! Per usual, we're trying something new this week and going in on poetry! Pam & Sarah are woefully unprepared, and Joe is ready to laugh at them along with all of you. Let's dive in for some of the worst poetry you've ever heard, followed by rhyme battles and an epic improv finale. Hosted on Acast. See acast.com/privacy for more information.

We're soaring and flying back to 2007 to revisit the prom king and queen of Disney Channel—Vanessa Hudgens and Zac Efron. The High School Musical sweethearts “Zanessa” had tweens everywhere in a chokehold, but beyond Tiger Beat and Bop Magazine, who were they? Mel details their entire 5 year relationship as we wonder…was it PR? Why did Nikki Blonksy say she wouldn't bet on them?! What the hell was up with Ashley Tisdale?!? --- Support this podcast: https://anchor.fm/significantlovers/support

Do you remember your crush from grade school, high school, or college? Are you crushing on someone right now?Kendra Beltran, host of the Crushgasm podcast, joins Kathy to talk about the fine line between crushing and stalking. They discuss Dexter, Tinder Swindler, and play a game called Crush, Cringe, or Cill.Tune in to find out who Kathy had a crush on during her Tiger Beat days and how spreadsheets help Kendra. You can find Crushgasm podcast on Instagram @crushgasmpodcast and at crushgasmpodcast.com.We love our listeners and want to hear from you! Send us your feedback at womenwhosarcast@yahoo.com or leave a voicemail message at our PodInbox.Become one with your sarcasm and SUBSCRIBE wherever you listen to podcasts!Subscribe to Women Who Podcast magazine at womenwhopodcastmag.com.Follow us on social media @womenwhosarcast and @womenwhopodcastmagazine!

In our 122nd episode, we're back in person for the first time since episode 77, nearly a year ago. Coming to you live from an undisclosed location in Maine, we dig back into Nate's abundant nerdery storage. Similar to episode 26, the three of us take turns pulling magazines out of a large bin, and riff off what we come up with. With the likes of Kerrang, Alt Press, Rolling Stone (and some surprises), what could go wrong?! We start the episode with a look back at our conversation with Blothar the Berserker of GWAR, and a look ahead to the special project we've been teasing. Be on the lookout for a trailer in the coming week! Special shoutout to our newest podcast supporter, Chip in AZ! You rule! Click below if you want to help us keep the Podioslave Party going. If you like what you hear, please rate, subscribe, and share! Check us out at: Web: www.podioslave.com IG: @podioslave Twitter: @podioslave Youtube: Podioslave Podcast Email us: podioslavepodcast@gmail.com --- Support this podcast: https://anchor.fm/podioslave-podcast1/support

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" --

We're discussing emails from listeners and readers in their 50s and beyond who feel stuck in a rut with their friendships. These are questions from people who feel they want to make new friends, but worry it's too late, too hard, too intimidating, and they just don't know where to start. I believe it's never too late to make new friends, which is why I invited Carolyn Cochrane, Kristin Nilsen, and Michelle Newman of the Pop Culture Preservation Society Podcast to tell us how they become good friends in the last handful of years, what these new friendships have meant to them in a new stage of life, and what advice they have for others who want to bring new people into their orbits.The Pop Culture Preservation Society is a podcast dedicated to preserving the pop-culture nuggets of our GenX childhoods. Carolyn, Kristin, and Michelle do deep dives into topics such as Barry Manilow, Tiger Beat, The Blue Lagoon, Love Boat, Solid Gold, Saturday Night Fever, and more. But this passion project began with new friendships. Find the Pop Culture Preservation Society Podcast anywhere you listen to podcasts! They're on Instagram, Facebook, and Twitter too! AND, they have a new, super fun Facebook group called Growing Up Gen-X.You can find the show notes HERE.GET MY MONTHLY FRIENDSHIP-THEMED NEWSLETTER!Twitter @NinaBadzinInstagram @dear.nina.bAsk an anonymous question any time at ninabadzin.com/dearnina.JOIN THE Dear Nina Facebook group.Leave a voicemail at speakpipe.com/dearnina.Show notes for ALL episodes at ninabadzin.com