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Undeveloped territory of the United States, c. 1607–1912

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Latest podcast episodes about wild west

The Brohio Podcast
The Bloody Benders

The Brohio Podcast

Play Episode Listen Later Jul 6, 2022 89:54


After the American Civil war, the Wild West was born. Around 1870 a group of "spiritualists", the bender Family, settled into their homestead near Cherryvale Kansas. They opened their own inn and general store. The people that stayed at the inn didn't know it, but it was likely where they would spend their dying moments. Let's chat about America's first serial killing family, The Bloody Benders.

The Bitboy Crypto Podcast
CRYPTO Exchanges Are STRUGGLING (Why BITCOIN Is Still The Wild West)

The Bitboy Crypto Podcast

Play Episode Listen Later Jul 6, 2022 29:23


Today we will be discussing Nexo's proposed acquisition of Vauld after the exchange halts withdrawals on users. Next, we'll look at the ex-head of gaming for TikTok taking on the blockchain gaming and NFT space with a new project, and last, we'll talk about recent data showing a massive amount of stablecoins waiting on the sidelines for the right time to deploy into the market! Around the Blockchain is your favorite Cryptocurrency show discussing Bitcoin, Ethereum, Cardano, and the top altcoins. Our four crypto experts include Mac, Crypto Taco, Megbkz, & Ben Armstrong. Tune in for their insightful crypto analysis.

Podcast Talent Coach
3 Steps To Grow Your Audience – PTC 395

Podcast Talent Coach

Play Episode Listen Later Jul 2, 2022 26:46


There are two sides of the equation when you are trying to grow your audience. These are the two critical ingredients for growth. To grow your audience, you need to attract new listeners and keep your current listener coming back week after week. We discussed a lot of the data and what growing means back in Episode 393 - Grow Your Audience In 30 Days. To attract new listeners and keep them coming back, follow a three-step process. Those steps include promotions, programming and personality. You will discover how to accomplish each of these steps on the episode today. HOW I DISCOVERED THIS This is a process I have refined over three decades. While getting my degree in Architecture, I fell into radio by accident. Over 30 years, I built number one radio stations and coached successful radio talent to attract huge audiences. We then leveraged that attention to promote products and services for our clients. In 2009, I fell in love with podcasts. It was the Wild West. Content creators could talk about anything they chose on shows they built themselves. It was how radio was in the past. Unfortunately, podcasters were making the same mistakes radio broadcasters made in the early days. I thought if these hosts only knew a few of the strategies we used in radio, their shows could be so much more effective. Today, I help podcasters create those powerful relationships with their audiences. Are you leveraging your content to its full extent? Why are you building your audience? WHY BUILD AN AUDIENCE? There are two reasons we are building an audience. The first reason is external. Reason number two is internal. First, we are building an audience to create powerful, profitable relationships and grow our business. Only 3% of your target market is buying today. 7% could be convinced they need your solution today. They might be saying, "Now that you mention it, I do need that solution." That leaves 90% of the market not ready to buy today. We are working to create relationships with this segment of the audience, so when they are ready to buy they think of us. It is all about building rapport with your ideal clients. The remaining 90% of the market is divided into thirds. 30% of the market doesn't need your solution today. They might need a car, but not until their current lease is over. Your ideal client might not begin their job search for another year when their contract is close to expiring. Another 30% don't believe they need your solution based on the information they have. As an example, they may not think they need a new mattress because they believe their mattress is just fine. They don't have the right info and will need a little educating. The final 30% think they will never be interested. These people may be loyal to another brand. Perhaps they work for Ford and you are selling Toyotas. Build realtionships to create top-of-mind awareness with your market. When it comes time to buy, you want to be the first brand they think of. INTERNAL "WHY" The other reason we create is internal. It is also unique to each of us. I had a client once tell me, "If we are able to generate leads, that is awesome. If we are helping change people's lives, and they are reaching out to us, that would be a success. Becoming a resource is the goal." What does success look like to you? There are a variety of reasons. Maybe you want to spread your message, build your authority or grow your business. Your "why" could be to become a thought-leader, grow your reputation, or make more money. Sometimes a powerful "why" is to have more impact and leave a legacy. Maybe your "why" is a combination of these. What does success look like to you? You see, audience makes the money possible. Money makes the impact possible. What would that do to your business and impact? That's what's possible, and it's powerful. CHALLENGES There are three challenges podcasters face when they are growing their audience. They are unsure how to actually attract an audience. These podcasters have no structure and strategy. And, they are not sure where to start. The first challenge is how to actually attract an audience. To attract your ideal clients, you need to understand what is preventing you from growing. There are 3 reasons audience don't grow. The first reason is lack of new fans. Podcasters aren't finding new listeners and inviting them into their world. "If you build it they will come" is a myth. You need to actively attract your listeners. The second reason audiences don't grow is because the podcaster isn't unique. You can't simply share information. That can easily be copied. You need to share your story and style. That is the only thing others can't copy. The final reason audiences don't grow is because the content is not engaging. In order to keep your current listeners, you need to keep them engaged. Like I said at the beginning, you need to attract new listeners while keeping your current listeners. Otherwise it is like pouring water into a bucket with holes in the bottom. The more you put in, the more that leaks out. STRUCTURE AND STRATEGY The second challenge is a lack of structure and strategy. Podcasters have told me, "I need to figure out the marketing stuff. How do I find constructive, intentional ways to get the word out?" When talking about their struggle, one podcaster said, "Offer things without making it sound like an ad. It is hard to make yourself likable while selling something." They say, "How does the podcast fit into the whole marketing plan?" That structure is my Audience Explosion Blueprint. It is the three steps we talked about earlier. Audience Explosion Blueprint is made up of three Ps. The three Ps are Promotion, Programming and Personality. PROMOTION Promotion brings new listeners into your world. Get in front of new listeners and get them on your email list. There are 5 ways to grow your audience in 30 days. First, get new listeners. Define your ideal client, and figure out where they are. Next, find partners who have those listeners in their audience. Partner with these influencers to get in front of their audiences. While your are attracting new listeners with the first two steps, keep your current listeners returning. The third way to grow your audience is to remind your current listeners to return. Reach out on social media and your other channels when new episodes are available. Next, send email to your current list each time new episodes are published. Finally, keep them coming back by creatively teasing your content. Don't simply promote the episode next week. Create intrique and anticipation. GET NEW LISTENERS The second step to getting new listeners is to find partners to help you. Who makes great partners? Great partners are people who already have the attention of your ideal client. These partners also complement what you do. Make connections to get in front of their audiences. When you do, make the most of it by getting those people on your email list. This will allow you to connect with those potential listeners and clients whenever you need to. Rocky Lalvani of Profit Answer Man went through my Audience Explosion Blueprint course and doubled his audience in six weeks following this strategy. Follow the process. It works. PROGRAMMING The second piece of the Audience Explosion Blueprint is programming. This is your content. Your content gets people to engage with you. First we attract your ideal client. They we engage. Your content let's people decide if your niche is for them. Gobinder Gill of Diversity Corner helps human resources departments create workplaces with more diversity, equity and inclusion. He uses his content to show his ideal clients the value of DEI. Then, he invites those HR execs to have a conversation with him. Gobinder's content creates the need and engagement. PERSONALITY The third and final piece of the Audience Explosion Blueprint is personality. Personality is why people like you. This is how you create relationships. When you let your personality shine, people decide if they like you. Friendships are built through the stories that you tell infused by your personality. When you build friendships, you keep people coming back episode after episode. Your personality can't be copied. Just remember to be yourself. Sadie and Sausha of Meathead Test Kitchen are all about health and fitness on their podcast. They talk about eating healthy and working out. In the first five seconds, you know exactly what you are going to get on this podcast. Their personality shines from the start. You know whether or not this show is for you. People fall in love with this show, because of their personalities. WHERE TO START The final challenge podcasters face when they are trying to grow their audience is where to start. If you would like to build this strategy for your show, let's talk. I have a few options for you. Apply for your strategy session at www.PodcastTalentCoach.com/apply.

Sinister Sunrise
Episode 112: Sleepwalking - Brains on Autopilot

Sinister Sunrise

Play Episode Listen Later Jul 1, 2022 70:28


It's episode 112 and the Sinister Sisters will be shortening their words from now on. With that being said, welcome to the groupsode! In today's group episode, Sarah dives into the science behind somnambulism, the many factors that may contribute to the act, and the steps you can take to combat sleepwalking. Then, Erin attempts to answer the question “Can sleepwalking cause someone to commit murder?” as she covers the baffling case of Kenneth Parks. Morgan ends the episode recounting her own personal sleepwalking stories along with reading a handful of lighthearted stories where sleepwalkers engage in hilarious activities while asleep. It's the Wild West out here. Follow us on Instagram! (https://www.instagram.com/sinistersunrisepodcast/?hl=en) Have a personal story or a topic recommendation? Send it to our email! (sinistersunrisepodcast@gmail.com) If you are enjoying the podcast and want to show your support please leave us a rating and review on Apple Podcasts! (https://podcasts.apple.com/us/podcast/sinister-sunrise/id1498268800) If you want to look into these topics yourselves, below are the sources used: Erin's sources: (https://toronto.citynews.ca/2006/10/27/man-acquitted-of-sleepwalking-murder-running-for-school-trustee-in-durham/);(https://www.chicagotribune.com/news/ct-xpm-1988-07-17-8801150511-story.html);(https://apnews.com/article/c7c3bc37038fdde048fd8e3caf3c84ee);(https://www.latimes.com/archives/la-xpm-1988-05-28-mn-3400-story.html);(https://medium.com/snipette/murder-or-mistake-da9088976ebc);(https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4506454/#CR1) Sarah's sources: (The Nocturnal Brain by Guy Leschziner);(https://www.sleepfoundation.org/stages-of-sleep);(https://www.mayoclinic.org/diseases-conditions/sleepwalking/symptoms-causes/syc-20353506);(https://www.sleepfoundation.org/parasomnias/sleepwalking) Morgan's sources: (https://www.oddee.com/item_96680.aspx); (https://www.buzzfeed.com/amphtml/alivelez/weird-sleepwalking-stories)

Vicious Whispers with Mark Tullius
Episode 168:John Palisano on Trying Not to Die

Vicious Whispers with Mark Tullius

Play Episode Listen Later Jul 1, 2022 68:53


This week's special guest is John Palisano, a Bram Stoker Award® winning author, the coauthor of Try Not to Die: In the Pandemic and TNTD: In the Wild West, and the president of the Horror Writers Association. We discuss the collaboration process, how hard it can be writing death scenes, his rereleased novel Dust of the Dead and how being sick growing up played a part in it.  John also shares his writing routine and advice on social media, answers questions from Kevin Anderson, and talks about the Horror Writers Association. At the end of the interview we play three chapters from our Try Not to Die: In the Pandemic which is narrated by A.J. Carter Check out John's work at his website Check out the Horror Writers Association

If These Walls Could Talk
The Mural Artist's Audiobook: Chapters 1 & 2

If These Walls Could Talk

Play Episode Listen Later Jul 1, 2022 25:22


"Speak softly, but carry a big can of paint" —Banksy In the first chapter of her audiobook, Morgan discusses the current mural renaissance, gives a lay of the "Wild West" of mural art, and explains how the reputation of murals is changing for the better.In the second chapter, Morgan tells the story of how she quit her IT job to start painting murals and why she chose mural art as opposed to other mediums. She addresses the aspects of a sustainable art career (hint: you have to make money) and why you shouldn't take another art class. Finally, Morgan talks about what success means for her and how mural art lets her achieve that goal.Purchase the Mural Artist's Handbook here:https://www.amazon.com/Mural-Artists-Handbook-Morgan-Bricca/dp/0578784785/ref=sr_1_1?keywords=the+mural+artists+handbook&qid=1656642665&sprefix=mural+artists+han%2Caps%2C213&sr=8-1

On A Roll
Episode 403: Exploring The Gun Belt

On A Roll

Play Episode Listen Later Jun 30, 2022 66:58


Episode 403: Exploring The Gun Belt The Curmudgeon steps away from hosting to talk about his forthcoming tabletop RPG, The Gun Belt! The Favorite and the Legend talk to Ashley Raburn and Ryan about alien and robot cowboys riding dinosaurs in an interstellar Wild West!

Now Fear This! with Becky & Merie
Welcome to the Narcissism Subdivision! Death by selfie & murderous selfie takers

Now Fear This! with Becky & Merie

Play Episode Listen Later Jun 30, 2022 61:04


This week's podcast dives into the curious case of “The Selfie Murderer” Amanda Taylor, and other various and sundry selfie-related deaths. Along the way, your hosts address the burning questions you didn't even know you had, like:. Is that an alien egg or a green vagina? Who amongst us isn't too crazy for ISIS? What behavior does Merie engage in that totally wigs out a Disney dolphin trainer? Can you forgive Becky for being super bummed about all the mass shootings? Thank you. (Also, she's sorry for being really cleavage-y. It's not her fault.) How come the “Wild West” had strict gun regulation back then, yet we can't pull our shit together today? Why is Merie threatening to take Becky to a museum specifically designed for Becky's waking nightmare (aka, selfies)? Can you leave the quote mark hanging? (Not if Merie has anything to say about it!) Come for the cross-heavy decor. Stay for Becky's official Senate campaign slogan (against the universally loathed Ted Cruz

Liberty Never Sleeps
LNS: Monday Morning Podcast 06/27/22 Vol.12 #120

Liberty Never Sleeps

Play Episode Listen Later Jun 27, 2022 63:59


Tom explores the Roe Vs. Wade arguments, what the ruling means and the history of abortion in this country.*Short Week Ahead*July 4th and Beyond*Roe Vs Wade; The Decision Comes Down*The Left Goes Nuts*Social Engineering Belongs in the States*The History of Abortion * The Call to Violence and Hypocrisy*The Anger About---What?*The ‘Wild West' in NYC*Biden Signs an Unconstitutional LawBooks by host Thomas Purcell are available free on to Amazon Prime and Kindle subscribersThe money pledged thru Patreon will go toward show costs such as advertising, server time, and broadcasting equipment. If we can get enough listeners, we will expand the show to two hours and hire additional staff.To help our show out, please support us on Patreon: https://www.patreon.com/LibertyNeverSleepsAll bumper music and sound clips are not owned by the show, are commentary, and of educational purposes, or de minimus effect, and not for monetary gain. No copyright is claimed in any use of such materials and to the extent that material may appear to be infringed, I assert that such alleged infringement is permissible under fair use principles in U.S. copyright laws. If you believe material has been used in an unauthorized manner, please contact the poster.

VeraMeat Podcast
FAKED DEATH + CANNIBALISM IN THE WILD WEST

VeraMeat Podcast

Play Episode Listen Later Jun 27, 2022 43:06


Vera and bestie Phil Shu are BACK with more mysteries!  This time we're learning about the second in-flight in America, a possible faked death, AND cannibalism?! And Vera & Phil want to share some personal mafia vibes family stories & life happenings. Truth is crazier than fiction! Buckle up, it's gonna be a wild ride! Follow @verameat on Insta and use CODE: "Yay" on VeraMeat.com for 40% off! Leave a 5 star review with what you want to see next on the VeraMeat podcast ⭐

UBM Unleavened Bread Ministries

Bride Rewarded; Factious and Apostates Judged (11) David Eells - 6/26/22 (Audio) A Storm of Witchcraft Fails Claire Pienaar - 6/18/22 (David's notes in red)     (Claire is representing the Bride because of her name which means, “Brilliant” which describes her garment in Rev. 19.) I dreamed I was in my parents' old house. (Being at my parents' home with both parents represents abiding in the ways of the ancient Church.) I was sleeping in the bed I had in my room as a child. My mother and Father came into the room and gently woke me up and said, “It's time”. (As we will see, This represents that "It's time" for the Bride to really fight against the faction in the Church and state and their witchcraft.) I looked out through the curtains and saw it was dark outside. (It's very dark in the world around us right now, but we can rest in the promises and goodness of Our Lord). I walked to the kitchen to get a drink of water from the faucet. (The water in the kitchen represents the water of the Word which is our spiritual food.) As I did that, In my dream, I remembered a teaching from David Eells about a time when he and his family were under intense persecution. His wife (Representing the Bride; the wife of the David/Man-child reformers.) got up to get water from the kitchen and she saw bullets being shot through the water and the faucet from somewhere outside the house. (The bullets through the water represent the fiery darts fired at the Woman through the river of waters that the factious Dragon body spewed out of his mouth to try to swallow her up. Rev. 12:15-16 And the serpent cast out of his mouth after the woman water as a river, that he might cause her to be carried away by the stream. 16 And the earth helped the woman, and the earth opened her mouth and swallowed up the river which the dragon cast out of his mouth.)She rebuked it and it stopped. (The Bride will fight against the words coming from the factious Dragon.) Then, I had the exact same experience in my dream, and I also rebuked the bullets. The bullets were big and black. (So this confirms that Claire is representing the Bride. The lies and slander of the factious are very big and very evil.) There was no fear in my head or voice when I rebuked the bullets, but I was just astonished at the lengths people would go to curse us. (Psa. 36:1-4 The transgression of the wicked saith within my heart, There is no fear of God before his eyes. 2 For he flattereth himself in his own eyes, That his iniquity will not be found out and be hated. 3 The words of his mouth are iniquity and deceit: He hath ceased to be wise and to do good. 4 He deviseth iniquity upon his bed; He setteth himself in a way that is not good; He abhorreth not evil.)s ... Then I realized David Eells was sleeping in the master bedroom where my parents were supposed to be. I had an intense desire to pray for him. Then I woke up. David is representing the first fruits David/Man-child reformers that are at rest in the Master bedroom representing the Throne anointing of authority they have received.) Then Riaan and I woke up around the same time and we prayed down all witchcraft and word curses. As we were praying, I had a vision of David Eells' heart and a big black cloud or storm was trying to land on it, but we kept rebuking it. The storm never landed on his heart, and we soon fell back to sleep in prayer. (This is the storm of witchcraft sent by the factious Dragon body in an attempt to devour the Man-child as in Rev.12.) This is the verse I received by faith at random for the dream: Col 2:3 (in context 2-3) that their hearts may be comforted, they being knit together in love, and unto all riches of the full assurance of understanding, that they may know the mystery of God, even Christ, 3 in whom are all the treasures of wisdom and knowledge hidden. The Enemy Attempts to Kill the Bride and Steal the Gifts Eve Brast - 6/18/22 (David's notes in red)     I believe that this dream has a corporate meaning: I dreamed Local UBM had set up the white pot blessing tables in a U shape in the living room of the left mobile home on the land that my dad (Representing the Father) had given me. There were no more factious people living in this left mobile home who had lived there according to previous dreams. (Father had cleared them out like He did the factious wasps in previous dreams.) As I was going around the tables and placing the chairs, these gold medallions appeared at each place setting along with a small white box that contained a cleaning cloth and solution to shine up the coins because they were very old coins. I knew these were a gift from heaven above. (This has both a literal interpretation as well as a spiritual interpretation. Father is going to provide all the finances necessary for us to be able to provide for His elect in the coming wilderness tribulation and He has provided us with spiritual giftings that are very old because Jesus had them 2000 years ago before He passed them on to His disciples.) I picked up the coin in front of me and looked closely at it. On the front of the coin there was a profile of a man with a beard. (Presidents or rulers are on the face of coins. I believe that this bearded man represents Jesus who returns manifested by Word and Spirit in the Man-child reformers to lead God's elect through the tribulation. Isa. 40:10-11 Behold, the Lord Jehovah will come as a mighty one (in the Man-child Reformers), and his arm will rule for him: Behold, his reward is with him, and his recompense before him. 11 He will feed his flock like a shepherd, he will gather the lambs in his arm, and carry them in his bosom, and will gently lead those that have their young.) On the back there was a circle of small stars all around the outer circumference. (God said He would make Abraham's seed, whom we are by faith, as the stars of Heaven for a multitude. Also, the Woman in Rev. 12 has 12 stars around her head representing the doctrine of the apostles which most of the Church does not have yet.) I cleaned the coin with the cleaning kit provided and it was shiny and beautiful with all the years of corrosion cleaned off of it. (The Bride will be able to clearly see her leadership on the coin who is Jesus. It is also Jesus manifested in the Man-child as it was with so many in the Bible including Moses, Joseph, Jesus, etc.) Suddenly, a black Cobra helicopter descended upon the left mobile home and was about to open fire on us. (The Cobra helicopter represents serpent spirits in the Dragon body whose thoughts or fiery darts attack and try to poison the mind.) I knew that they wanted to kill us and steal our gold coins or medallions sent from heaven to us by God. (This represents trying to separate God's people from their true leadership. The factious enemy always tries to spiritually kill us by their lies and slander to separate the head from the body and paralyze us so that we are ineffective to use the gifts Father has given to us for His kingdom.) I began to gather up all the gold from each place setting and put it into a large white tote bag with a small floral design all over it. (The corporate Bride body must put the gifts of God given to her down into her heart, represented by the white floral bag, where they are safe from being stolen by the enemy.) I also grabbed what else I could in a hurry and ran out the door, across the big porch and down the steps to the gravel driveway before they had a chance to open fire. (Rev.12:13-14 And when the dragon saw that he was cast down to the earth, he persecuted the woman that brought forth the Man-child. 14 And there were given to the woman the two wings of the great eagle, that she might fly into the wilderness unto her place, where she is nourished for a time, and times, and half a time, from the face of the serpent. [Represented by the Cobra helicopter.]) Leon (Representing Jesus, the Lion of Judah, in the anointed Man-child reformers.)came driving up quickly in his SUV and circled around to me. He rolled down the front passenger window and said, “Hurry and get in. We have to leave now!” (To go into the wilderness Tribulation.) I opened the rear passenger door, and to my surprise, all of Local UBM was supernaturally squeezed into his SUV. I was barely able to squeeze in there myself and shut the door as Leon was peeling out down the driveway towards Calendar Rd. (Calendar road represents the passage of time wherein the the Woman is nourished by the Man-child reformers for "a thousand two hundred and threescore days.”) Then I woke up. The Lord Will Judge the Factious Enemy and Then Give the Bride Her Reward David Eells - 6/17/22 It was so in Isaiah 40: Isa 40:1-2 Comfort ye, comfort ye my people, saith your God. 2 Speak ye comfortably to Jerusalem; and cry unto her, that her warfare is accomplished, that her iniquity is pardoned, that she hath received of Jehovah's hand double for all her sins. 9-11 O thou that tellest good tidings to Zion, get thee up on a high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, Behold, your God! 10 Behold, the Lord Jehovah will come as a mighty one (in the Man-child Reformers), and his arm will rule for him: Behold, his reward is with him, and his recompense before him. (Notice that the Lord smites the factious and then rewards the Bride for her crucifixion by them.) 11 He will feed his flock like a shepherd, he will gather the lambs in his arm, and carry them in his bosom, and will gently lead those that have their young. It was so in Isaiah 62-64: Isa 62:11-63:6 Behold, Jehovah hath proclaimed unto the end of the earth, Say ye to the daughter of Zion, Behold, thy salvation cometh; behold, his reward is with him, and his recompense before him. 12 And they shall call them The holy people, The redeemed of Jehovah: and thou shalt be called sought out, A city not forsaken. 63:1 Who is this that cometh from Edom, with dyed garments from Bozrah? (The Edomite sheepfold.) this that is glorious in his apparel, marching in the greatness of his strength? I that speak in righteousness, mighty to save. 2 Wherefore art thou red in thine apparel, and thy garments like him that treadeth in the winevat? 3 I have trodden the winepress alone; and of the peoples there was no man with me: yea, I trod them in mine anger, and trampled them in my wrath; and their lifeblood is sprinkled upon my garments, and I have stained all my raiment. 4 For the day of vengeance was in my heart, and the year of my redeemed is come. 5 And I looked, and there was none to help; and I wondered that there was none to uphold: therefore mine own arm brought salvation unto me; and my wrath, it upheld me. 6 And I trod down the peoples in mine anger, and made them drunk in my wrath, and I poured out their lifeblood on the earth. … And Pharoah's army was destroyed at the Red sea but the people of God celebrated on the other side. Isa 63:11-14 Then he remembered the days of old, Moses and his people, saying, Where is he that brought them up out of the sea with the shepherds of his flock? Where is he that put his holy Spirit in the midst of them? 12 that caused his glorious arm to go at the right hand of Moses? that divided the waters before them, to make himself an everlasting name? 13 that led them through the depths, as a horse in the wilderness, so that they stumbled not? 14 As the cattle that go down into the valley, the Spirit of Jehovah caused them to rest; so didst thou lead thy people, to make thyself a glorious name. Isa 64:1-4 Oh that thou wouldest rend the heavens, that thou wouldest come down, that the mountains might quake at thy presence, (I believe that the DS will be retaliating with earthquakes when the Lord returns in His Man-child.) 2 as when fire kindleth the brushwood, and the fire causeth the waters to boil; to make thy name known to thine adversaries, that the nations may tremble at thy presence! 3 When thou didst terrible things which we looked not for, thou camest down, the mountains quaked at thy presence. 4 For from of old men have not heard, nor perceived by the ear, neither hath the eye seen a God besides thee, who worketh for him that waiteth for him. The Lord Judged the Factious Enemy and then Gave the Bride her Reward. It was so with the Bride and Man-child in Esther. The King of Kings gave authority to Esther and Mordecai to destroy Haman and his people in Purim and then rewarded Esther and Mordecai. We received this by faith at random this morning. Est 10:1-3 And the king Ahasuerus laid a tribute upon the land, and upon the isles of the sea. 2 And all the acts of his power and of his might, and the full account of the greatness of Mordecai, (meaning "little man” which is a Man-child.) whereunto the king advanced him, are they not written in the book of the chronicles of the kings of Media and Persia? 3 For Mordecai the Jew was next unto king Ahasuerus, and great among the Jews, and accepted of the multitude of his brethren, seeking the good of his people, and speaking peace to all his seed. It was so with the Bride and Man-child in Joel 2. The Northern army advanced toward Jerusalem, the Bride. They cried unto the Lord, the Bride and Man-child were revealed to the people. The Lord then smote the army and then rewarded the Bride with revival and restoration. This was probably the Assyrian army of Sennecherib who were smitten of the Lord who killed 185,000 in one night. And here it is... Joe 2:16 gather the people, sanctify the assembly, assemble the old men, gather the children, and those that suck the breasts; let the bridegroom go forth from his chamber, and the bride out of her closet... 20 but I will remove far off from you the northern army, and will drive it into a land barren and desolate, its forepart into the eastern sea, and its hinder part into the western sea; and its stench shall come up, and its ill savor shall come up, because it hath done great things... 23-25 Be glad then, ye children of Zion, and rejoice in Jehovah your God; for he giveth you the former rain in just measure, and he causeth to come down for you the rain, the former rain and the latter rain, in the first month. 24 And the floors shall be full of wheat, and the vats shall overflow with new wine and oil. 25 And I will restore to you the years that the locust hath eaten, the canker-worm, and the caterpillar, and the palmer-worm, my great army which I sent among you. (So we see again the judgment of the enemies like the Red Sea and then the reward of the Bride.) It was so with the Bride and Man-child in 2 Ch 20. The three armies advanced towards Jerusalem, the Bride. Jehoshaphat commanded the praisers to the front line. The enemies killed each other off. The people took the plunder as it will be with the DS and our faction. 2Ch 20:22-23 And when they began to sing and to praise, Jehovah set liers-in-wait against the children of Ammon, Moab, and mount Seir, that were come against Judah; and they were smitten. 23 For the children of Ammon and Moab stood up against the inhabitants of mount Seir, utterly to slay and destroy them: and when they had made an end of the inhabitants of Seir, every one helped to destroy another. So what has happened to prove this will happen with the faction? Some of our missionaries were killed by the factious Catholics who blamed us for converting their cult members with the Word. They warned us to get out of their country or we would all die. They did a Black mass to enforce this. We called upon the Lord who then started a war between the Catholics, Coptics, and JW's, who were also persecuting the Christian missionaries. So now they have been killing each other off for weeks. This happened as it did with Abimelek and the men of Shechem like I showed the lead evangelist. The Catholics said it was my black magic that did this to them and are doing a Black Mass, which is witchcraft, to get rid of us but they are still being killed by the grace of God. The Missionaries have been spared all of this civil war. Also President Trump and the Alliance have started the mass arrests of the Elites with their DS leadership in the nations and are trying and sentencing many to death by bullet. They just changed the rules because hanging was too time consuming and expensive and we are talking about 3000 elites and many more DS leaders. The witches around the world are with these satanists to support them and destroy the Alliance and Christians but they are failing and so will our faction. And we have received from the Lord that there is a parallel between Trump draining the political swamp and the Man-child draining the Church swamp. So all of this is a type for us. Draining the Swamp Eve Brast - 5/12/19 (David's notes red) I dreamed that I was standing near the edge of a swamp that took up the whole dirt road in the middle of an old western town. (This swamp represents the DS corruption in the “Wild West.”). The sky overhead was overcast (An omen of Darkness over the Land) and I was looking in the direction of a covered, wooden, porch of one of the buildings in town. (The sun/Son has been obscured by the haze of corruption over this country in the Church and state.) I saw a man who was a politician and seemed to be in charge, dressed in a tan tweed suit. He had light colored hair and a single spectacle in one eye. He also had a walrus mustache. There were two or three men standing around him who were dressed like FBI agents with black suits, white shirts, and thin black ties and they were wearing dark black sun glasses. They seemed to be talking over their sinister plans for the town. (Parts of the FBI have been involved in much corruption and criminality with evil government leaders.) I knew these men were dangerous and I slowly skirted around the edge of the swamp to get to the other side and avoid detection by them. They were so busy with their plans that they took no notice of me. (God will protect His people from their evil plans.) When I got to the other side of the swamp all the local UBM people had joined behind me and I knew that we had to wade through this swamp in order to get to where we were going. (God allows this testing to clean us up and get us where we are going in His plan.) (We have been delivered of many “swamp creatures”, just as the Alliance is purging them from the Governmental swamp.) The swamp water was up to all our necks and we were repulsed by it and the feel of water weeds brushing up against our bodies as we kept searching for an area where it was possible to exit the swamp. (So many people in this country in Church and state are sick and repulsed by the wickedness that has infiltrated the Church and government.) I noticed the top of a wooden structure in the middle of the swamp that looked like a gallows where they used to hang criminals in the town a long time ago, but now it was useless because the swamp waters were so high. (“The swamp” has perverted and stifled justice, but once it's drained, justice will return to the “Wild West”. Ultimately the Man-child reformers will deliver God's elect out of the apostate swamp.) Suddenly, the angel named Shemuel, that I've witnessed standing next to the “Drain the Swamp” sign in David's house near the water filter appeared in front of our group. I've watched him at David's house smile and gesture with his head towards the sign and tap it with his sword. (Shemuel represents that not only is God going to drain the swamp of corruption but He is also going to restore the pure water of the Word, the original gospel for the people.) (This angel appears in our house regularly along with two other angels who stand in the balcony, all of whom go forth to conquer when we speak the word concerning draining the swamp in Church or Government.) LINK: Ministering Angels Through UBM. - UBM [David Eells] Shemuel appeared above our group to our right hovering above the swamp waters. He shone very brightly and his sandals were golden as well as his golden curly hair. He still wore the baby blue, velvet sash tied around his waist as I've seen him in David's house. (Shemuel means: Shem = Name and El = >God. Exo 23: 20 Behold, I send an angel before thee, to keep thee by the way, and to bring thee into the place which I have prepared. 21 Take ye heed before him, and hearken unto his voice; provoke him not; for he will not pardon your transgression: for my name is in him. 22 But if thou shalt indeed hearken unto his voice, and do all that I speak; then I will be an enemy unto thine enemies, and an adversary unto thine adversaries. This is clear that the angel who bears God's name, meaning nature and authority, is here to lead us to conquer the enemies in the land. And as we hear his directions with humility towards God's Word, he will be an enemy to our enemies.) He was pointing to the politician and the FBI agents that surrounded him and was making proclamations and judgments against them and declaring the immanent draining of the swamp as he pointed with his left finger at them. They were completely oblivious to the judgment proclaimed against them. Only we from UBM heard the sentencing against them. (They do not believe there is a judgment against them even though the scriptures declare it over and over. He says, “The slanderer I will destroy.") I remember that we all let out a sigh of relief when the angel said this, especially Merlene because she had been struggling because of her height to get through the swamp waters. We knew that relief was coming soon. Then I woke up. (In the political realm this seems to be the reality on the ground.) (God is paralleling judgment on this political factious swamp with declassification and judgment of the religious factious swamp. Both have the same demons of faction, witchcraft, slander, lies, fornication of all kinds. It is all the harlot of Babylon. The Dragon seeking to devour God's people. Almost every morning a group of us gathers for prayer and warfare. We all get a word from the Lord by faith at random. In all of these meetings we get warnings of God's plan to drain the political and religious swamp of corruption.) This mornings words by faith at random: Even now the D.S. are destroying the food supply by weather warfare, interfering with food distribution, burning food processing plants, culling whole cattle and chicken populations, and massive inflation which the Lord will give back through His people: Joel 1:15-18 Alas for the day! for the day of Jehovah is at hand, and as destruction from the Almighty shall it come. 16 Is not the food cut off before our eyes, yea, joy and gladness from the house of our God? 17 The seeds rot under their clods; the garners are laid desolate, the barns are broken down; for the grain is withered. 18 How do the beasts groan! the herds of cattle are perplexed, because they have no pasture; yea, the flocks of sheep are made desolate. (We just had 10,000 cows die in Kansas all at once.) Judgment is coming on the apostate leadership of Christianity by the hand of the D.S.: Lam. 2:8, 8-10, Jehovah hath purposed to destroy the wall of the daughter of Zion; He hath stretched out the line, he hath not withdrawn his hand from destroying; And he hath made the rampart and wall to lament; they languish together. 9 Her gates are sunk into the ground; he hath destroyed and broken her bars: Her king and her princes are among the nations where the law is not; Yea, her prophets find no vision from Jehovah. 10 The elders of the daughter of Zion sit upon the ground, they keep silence; They have cast up dust upon their heads; they have girded themselves with sackcloth: The virgins of Jerusalem hang down their heads to the ground. (Judgment on the leadership of the factious swamp in the apostate Church) Jer 2:14-21 Is Israel a servant? is he a home-born slave? why is he become a prey? 15 The young lions have roared upon him, and yelled; and they have made his land waste: his cities are burned up, without inhabitant. 16 The children also of Memphis and Tahpanhes have broken the crown of thy head. 17 Hast thou not procured this unto thyself, in that thou hast forsaken Jehovah thy God, when he led thee by the way? 18 And now what hast thou to do in the way to Egypt, to drink the waters of the Shihor? or what hast thou to do in the way to Assyria, to drink the waters of the River? 19 Thine own wickedness shall correct thee, and thy backslidings shall reprove thee: know therefore and see that it is an evil thing and a bitter, that thou hast forsaken Jehovah thy God, and that my fear is not in thee, saith the Lord, Jehovah of hosts. 20 For of old time I have broken thy yoke, and burst thy bonds; and thou saidst, I will not serve; for upon every high hill and under every green tree thou didst bow thyself, playing the harlot. 21 Yet I had planted thee a noble vine, wholly a right seed: how then art thou turned into the degenerate branches of a foreign vine unto me? (Judgment on apostate Church.) Eze 39:17-22 And thou, son of man, thus saith the Lord Jehovah: Speak unto the birds of every sort, and to every beast of the field, Assemble yourselves, and come; gather yourselves on every side to my sacrifice that I do sacrifice for you, even a great sacrifice upon the mountains of Israel, that ye may eat flesh and drink blood. 18 Ye shall eat the flesh of the mighty, and drink the blood of the princes of the earth, of rams, of lambs, and of goats, of bullocks, all of them fatlings of Bashan. 19 And ye shall eat fat till ye be full, and drink blood till ye be drunken, of my sacrifice which I have sacrificed for you. 20 And ye shall be filled at my table with horses and chariots, with mighty men, and with all men of war, saith the Lord Jehovah. 21 And I will set my glory among the nations; and all the nations shall see my judgment that I have executed, and my hand that I have laid upon them. 22 So the house of Israel shall know that I am Jehovah their God, from that day and forward. (The Red Sea victory over the factions.) Jer 50:5-7 They shall inquire concerning Zion with their faces thitherward, saying, Come ye, and join yourselves to Jehovah in an everlasting covenant that shall not be forgotten. 6 My people have been lost sheep: their shepherds have caused them to go astray; they have turned them away on the mountains; they have gone from mountain to hill; they have forgotten their resting-place. 7 All that found them have devoured them; and their adversaries said, We are not guilty, because they have sinned against Jehovah, the habitation of righteousness, even Jehovah, the hope of their fathers. (Draining the factious religious swamp.) Dream of Faction Bombed and Scattered and the Elect's Return Eve Brast - 2020 (David's notes red) I dreamed that it was dark outside and I was standing in a line with the local UBM brethren. (Eve along with Local UBM is being used to represent the corporate body of the Bride of Christ.) We were all facing the factious enemie's camp and holding hands and praying. (The Bride must stand united against the faction and their witchcraft in prayer and spiritual warfare.) The camp was being bombed from above and I saw a bombed out vehicle about 50 yards in front of our prayer line. (Vehicles represent lives. It appears God is going to recompense the wicked for their evil committed against His people.) I saw a group of factious men who had been standing in front of the vehicle begin to scatter because of the bombings. One of the factious men who was holding a packet of legal documents was ducking for cover and trying to run away towards his left from the bombed out camp. (The legal documents represent the factious leaders plan to sue UBM and David. Also, the accuser of the brethren, satan, who persecutes the righteous through his vessels or vehicles of dishonor with his accusations in the court of Heaven.) I could see little embers from the bombings floating around in the air. Then a black woman who was deceived by faction appeared in front of me in our prayer line. (This may represent another dream we had of her dying by a plague but repenting. We've had dreams of other factious people dying of the plagues too. This could represent some of the bombing of their camp.) Her skin and clothing were charred from the bombings and she was very thin now. She was dressed in a large floral print dress but it was all tattered. Her hair was all a mess and there was blood on her face and her mouth. (The blood on her mouth represents devouring the saints by slander.) She was crying and weak and she was holding out her hands towards me, palms up, in repentance. Then I woke up. (Also, some who have been deceived by the faction will return as a result of the judgments upon them from God.) UBM Protected by Special OPs Angels Eve Brast - 6/1/21 (David's notes red) I dreamed that local UBM was encamped outdoors near the large, grey, stone wall that I've seen in previous dreams. (This wall represents sanctification which separates us from the world and their wicked practices. We are the stones that are fitted together tightly and they are grey representing our crucified life of death to self.) Our camp was at peace and was lit by a light that came from overhead. (The righteous have a "covenant of peace” through the light from Heaven called the Word and the Holy Spirit. Isa 54:10 For the mountains may depart, and the hills be removed; but my lovingkindness shall not depart from thee, neither shall my covenant of peace be removed, saith Jehovah that hath mercy on thee. Num 25:12-13 Wherefore say, Behold, I give unto him my covenant of peace: 13 and it shall be unto him, and to his seed after him, the covenant of an everlasting priesthood; because he was jealous for his God, and made atonement for the children of Israel. Eze 37:26 Moreover I will make a covenant of peace with them; it shall be an everlasting covenant with them; and I will place them, and multiply them, and will set my sanctuary in the midst of them for evermore. ) We had the white pot blessing tables set up and our chairs for a meeting. (White tables represents feeding on the pure Word. The wicked faction hate the Word and the God who wrote it and the people who stand for it, because it convicts them of sin. Therefore in Isa 57: 21 There is no peace, saith my God, to the wicked. ) Everyone was happy and in peaceful fellowship with each other. (Psalm 133:1-3, Behold, how good and how pleasant it is for brethren to dwell together in unity! 2 It is like the precious oil upon the head, That ran down upon the beard, even Aaron's beard; That came down upon the skirt of his garments; 3 Like the dew of Hermon, That cometh down upon the mountains of Zion: For there Jehovah commanded the blessing, Even life for evermore. 13 And all thy children shall be taught of Jehovah; and great shall be the peace of thy children. (“Peaceful fellowship" will be God's gift to Zion, the Bride. Isa 54:10 For the mountains may depart, and the hills be removed; but my lovingkindness shall not depart from thee, neither shall my covenant of peace be removed, saith Jehovah that hath mercy on thee. …) Isa 55:12 For ye shall go out with joy (From Babylonish bondage), and be led forth with peace: the mountains and the hills shall break forth before you into singing; and all the trees of the fields shall clap their hands. Isa 57:2 He entereth into peace; they rest in their beds, each one that walketh in his uprightness. … 21 There is no peace, saith my God, to the wicked.) The factious people, who had been driven from us in bitterness and hatred because of their own sins, were camped about 100 yards or so North of our location. (100 here represents 100% complete separation from Zion, the Bride, whom they consider their enemies because of their demon possession.) (The beast enemy attacks Zion from the North. Jer.6:22-30, Thus saith Jehovah, Behold, a people cometh from the north country; and a great nation shall be stirred up from the uttermost parts of the earth. 23 They lay hold on bow and spear; they are cruel, and have no mercy; their voice roareth like the sea, and they ride upon horses, every one set in array, as a man to the battle, against thee, O daughter of Zion . … 27 I have made thee a trier and a fortress among my people; that thou mayest know and try their way. (Mar 12:10 Have ye not read even this scripture: The stone which the builders rejected, The same was made the head of the corner.) 28 They are all grievous revolters, going about with slanders; they are brass and iron: they all of them deal corruptly. 29 The bellows blow fiercely; the lead is consumed of the fire: in vain do they go on refining; for the wicked are not plucked away. 30 Refuse silver shall men them, because Jehovah hath rejected them. (The northern army who attacks Zion will be destroyed. Psa 101:5 Whoso privily slandereth his neighbor, him will I destroy… Joel 2:15-17 Blow the trumpet in Zion, sanctify a fast, call a solemn assembly; 16 gather the people, sanctify the assembly, assemble the old men, gather the children, and those that suck the breasts; let the bridegroom go forth from his chamber, and the bride out of her closet. (The Bride and Groom will be revealed) 17 Let the priests, the ministers of Jehovah, weep between the porch and the altar, and let them say, Spare thy people, O Jehovah, and give not thy heritage to reproach, that the nations should rule over them: wherefore should they say among the peoples, Where is their God? 18 Then was Jehovah jealous for his land, and had pity on his people. … 20 but I will remove far off from you the northern army, and will drive it into a land barren and desolate, its forepart into the eastern sea, and its hinder part into the western sea; and its stench shall come up, and its ill savor shall come up, because it hath done great things. (Just like Pharoah's army at the Red Sea.) It was dark and shadowy over and around their camp and everything was chaotic and in disarray. I could hear shouting and gunfire with mini explosions and the whiz of bullets flying. (It reminded me of the night fire training courses that we practiced on in Army Basic Training. Isa. 57:14-21, And he will say, Cast ye up, cast ye up, prepare the way, take up the stumbling-block out of the way of my people. 15 For thus saith the high and lofty One that inhabiteth eternity, whose name is Holy: I dwell in the high and holy place, with him also that is of a contrite and humble spirit, to revive the spirit of the humble, and to revive the heart of the contrite. … 19 I create the fruit of the lips: Peace, peace, to him that is far off and to him that is near, saith Jehovah; and I will heal him. 20 But the wicked are like the troubled sea; for it cannot rest, and its waters cast up mire and dirt. 21 There is no peace, saith my God, to the wicked.) In this dream, I was standing at the perimeter of the UBM camp, looking out, across the way, towards the factious camp. It was like I was seeing in the Spirit because no one else in the UBM camp was aware of or concerned by what was happening. (It is very peaceful to miss out on the whole battle while the angels take out the enemy.) (Father gives us prophetic dreams and revelations to be able to warn our brethren so that we can do spiritual warfare against the demons in our enemies.) I was watching a bunch of tracer bullets flying towards our direction and orange basket balls, with bombs hidden inside them, being launched towards us as well. (The basketball bombs represent the juvenile mentality of the faction and their slander and games they like to play.) But they were all being supernaturally stopped. They were either falling short of our camp or were being turned back upon the factious camp by 2 Special OPs soldiers (who were Angels) that stood guarding the UBM camp. (The Lord said of those who curse us, “I will curse those who curse thee”. Notice that the wicked curse themselves because their curses fall back on them. We are not to personally curse our enemies but to pray for them. Rom 12:14 Bless them that persecute you; bless, and curse not. … 19 Avenge not yourselves, beloved, but give place unto the wrath of God: for it is written, Vengeance belongeth unto me; I will recompense, saith the Lord. 20 But if thine enemy hunger, feed him; if he thirst, give him to drink: for in so doing thou shalt heap coals of fire upon his head. God can speak prophetically through the righteous to judge the wicked as He has done all through scriptures. The Spirit of God spoke through Paul to turn apostates over to Satan. 1Co 5:5 to deliver such a one unto Satan for the destruction of the flesh, that the spirit may be saved in the day of the Lord Jesus. 1Ti 1:20 of whom is Hymenaeus and Alexander; whom I delivered unto Satan, that they might be taught not to blaspheme (Meaning to speak against God or others). We should not do this to defend ourselves or to fight with others. We should be neutral in this regard. Also, we do not need to turn one over to Satan when we can obviously see that they have already been turned over by God. The Spirit of God spoke curses on blasphemers or railers through David and they are still true. Psa 109:1 For the Chief Musician. A Psalm of David. Hold not thy peace, O God of my praise; 2 For the mouth of the wicked and the mouth of deceit have they opened against me: They have spoken unto me with a lying tongue. 3 They have compassed me about also with words of hatred, And fought against me without a cause. 4 For my love they are my adversaries: But I give myself unto prayer. 5 And they have rewarded me evil for good, And hatred for my love. 6 Set thou a wicked man over him; And let an adversary (Satan) stand at his right hand. (turned over to Satan) 7 When he is judged, let him come forth guilty; And let his prayer be turned into sin. 8 Let his days be few; And let another take his office (Satan entered Judas). (To the railers and cursers God spoke in) 17 Yea, he loved cursing, and it came unto him (Their curses returned upon their own heads as the angels were doing); And he delighted not in blessing, and it was far from him. 18 He clothed himself also with cursing as with his garment, And it came into his inward parts like water, And like oil into his bones. 19 Let it be unto him as the raiment wherewith he covereth himself, And for the girdle wherewith he is girded continually. 20 This is the reward of mine adversaries from Jehovah, And of them that speak evil against my soul. … 28 Let them curse, but bless thou: When they arise, they shall be put to shame, But thy servant shall rejoice. Isa 54:17 No weapon that is formed against thee shall prosper; and every tongue that shall rise against thee in judgment thou shalt condemn. [So the wicked who judge the righteous will condemn themselves because of this promise from God.] This is the heritage of the servants of Jehovah, and their righteousness which is of me, saith Jehovah. The 2 Special OPs soldiers had short military haircuts and were wearing the standard issue, camouflage, billed caps on their heads. and were dressed in grey, urban combat BDUs (Battle Dress Uniforms). They had matching backpacks with supplies and weapons to counter the attacks of our enemies. I knew immediately that they were angels because of their large, pure white wings that were spread out to each side underneath their backpacks. (A symbol that people recognize as angels) Their wings were also part of the protection barrier that they provided for the UBM camp. (Psalm 91:4, He will cover thee with his pinions, And under his wings shalt thou take refuge: His truth is a shield and a buckler.) Since their backs were to me, I couldn't see exactly what they were doing to repel the enemy fire or what weapons they were using upon the enemies camp; all I saw was their arm movements which indicated some type of invisible bow and arrow weaponry. (Psalm 7:9-16, O let the wickedness of the wicked come to an end, but establish thou the righteous: For the righteous God trieth the minds and hearts. 10 My shield is with God, Who saveth the upright in heart. 11 God is a righteous judge, Yea, a God that hath indignation every day. 12 If a man turn not, he will whet his sword; He hath bent his bow, and made it ready. 13 He hath also prepared for him the instruments of death; He maketh his arrows fiery shafts . 14 Behold, he travaileth with iniquity; Yea, he hath conceived mischief, and brought forth falsehood. 15 He hath made a pit, and digged it, And is fallen into the ditch which he made. 16 His mischief shall return upon his own head, And his violence shall come down upon his own pate.) I was noticing that every time the enemy launched a ‘basketball bomb' towards us, the angels would hold up their hands in a 'stop gesture' and the bombs would reverse course and fall back into the enemies camp and explode upon them causing much chaos and casualties. The 2 angels looked like traditional traffic cops but instead of directing traffic they were directing the bullets and the bombs. (Like Daniel in the lions den was kept safe while his enemies who plotted against him and their families were devoured by them. Psa 141:9-10 Keep me from the snare which they have laid for me, And from the gins of the workers of iniquity. 10 Let the wicked fall into their own nets, Whilst that I withal escape. Psa 140:9-11 As for the head of those that compass me about, Let the mischief of their own lips cover them. 10 Let burning coals fall upon them: Let them be cast into the fire, Into deep pits, whence they shall not rise. 11 An evil speaker shall not be established in the earth: Evil shall hunt the violent man to overthrow him. Psa 35:7-8 For without cause have they hid for me their net in a pit; Without cause have they digged a pit for my soul. 8 Let destruction come upon him unawares; And let his net that he hath hid catch himself: With destruction let him fall therein. Psa 37:14-15 The wicked have drawn out the sword, and have bent their bow, To cast down the poor and needy, To slay such as are upright in the way. 15 Their sword shall enter into their own heart, And their bows shall be broken. Psa 57:6 They have prepared a net for my steps; My soul is bowed down: They have digged a pit before me; They are fallen into the midst thereof themselves. Selah. Pro 26:27 Whoso diggeth a pit shall fall therein; And he that rolleth a stone, it shall return upon him. Pro 28:10 Whoso causeth the upright to go astray in an evil way, He shall fall himself into his own pit; But the perfect shall inherit good. Mat 7:1-3 Judge not, that ye be not judged. 2 For with what judgment ye judge, ye shall be judged: and with what measure ye mete, it shall be measured unto you. 3 And why beholdest thou the mote that is in thy brother's eye, but considerest not the beam that is in thine own eye? Most of what the factious throw at us is demons of faction, witchcraft, slander, etc. but whatever they throw it returns upon them because God said in Gal 6:7 Be not deceived; God is not mocked: for whatsoever a man soweth, that shall he also reap.) After witnessing this, I walked over to David and was reporting to him everything that I was seeing. I don't remember what David replied but he seemed pleased that the angels were doing a good job of protecting us. Then I woke up. Psalm 91:1-12, He that dwelleth in the secret place of the Most High Shall abide under the shadow of the Almighty. 2 I will say of Jehovah, He is my refuge and my fortress; My God, in whom I trust. ... 4 He will cover thee with his pinions, And under his wings shalt thou take refuge: His truth is a shield and a buckler. 5 Thou shalt not be afraid for the terror by night, Nor for the arrow that flieth by day; … 8 Only with thine eyes shalt thou behold, And see the reward of the wicked. ...10 There shall no evil befall thee, Neither shall any plague come nigh thy tent. 11 For he will give his angels charge over thee, To keep thee in all thy ways. 12 They shall bear thee up in their hands, Lest thou dash thy foot against a stone. Factious Dogs in the DS and Church Rounded Up and Euthanized Eve Brast - 10/12/21 (David's notes red) I dreamed that I was in a huge warehouse that had many different sections and at least 3 levels. (As we will see, the Father not only stores up provision for His people in His warehouse but judgement is also stored up for the wicked. Rom.2:5 but after thy hardness and impenitent heart treasurest (or storeth) up for thyself wrath in the day of wrath and revelation of the righteous judgment of God. (The ground level of this warehouse represents this earth and the earthly happenings. The second level represents the spirit realm where the directives are handed down from the Father and also from the intercessions of His saints to the angels who are the law enforcers and who carry out the directives of the Bride and the Man-child. Psalm 103:20-21 Bless Jehovah, ye his angels, That are mighty in strength, that fulfil his word, Hearkening unto the voice of his word. 21 Bless Jehovah, all ye his hosts, Ye ministers of his, that do his pleasure.) I was standing on the cement ground floor with a 7 ft. tall, very muscular policeman at my right side who was dressed in a navy blue policeman's uniform. He had a silver badge on the right side of his uniform pocket. Even though he was dressed as a 'beat cop', I knew in the dream that he was a police detective. (This police detective represents the angels that carry out and enforce God's directives according to His Word and His will.) On the ground floor of the warehouse was a veterinary medical bay in the back left corner with exam tables and I.V.'s set up along with I.V. catheters and syringes for lethal injections for euthanasia. In front of that was a large chain link fence containment or holding area. (This lethal injection could also be representative of the vaccines that are putting many of the DS minions to death through the side effects. We've heard that many arrests of DS individuals are taking place currently and that they are being questioned and held awaiting military tribunals and sentencing to be put to death. (Our parallel runs true because many of the factious in the church leadership are also being arrested for spiritual child trafficking and crimes against God's children.)The actively factious in the church will also be put to death through lethal injection, (and for many it will be the jab), because they are killing God's children.) I asked the police officer where we were; what I was seeing and what was going on? He began explaining everything to me. It was dark on the ground floor of the warehouse except in the veterinary bay which had some very limited lighting capabilities. (Could this take place on a grand scale during the 10 days of darkness when all the power is cut off and the EBS is enabled to expose all the DS evil crimes against humanity? On the political side they are rounding up these people and executing many. (But also God is using their own spike proteins to take down these people as He said.) As the police officer began explaining I had a vision of the second floor of the warehouse which was very well lit. There were many offices and cubicles with law enforcement support personnel talking on phones and typing on computers and doing all kinds of office work. It was busy and bustling. I asked the officer what all the bustle was about and he said, “A directive has been handed down from the top to round up all the dogs.” (These dogs represent the faction in the Babylonish DS and the religious faction that have conspired to crucify the righteous just as it was with Jesus.) (Prophesying of David, Jesus, and the man-child's persecutions we are told in:) Psa. 22:16,17,&20 For dogs have compassed me: A company of evil-doers have inclosed me; They pierced my hands and my feet. 17 I may count all my bones; They look and stare upon me. ... 20 Deliver my soul from the sword, My darling from the power of the dog.) Then I saw the woman in charge of carrying out this directive. (The woman represents the Bride, who in Esther as a type, is given authority by the King, representing Father God, to put Haman and his sons to death as well as all of the other enemies who have lifted up their hands against her to kill her and her people.) She had a lot of authority from the top and was in charge of the second floor and all the law enforcement personnel. She was a thin woman with very straight hair that was shoulder length and she was standing in the middle of it all dressed in a women's business suit with her arms folded. (This woman is thin because she has gotten rid of all her excess flesh. Her hair is straight representing submission to Jesus, the Word, which is the straight and narrow way.) Occasionally, I saw her bring out her right arm and point off into the distance with her pointer finger and I would see many law enforcement personnel going around the city and rounding up large groups of all different sizes and breeds of dogs. They would put them in temporary holding areas until they could be transported to the warehouse. I was not able to see the third level of the warehouse. (The Bride is dressed in a business suit because she is about her Father's business just as Jesus was and commanding the angels as she sees and discerns the Father's will. Heb. 1:13-14 But of which of the angels hath he said at any time, Sit thou on my right hand, Till I make thine enemies the footstool of thy feet? 14 Are they not all ministering spirits, sent forth to do service for the sake of them that shall inherit salvation?) (But the head of the Bride is the Man-child who is shown in all the scripture to take down the factious Edomites. A Christian brother had a dream where the Lord quoted the following text to speak of the David Man-childs in whom Jesus lives. Isa 11:1-5 And there shall come forth a shoot out of the stock of Jesse, and a branch out of his roots shall bear fruit. 2 And the Spirit of Jehovah shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and of the fear of Jehovah. 3 And his delight shall be in the fear of Jehovah; and he shall not judge after the sight of his eyes, neither decide after the hearing of his ears; 4 but with righteousness shall he judge the poor, and decide with equity for the meek of the earth; and he shall smite the earth with the rod of his mouth; and with the breath of his lips shall he slay the wicked. 5 And righteousness shall be the girdle of his waist, and faithfulness the girdle of his loins.) Suddenly, I felt a dark presence behind me and I turned around to see a large black dog the size of a Great Dane. (This great dog is a factious person we know.) Its ears were clipped like a Doberman Pincher. I asked the police officer what it was doing? He said, “Some of them are turning themselves in because there is nowhere left to go and no other choice.” (They are coming under the authority of these angels because of their great sins. They have "no other choice".) It came into the warehouse through a large open bay door and was turning itself in to the authorities because the round up campaign was so wide and far reaching that there was nowhere else for it to go. None of the dogs realized that a death sentence was decreed for them and some were turning themselves in in hopes of leniency. (Hopefully, some may repent and be saved right before they die.) When I turned back around I saw many kinds of dogs in the fenced holding area in front of the veterinary bay waiting to be euthanized... I asked Father for a word for this dream by faith at random and my finger landed on the phrase, the king's business” in Est. 9:3. (I laughed when I saw where my finger landed because of the woman dressed in the "business suit" in this dream. God has such a sense of humor!) Est. 9:3 (In context 1-5) Now in the twelfth month, which is the month Adar, on the thirteenth day of the same, when the king's commandment and his decree drew near to be put in execution, on the day that the enemies of the Jews hoped to have rule over them, (whereas it was turned to the contrary, that the Jews had rule over them that hated them,) 2 the Jews gathered themselves together in their cities throughout all the provinces of the king Ahasuerus, to lay hand on such as sought their hurt: and no man could withstand them; for the fear of them was fallen upon all the peoples. 3 And all the princes of the provinces, and the satraps, and the governors, and they that did the king's business, helped the Jews; because the fear of Mordecai (Meaning little man or Man-child) was fallen upon them. 4 For Mordecai was great in the king's house, and his fame went forth throughout all the provinces; for the man Mordecai waxed greater and greater. 5 And the Jews smote all their enemies with the stroke of the sword, and with slaughter and destruction, and did what they would unto them that hated them.   Printer-friendly version

A History Of Rock Music in Five Hundred Songs
Episode 150: “All You Need is Love” by the Beatles

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Jun 26, 2022


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" --

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oldham how i won tara browne lewisohn we can work stephen dando collins steve barri mike vickers get you into my life love you to alistair taylor mike hennessey christopher strachey kaempfert up against it gordon waller tilt araiza
Mountain Murders Podcast
The Outlaw Rube Burrow

Mountain Murders Podcast

Play Episode Listen Later Jun 26, 2022 92:44


Rube Burrow started life as the son of a simple Alabama farmer. He moved to Texas where he became a cowboy, cattle hand and a farmer. The hardscrabble life of a rancher wasn't working for Rube-so he organized a gang along with his brother Jim-The Burrow's Gang. He became an infamous train robber in the Southern US. During the final years of the American frontier, Rube became one of the most wanted outlaws since Jesse James (his hero!). Join us for a tale of adventure and true crime as we go way back to the 1800s! Intro music by Joe Buck YourselfHosts Heather and Dylan Packeremail mountainmurderpodcast@gmail.com

The Analyst Inside Cricket
Wild West (Yorkshire) Cricket

The Analyst Inside Cricket

Play Episode Listen Later Jun 24, 2022 31:48


A review of another dramatic day of Test cricket at Headingley featuring Yorkshires second favourite son and a debutant twin Learn more about your ad choices. Visit megaphone.fm/adchoices

Out d'Coup Podcast
Friday Politics Roundup | SCOTUS overturns Roe; SCOTUS OKs guns on city streets; J6; Biden cancels more student load debt; Wheel of Time

Out d'Coup Podcast

Play Episode Listen Later Jun 24, 2022 143:56


Raging Chicken's Friday Politics Roundup for June 24, 2022. We're back at our regular time and there's a lot going on. We're here to dig into the good, the bad, and the ugly in state and national politics. It's a dark day in America. The Supreme Court just overturned Roe v. Wade.  The Supreme Court rules that we must all return to the Wild West, arming ourselves in public in case there is a call for a showdown, effectively turning all our Main Streets into OK corrals. Apparently, Westerns are part of the “American Tradition” in the Constitution. And, as you might imagine, shares of Smith & Wesson rose more than 9% on Wall Street. Update on January 6th hearings.  According to a new report by the Education Data Initiative, in Pennsylvania, 661,000 student loan borrowers between the age of 25 and 34 owe an average of more than $35,000 each - more than $23 billions collectively. 35 - 49-year-olds owe an average of $46,377 each, or $20.74 billion. Those between 50 - 61 owe an average of $46,929; and, borrowers over 62 owe an average of $45,539 each. In total, American student loan borrowers owe more than $1.7 trillion in student loan debt.  The Biden Administration's Department of Education has agreed to cancel $6 billion in student loan debt for more than 200,000 borrowers who were defrauded by their mostly for-profit colleges or universities. That is on top of the more than $25 billion in student loan debt the administration already canceled for more than 1.7 million borrowers. Supposedly, the Biden administration will decide by August 31 if it will make good on Biden's campaign promist to cancel at least $10,000 in student loan debt across the board.  Kim Bedillion of the Pennridge GOP goes all in on her anti-LGBTQ crusade. You can support this show by becoming a patron for as little as $5/month at https://www.patreon.com/rcpress.  Don't Let Paul Martino & Friends Buy Our Schools and push extremist politics in our community. Raging Chicken has teamed up with LevelField to launch a truly community rooted PAC to invest in organizing, support local and state-wide progressive candidates, and unmask the toxic organizations injecting our communities with right-wing extremism. We're putting small-dollar donations to work to beat back the power of Big Money.  You can get more information and drop your donation at  https://ragingchicken.levelfield.net/. Join our Discord to continue the conversation all week long: https://discord.gg/BnjRNz3u  

Rich Zeoli
NYC Mayor Eric Adams Fears City Will Become The Wild West Over Supreme Court Ruling

Rich Zeoli

Play Episode Listen Later Jun 24, 2022 47:21


Zeoli Show Hour 4:  9:02-NEWS 9:05-John Toomey, father of murder victim Sean Toomey in Philadelphia, joined Rich to discuss the arrest of 2 suspects in his son's murder and the confidence they have in finally finding justice in their son's tragic death.  9:10- The racists roots in gun control legislation dating back to slavery.  9:39-FDA bans JUUL cigarettes  9:42-CUT SHEET | Governor Kathy Hochul slams the Supreme Court's decision on New York gun case | Governor Eric Adams fears NYC will now become the Wild West | NBC News fears more people will now be killed with gun violence after this ruling | South Carolina Democrat Joe Cunningham says Biden should not run for re-election | Colbert welcome Beto O'Rourke to the Late Show 9:55-Final Thoughts 

Nightmare Next Door
Big Sky Burning

Nightmare Next Door

Play Episode Listen Later Jun 24, 2022 40:31


When Norm Leighton and Patti Hubbert, a peaceful older couple, is violently murdered, locals fear quiet Billings, Montana, is turning into the Wild West. And when the couple's neighbor turns up dead, police are off on a wild ride to solve the case.Season 2, Episode 13 originally aired on ID on 7/1/2012.Stream full episodes of Nightmare Next Door on discovery+. Go to discoveryplus.com/nightmarenextdoor to start your 7-day free trial today. Terms apply. See acast.com/privacy for privacy and opt-out information.

The Tim Ferriss Show
602: Legendary Comedian Bill Burr — Fear{less} with Tim Ferriss

The Tim Ferriss Show

Play Episode Listen Later Jun 23, 2022 59:54


Welcome to another episode of The Tim Ferriss Show, where it is my job to deconstruct world-class performers to tease out the routines, habits, et cetera that you can apply to your own life.You'll get plenty of that in this special episode, which features my interview with Bill Burr from my 2017 TV Show Fear{less}. The “less” is in parentheses because the objective is to teach you to fear less, not to be fearless.Fear{less} features in-depth, long-form conversations with top performers, focusing on how they've overcome fears and made hard decisions, embracing discomfort and thinking big.It was produced by Wild West Productions, and I worked with them to make both the video and audio available to you for free, my dear listeners. You can find the video of this episode on YouTube.com/TimFerriss, and eventually you'll be able to see all episodes for free at YouTube.com/TimFerriss.Spearheaded by actor/producer and past podcast guest Vince Vaughn, Wild West Productions has produced a string of hit movies including The Internship, Couples Retreat, Four Christmases, and The Break-Up.In 2020, Wild West produced the comedy The Opening Act, starring Jimmy O. Yang and Cedric The Entertainer. In addition to Fear{less}, their television credits include Undeniable with Joe Buck, ESPN's 30 for 30 episode about the '85 Bears, and the Netflix animated show F is for Family.Please enjoy!*This episode is brought to you by “5-Bullet Friday,” my very own email newsletter that every Friday features five bullet points highlighting cool things I've found that week, including apps, books, documentaries, gadgets, albums, articles, TV shows, new hacks or tricks, and—of course—all sorts of weird stuff I've dug up from around the world.It's free, it's always going to be free, and you can subscribe now at tim.blog/friday.*For show notes and past guests, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsors.Sign up for Tim's email newsletter (“5-Bullet Friday”) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissFacebook: facebook.com/timferriss YouTube: youtube.com/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.