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English Teacher John Show 63 – Transcript

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I think you’ll like the interview with our music man, Martin!
In this episode:

  • Autumn is a great time for … eating!
  • Interview with Martin (Martin’s myspace page)
  • Saying: Be careful what you wish for; you just might get it.
  • Idioms: sit tight, doesn’t sit well (with someone)
  • Quotations: about and by musicians
  • Our frappr map and more!

Enjoy and learn!

===== TRANSCRIPT: EPISODE 63 =====

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Our music man is in the house. That’s right, Martin will join us in a minute and musically enlighten us. [squeak] Yep, even the laptop Buddha doll is excited about this one. Get comfortable, get excited. Pump up the volume, it’s time for the English Teacher John Show number 63.

[intro music]

Welcome everyone to The English Teacher John Show No. 63. Yay! Our show is for English learners of all abilities. We try to use clear and easy-to-understand English. Our podcast is recorded and produced right here in our low-tech — no, no, I mean high-tech studio in Matsumoto, Japan. My name is John Koons and I am an English teacher, podcaster, amateur video producer, part-time mountain biker, full-time thinker and computer enthusiast, among other things. Oh yeah, and I’m also your host of the English Teacher John Show.

Well, it’s still autumn here in Matsumoto. You know, it just keeps getting better and better here. The air is fresh and crisp, and my brain works a little better this time of year. You know what? I think it’s a good time of year for eating! Yeah, that’s right, eating! And, to tell you the truth, I just finished off some brown rice with tofu, daikon radish (which is very popular here), some Japanese miso soup, and I think there were a few vegetables in there too. Wow, that was tasty!


Let’s see. In today’s show, we have 3 segments. First, our music man Martin talks about uh, let me see ….. umm … yeah, he’ll talk about music. (you knew that!)

Then, we’ll have a couple of idioms. And, finally, in our third segment, you’ll hear some famous and not-so-famous quotations.

Okay, let’s jump in with our interview …

SEGMENT 1 ­– INTERVIEW with Martin

Martin’s myspace page


John Koons: Well everybody, welcome to English Teacher John Show. We have a special guest in the English Teacher John Studio in Matsumoto, Japan. Martin, welcome to the show.

Martin Chenhall: Thank you John. Good to be here.

John: Yes, Martin. A little bit famous to the, at least to the English Teacher John listeners and to the people around Matsumoto. Martin is the composer of the English Teacher John theme and transition music. Martin also can be found at myspace.com. Do you have a few songs? Tell us about, do you have a few songs on My Space and it’s as M-A-R-T-I-N-C-H-E-N-H-A-L-L.

Martin: That’s right, and no spaces.

John: And do you have a Facebook account?

Martin: Yes. I have recently gotten a Facebook account and as of today I’ve managed to put the same songs on the Facebook.

John: All right. So you can find Martin on either Facebook or My Space. So Martin you put out a CD, your first CD.

Martin: Yes. I put out my first CD this year in April. It’s called “Remember to Breathe”, has 12-13 tracks. All independently produced. Mostly myself, myself and myself. On a couple of tracks I’ve got my good friend and percussionist Shin who, Shin Nakita from Taka who’s laying out some tracks with his cajón. But mostly it is my blood, sweat and tears going into it from home.

John: And all right. Well, when you put the, at what month did you put that CD out?

Martin: I released that in April. We have a little gig down at several restaurants in Matsumoto.

John: Yeah and we did, I remember if you check a podcast, Martin. We featured you a little bit. I played a few songs from that and we do use, as you know, we use a few tracks of that in the English Teacher John track list.

Martin: That’s right. For English Teacher John, it has no royalty.


Martin: Anybody else, it’s not.


John: All right. Well Martin, I see you’re pretty proud of the guitar that you’re holding right now. Tell me about the guitar right now in your hand.

Martin: Ah, well there is a bit of a story about this. But you know I was actually perhaps more proud of my last guitar which was an Australian guitar called a Maton which I’ve had for about 10 years. In Japan, I got myself what is known as a Gomi guitar, which translates as trash guitar, and I used to take that to festivals. But, unfortunately on a school camp a certain child stepped on it and broke the head off. So in good maton then became the take to festival guitar. And this year I want to do a few too many summer festivals and the wood worked and the guitar is no longer sounding any good. So, so I picked up this –

John: This guitar here?

Martin: …this beauty in your hands. This is a Japanese made Ibanez. Sounds Spanish, Ibanez but it’s Japanese. And yeah it was pretty cheap and the electronics are great so when you plug it in it’s semi-acoustic. It sounds really nice. So, no more acoustic blues.

John: And what, give us your three favorite aspects of the guitar?

Martin: My three favorite aspects. Okay. Well one of course is price.


Martin: On the same day I could afford to buy a guitar and an iPod.

John: Oh.

Martin: When I was only anticipating buying a guitar.

John: And which costs more? The guitar or the Ipod?


Martin: The Ipod.


John: So the price was good?

Martin: But the price was good. The playability factor is very high, very easy to play. And the third one is that when you plug it in, it has a very resonant sound. Nice timbre. So that was something I was looking at buying. I guess the last couple of years I’ve been playing live a little more and I’ve had difficulties playing the acoustic guitar with various speed. Back your shoes with the pick-up. So this one seems to have it’s own in-built feedback producer.

John: You showed me the – knot switches on the top of the guitar.

Martin: It says here ‘Notch Freq’ which, I guess means notch, frequency and phase. Licensed by bBand. So I don’t know what it all means but you can make a sound nicer.

John: And which of the “Remember to Breathe” songs sounds best on that guitar?


Martin: I don’t know.


[Guitar sounds]

Martin: That’s a good question.

John: Was that guitar used in the production of the DB – of the CD?

Martin: No, no because the CD was finished by April.

John: Oh, I’m sorry about that.

Martin: And my deadline was kind of a necessity. I was moving out of my old house, which had the studio. And so I had to finish the CD before the studio was no more.


John: So what do like play? Which of the songs will come through best in the Ibanez new guitar? The new second hand guitar.

[Guitar plays]

Martin: Okay. Let’s play, I’ve heard this one on English Teacher John so –

John: Give us a sample.


Martin: Too, too short?


John: No, I liked it. In fact its… No, it’s great. I love to hear you play. I brought my guitar along and I am absolutely not going to play while we’re recording.

Martin: You should.

John: And Martin is also a teacher here and he’s trying to show me a few things like playing one of the Bob Marley songs. What are we working on? “No woman, no crime.”

Martin: “No woman, no crime.” We did a medley of Jimmy Hendricks and some Bob Dylan. So we’re –

John: We played a little of the Animals- “House of the Rising Sun”

Martin: We did.

John: Which I have been working at. And, what was it? The Bob Dylan song.

Martin: “All along the watch tower.”

John: “All along the watch tower” which was made famous by –

Martin: Jimmy Hendricks and a few years back now Dave Matthews has also do it.

John: And Dave Matthews.

Martin: But you sound really good, John. Entirely good.

John: Oh! I’ll tell you.

Martin: You’ve got to put some of these tracks on, on your podcast.

John: And you know what? I equate the guitar and my futile attempts at Japanese are sort in the same boat. I don’t give either one enough time.


John: I have an interest in both but I am not very diligent.

[Martin plays a tune from “Twilight Zone”]

John: So there he goes.


John: Should I go into the long? Yes take one of the long excuse, we call that. Uh Martin, so –

Martin: Yeah.

John: …you, I know you’ve got uhm, tell us a little bit. I see some equipment laying on the ground here.

Martin: Yeah.

John: Let’s, we’ll do, just tell me quickly the electronic equipment and then we’ll move to the instruments that you have here.

Martin: Okay. So, we’ve been having a little jam with John here this afternoon. So he brought the electric guitar so I needed to bring an amp because I have a Roland. It’s a GI-30. It’s specifically designed for – it synthesizes but pretty much you can plug anything into it. Bop.

John: And that’s the amplifier.

Martin: Yeah. As is the many musicians in Japan, or trial musicians, I tend to buy most of my stuff from second hand shops.

John: For this selection?

Martin: For the – yeah. For this selection.


John: And the price mainly.

Martin: Yeah. And so this one was about 80 Australian, 75 American, and 78 Canadian.

John: We might say as “yasui!”


John: Cheap! [Japanese] And then we’ve got some kind of mixer.

Martin: We’re plugged into a small Beringer mixer, which takes four inputs. But there are only two of us so that’s more than enough. And then I also cracked out the Bosse NE-30 an effects processor, which we didn’t really use today.

And that’s, that has the pedal on it. That has the pedal so you can get the wa-wa overdrive, delay, and revert. We’re not playing when it’s working, which isn’t all the time. I tend to use mostly just a bit of reverb, some heavier songs overdrive and on some ballad songs, a bit of delay on the guitar which kind of makes it sound dreamy and airy.

John: So when I move a little further along like proficiency curve, can I say “I want”. You know I like to play some of the songs I grew up with in the 70’s, let’s say. So if I want to start rocking out some AC-DC leads or something, will that pedal help me? Do I get some distortion? Some wicked leads with that?

[Guitar Plays]

John: Kind of quite crack it out.

Martin: Yeah.


Martin: If you’d put the overdrive on then that’ll give you some of the anger that you need to, like AC-DC.

John: Oh. Some of the anger.

Martin: And the hot hard rocking songs. It will assist you there.

John: All right.


John: Hey, I see, Martin you have your, you’ve got a mic sitting next to your computer. You’ve got a keyboard of some sort there. What’s that sitting over there on the computer table?

Martin: Okay that’s an Ederose PC30. It’s a midi controller so without having anything to plug it into, it won’t work as a keyboard itself. It’s a cable that you need to plug into another mini device or, choosing at the moment, it’s going into the computer and working as a controller for various synthesize I have within programs on the computer. And the microphone, when I, I recorded the CD through my home PC and I have a sound card that’s an external sound card, fairly large that you can plug all your instruments or external inputs into it. And then it converts into a signal through the fire wire.

How does it do it? I don’t know. I’m just spinning out this difficult vocabulary without actually understanding how the magic works.

John: But through the process of producing your CD –

Martin: Yes?

John: You probably got pretty good, not only, in a musical as far as your music, playing the music. But the technology of dealing with –

Martin: Oh, indeed! Indeed.

John: …and the software and everything.

Martin: Yeah we had them. And I guess when you start off and not being able to use it and the amount of times that it starts up, you have to do it over and over. All your songs over and over again, the parts over and over again and it really makes you practice more than perhaps you want to which is a good thing.

John: And about the process of writing the songs, like how, not the engineering of it?

Martin: Ah!

John: How long was the song writing process for all the – How many songs are on the CD?

Martin: 12 or 13?

John: 12 or 13 and about how long to kind of write all those songs?

Martin: I guess –

John: And practice.

Martin: Yeah, it’s hard to say. I suppose some of those songs, I’d had floating around for a long time that they all… Well I suppose that those songs were anywhere from three years to three weeks old.

John: So pulled old material from before and –

Martin: Well from, I guess, mostly from coming to Japan, I suppose some of the inspiration was through earlier life events but I guess I didn’t really take seriously the prospective song writing and recording until I came to Japan. I’m not sure why that has intuated.

John: You seem pretty serious to me because when I see you a lot. But actually I don’t see you too much anymore. But when I do see you, you often say “Yeah I was working on the song or I wrote another song this weekend.” You’re getting to be a pretty prolific songwriter I think.

Martin: Well that maybe so but I’m not sure how good they are. It’s quite –


Martin: It’s kind of an outlet I suppose. When, I don’t know. When things happen in your life and you have a, maybe any kind of experience. Whether it be powerful or not and if you don’t have the chance maybe to share that with someone, you can always bring it out in song or at something. It’s difficult to express then. You can, I guess, get it out of your system in a way.

John: With a song?

Martin: Uh hmm.

John: Besides writing the songs, how much for the technical aspects of you have the songs, they’re ready, and you practice them. How long to put it all together and mix it and do all the technical things to actually burn a CD?

Martin: Yeah, a long time.

John: Really? Was it?

Martin: Yeah, if I wasn’t –


John: A long time means many months, something like that?

Martin: Yeah, many months or many hours. It depends how much time you put into it. I mean you could, you could do a song in a night, if you spend maybe 6-7 hours on one song. It kind of depends on your mental too because when you hear a CD it’s fairly much perfect.

I’m not going to say my CD is perfect but its perhaps better than I could do in one take. So, you play something and if you make one mistake, you do it again. And then maybe you hear it and there was a noise in the background. Maybe a siren goes off in the house that I live in Japan or maybe some, you know, loud thing happens and you have to do it again and again.

John: Your wife starts yelling at you.

Martin: Yeah, yeah.


John: It’s your turn for dinner. What are you doing out?


Martin: So yeah. It can take a long time or a short time. And sometimes I know there was one some of the little ones where the final verbal track, I –

John: Oh I don’t remember what song that is.

Martin: Ah…

John: Hint, hint.

Martin: I don’t have the cable right here now so –

John: Oh okay.

[Guitar plays]

John: But it’s played up.

Martin: Yeah.

John: Anyway, now that you’ve played a couple chords of it, I remember now.


Martin: Anyway, I’ve been recording that for a couple of weeks and I was never happy with the vocals. And I guess one of the problems is when your learning how to sing or your singing, it takes a long time to get used to the sound of your own voice. You probably encounter the same thing when you’re listening to the podcast. Often you’re –

John: Definitely.

Martin: Your own voice without the reverberations you get through your skull through to your ear bone.

John: Yeah.

Martin: When you hear it directly, it doesn’t sound like you think it sounds. So I was having this problem with the song but I think it was just I couldn’t sing the song how I had envisioned it. It think when you write a song you have an idea of how it should sound and then maybe your ability can take it there or maybe it can’t. So I wasn’t happy until the last week and then I kind of had I suppose a bit of renovation and then I’d sing it maybe a week before I put the CD out. Over the top of previous versions and then I was happy with it.

John: Oh, wow.

Martin: Yeah.

John: Interesting process.

Martin: But the things is –

John: Are you a perfectionist? Does every song need to be perfect? Or did you have that –

Martin: Well, it can’t be perfect. Nothing that, maybe I’m a perfectionist in that sense that and probably anyone who does a form of art. We’ll probably say that its really hard to get a sense of completion because probably what you imagined you can never actually bring into reality. And I guess the whole point of your imagination or having a fantasy of creating something that you can never quite. Oh I get, I bet you can get it pretty close. And I did my best and I gave myself a deadline and put it out.

John: Martin I have to say, I’ve worked with Martin. Besides our friendship, we are –

Martin: Oh yeah.

John: … employed at the same company. How we are English TeaShing Company.


John: It was conversation school. And Martin is a much more disciplined than me so when Martin sets a deadline and he sets his mind on something, he generally accomplishes it and meets it.

So Martin, you, what at all did you play? You played that synthesizer that I’m looking at –

Martin: Okay. Does that synthesizer there is –

John: All in your CD? Which instruments?

Martin: Okay. Some on the CD basically are recorded first as a, what’s the word, like a guiding track. Singing with a guitar and maybe I’ll put a click track behind me if I think my tempo is not very good. And then I’ll lay down drums and bass. The drums, I was just using computer software or, and a couple of both my jimbay and some congos.

And then, after that I would put down the, I guess the real vocals, that I think to be real vocals with the guitar. And then if I couldn’t do that together, if it didn’t sound good then I would cheat a little bit and go back and do the guitar-vocals again without playing them simultaneously. But of course when I’m playing live, you’re playing both at the same time.

But I guess your brain has so, only so much capacity to do things well. And then bass and then –

John: And you’re, you play the bass on the CD right?

Martin: Yes.

John. So you have the bass, the guitar –

Martin:Yes, kudos to Derrick, a Canadian friend who left Japan. Left me his bass so I was able to do it. A few, before he left, a few of the tracks have synthesizer backed so I didn’t have a bass at that time.

John: And actually you have a choice of actually picking up a real physical bass –

Martin: Yeah, lying it.

John: Or generating it through…

Martin: I’m playing it through a midi device. Putting it in that way. My men and I would go back and then maybe, for some songs that I wanted to put a few backing vocals in. But a couple of songs to I went back and I brought Shin in and he accompanied with his percussion.

John: Very nice. Martin picked up the bass here just, I don’t know, 20 or 30 minutes ago. So I was able to see you play.

Martin: Yes.

John: I think that’s the first time I saw you play bass. And Martin, you have some history with the bass. You’re not just a guitarist and –

Martin: No, no. I was a, I used to be worst at guitars and that was part of the reason why I became a bassist. My very good friend in Australia, Ben, is in a band called “Canvas Gray” in Australia. We were in high school together and played a lot together. And we made a band in our last year of high school. And we had to try and decide who was going to be the bass player.

So we got one guy who was the main singer and Ben was the guitar. And his guitar was better than mine so I said “Oh, okay. I’ll play bass.” So I have played guitar but I haven’t played bass. So I bought a bass guitar and then taught myself how to play bass. I played bass for a couple of year in Melbourne. Early years at the University we got to play around the pubs in Melbourne. It was a nice experience.

John: Wow! Very nice.

Martin: And its a fun instrument too. I mean often it doesn’t look like much but when you’re playing it, it kind of, it’s a nice drive you’re going to feel when your playing with the drums. Together it’s really what’s pushing the song a lot.

John: Yeah, yeah. I felt that just here in the kitchen.


John: I’m sorry. We’re in the English Teacher John Studio.

Martin: Oh yeah, yeah.

John: Now we are in Martin’s kitchen right here.

Martin: Don’t tell anyone, where, how many cases of 15 cases out of Methanol’s or in foothills of the Japan.

John: That’s right. We’re actually in Azumino City. We’re not technically in Matsumoto –

Martin: That’s right.

John: …for this interview.

Martin: We’re starting to throw away from –

John: Nikita Alps.

[Guitar plays]

John: Yes, the Japanese northern alps. Very close. Martin I know we have some other segments that you’ve been kind enough to let us play on the English Teacher John Show.

Martin: Uh hmm.

John: Besides guitar, bass guitar, we talked about the keyboards.

Martin: Uh hmm.

John: You’ve got some other interesting things that you play.

Martin: Ah! Didgeridoo.

John: Didgeridoo, yes.

Martin: Whew. Do you want me to get it for you? Can you adlib for a few seconds?

John: Ah, you’re going to tune a little for us?

Martin: Yeah it’s just down here. You just hold my guitar.

John: And let me hold the guitar here and we’ll send Martin down to get it. Yeah.


Martin: The didgeridoo.

John: That’s Martin on the didgeridoo.

Martin: Yeah. That’s an –

John: A native Australian instrument from Martin’s home country.

Martin: I really put that in one of my songs in the CD. I did a solo in Web Smith in the middle.

John: You look, it looks like a lot of sort of mouth and jaw and breathing exercise when you’re playing that. Look, it looks like a bit of an effort.

Martin: Ah, it is a bit of an effort in terms of keeping it going. You have to do a technique on circular breathing where you – essentially you take a breath while your cheeks push out the remaining air in your mouth. And then any sound that you can make with your cheeks-jaw-tongue-chest, you can then project that through the didgeridoo and it becomes a different sound.

As the aborigines have been doing for thousands of years in Australia.

John: It’s a, I like it. It’s a very interesting sound. I was able I think first in your house, I was actually able a lot though I haven’t tried it today to make the sound. It’s not easy just to blow into the thing and get the sound. Maybe I’ll try it before I go.

Martin: Hey come on. Try it. Try it.

John: No, I’m not going to try it on.

Martin: Try it. Listen to this now. Come on.

John: No, I’m not going to try.

Martin: Come on here. I’m getting you to try. This is English Teacher John playing didgeridoo.

[Blowing sound]

John: That’s it. All right. That’s all you’re going to get. No. I couldn’t make the sound.

Martin: It was the pressure.

John: Oh and all right. But I think a little bit later I might give another try. Martin and there is a wind instrument that we also, you have been gracious to allow us to use it on the English Teacher John Show. You play a traditional Japanese instrument.

Martin: Ah… I have been. For a while, yeah. I have a shakuhachi.

John: Did you play that in Australia or just since moving here to Japan.

Martin: No, I played it in Australia. I went to this kind of, this alternative area of Australia called ‘Bar in the Bay’. And I went there for a holiday once after I finished University and there was a hippie there who was having a clearance sale of his shakuhachi so I guess it wasn’t a lucrative business for him and I picked them up for about 60 bucks which was good because if you buy one here it could cost you thousands of dollars.

John: And what’s the –

Martin: But it’s not as good as one of those that’s cost you –

John: What’s the closest recognizable, what would our listener, a shakuhachi is similar to what that our listeners would know.

Martin: Uhm maybe a kena. Like a South American in blown flute. So –

John: It’s a kind of flute.

Martin: Yeah. It’s a flute and it has a, and the mouth piece on the end is cut-out and you play it lengthwise and you have to make a sound by – as in a lot of flutes breaking the air over the opening which then creates a sound.

But it’s pretty difficult. I intend to play it more at winter. Its a nice having a bath instrument.


John: You’re playing acoustics in the bathroom. Martin, any, I know we’re moving into winter here.

Martin: Yeah.

John: Do you have any gigs scheduled? Any performances coming?

Martin: None scheduled but usually we play at, by we or I say me and Shin. And I think this year to find guitarist –

John: Shin is your percussionist partner.

Martin: Yes. And it could be a trior. We’ve got Shaw who plays guitar ala Carlos Santana.

John: Ooh!

Martin: Really and a really talented percussionist himself. So we will be playing. I’m not sure when at Tracks Bar which is near Haka Bagoryu in Nagano Prefecture. And we’ve got an invitation this year too to play, I think there’s an English pub associated with the Mominoki Hotel near Hato Ono.

John: So a couple, at least a couple of public performances coming up.

Martin: Yes so once I knob that in, you can all write them up on www(dot)myspace(dot)com/martinchenhall.

John: All right. Well?

Martin: And you can check that out. And if you do want the CD it’s not available in any stores that I know.


Martin: So,

John: Well, yeah. You have to plug your CD.

Martin: Yeah, yeah. And its really cheap. I was going to sell it for zen yen which is one thousand yen and my partner didn’t really believe in that price and so she convinced me to drop it to 500. So my debut CD is a steal at 5 dollars.

John: All right, well.


John: Let’s try. See if you can find Martin at his My Space or Facebook page.

Martin: Yeah.

John: And hey Martin I’m going to pass you the guitar here. And as we say goodbye and maybe you could strum something original there. Let me send it over here.

I won’t mess it up by trying to play it there.

Martin: Okay. Watch out for the –

John: All right, well. Martin, thank you very much for talking to us. Right from your own kitchen.

[Guitar plays]

John: And it’s a real nice time today. It’s always nice and we all thank you because I really enjoyed the music you’ve let us use, that we use for our transitions and the intro. And hey! Will you come back and talk to us soon? (For sure.) I’d like to do a little video I think.

Martin: Okay.

John: Pull out all the instruments.

Martin: As you know I’m also teaching so good luck to all you English learners out there.

John: All right. Thank you very much Martin.

Martin: Okay. How long do you want here?

John: Play whatever you like.

We’ll take a short break, and then look at some idioms …




In today’s “Idioms & Sayings” segment, we’ll first talk about the saying “Be careful what you wish for, you just might get it.

Be Careful What You Wish For, You Just Might Get it

This saying is about unexpected consquences — negative things that might come if your wish were granted. “I wish I had 10 million dollars!” “Ah, be careful what you wish for, you just might get it.” You’ll get the money but maybe you’ll be miserable. Maybe that money will change you, and you’ll lose your friends. And,it really might not help your situation.

Or, how about when a relationship gets tough, you might say something to your friend like, “I wish she would leave me alone.” or “I wish he would give me space.”
Well, you might REALLY get left alone or get A LOT of space. Your partner completely leaves you! Maybe you weren’t thinking about that kind of result or those kinds ofconsequences. Yes, you might get what you’re wishing for, but it might not be all of the positive things that you had hoped.

Also with children — a frustrated or angry child might blurt out: “I wish I never had to come back,” or “I wish he were gone,” or even worse.

Be careful what you wish for, you just might get it.

Okay, here are a couple of idioms, with sit as the main word in each, that’s sit s-i-t:

sit tight
I really want to go there and buy it! Hey, sit tight. After a couple of jobs, you’ll have the money, then you’ll be able to buy it. Sit tight. Be patient. Wait a little bit. Don’t do anything right now. Sit tight!

it doesn’t sit well OR it doesn’t sit well (with s.o.)
Sorry but that doesn’t sit well with your best friend. She’s not comfortable with the idea. She doesn’t accept it or agree with it. It doesn’t sit well with her.

The government wants to stop giving money to farmers. Well, we are a farming community and that plan doesn’t sit well with our residents. It doesn’t sit well with the local people. They don’t agree with it; they don’t like it; they don’t accept it.

The new plan doesn’t sit well with them.

Next up, it’s quotations from or about musicians …



SEGMENT 3 – Quotations – by/about music, musicians

We’ve got a few quotations for you today. Keeping in the theme of music, these quotations are by or about musicians. Okay, let’s go.

“We don’t like their sound, and guitar music is on the way out.”
-Decca Recording Company rejecting the Beatles, 1962

“Country music is three chords and the truth.”
-Harlan Howard, a famous country music songwriter who died in 2002.

“A man is a success if he gets up in the morning and gets to bed at night, and in between he does what he wants to do.”
-Bob Dylan

“I was drawn to music that addressed the spirit, probably because my own needed to be addressed.”
-Bruce Springsteen

“O great creator of being grant us one more hour to perform our art and perfect our lives.”
-Jim Morrison, who died in 1971

Yes, it’s mostly Americans today in our QUOTATIONS segment. Other than the first quote about the Beatles, the other four musicians — Harlan Howard, Bob Dylan, Bruce Springsteen and Jim Morrison are or were from the U.S.




Hey, have you checked out our frappr map at frappr dot com slash englishteacherjohngroup (and frappr is spelled f-r-a-p-p-r). I see that we have some new pins on the map and some new photos, especially from Ukraine, Italy, South Korea, Russia, Brazil, Cyprus, Lithuania — I think that might be our first one from Lithuania — and Poland. So, thank you very much for adding your hometowns to our frappr map, and for submitting your photos. You can find the link on our podcast page.

[final signoff]

Well, that brings us to the end of show number 63. I hope you enjoyed our musical talk with Martin, who provides most of the music for our show. You can find our blog, all of our video and audio podcasts, some transcripts, other language help and more, at our always-a-work-in-progress website english teacher john -dot- com.

Our email address is podcast -at- english teacher john dot com. Also, you can leave us a voicemail message on skype, at s k y p e ID englishteacherjohn.

Thanks to Martin for joining us today. You can check him out on his myspace page at myspace -dot- com slash martin chenhall.

Thanks to all of you for listening to the English Teacher John Show. My name is John Koons. Have a great week!

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