Podcasts about Cabaret Voltaire

Guillermo Moreno con Tomás Trape y Mauricio Vera en Cabaret Voltaire por "Brindis" Rosario

The great Swiss city of Zurich is one of the more picturesque, pixel-burning European gateway destinations. Within minutes of exiting Zurich Airport, armed with my trusty Eurail Pass, I was blissfully whizzing into the city centre on a 10 minute train ride. Strolling across the cobbles of this time-honoured city in the crisp spring air, there's so much urban eye-candy to lift the spirit. I sized up the largest clock face in Europe, on the edge of the Limmat River. It's bigger than Big Ben. Riding the skyline, the historic tower of St Peter Church is imbued with a trusty timepiece, as are the oh-so punctual church bells that loudly reverberate across the Old Town from the four historic churches, including mighty Grossmunster Cathedral. No wonder everything runs to time in Switzerland. According to legend, Zurich's 13th-century landmark cathedral was founded by Charlemagne, built on the graves of the city's patron saints, Felix and Regula. It was also the starting place of the Protestant Reformation in Zurich. Culture is writ large in Zurich's Old Town, where the narrow-cobbled streets gave rise to the Dada art movement just over a century ago. I popped into Cabaret Voltaire, at Spiegelgasse 1, which was the birthplace of Dada and the avant-garde artistic movement in 1916. Absinthe is the drink of choice here, among Dada's ghosts. Strolling along Bahnhofstrasse, flanked by chic designer boutiques and swanky department stores, Café Sprungli deserves a pit-stop. This prized Zurich institution is rightly lauded for its heavenly macaroons and hand-crafted chocolates. They are like exquisite works of art – as were the Easter chocolate displays. It's like a bespoke art gallery in chocolate. Don't mind if I do. Further down the street, if feeling a little decadent, make a date with Teuscher for its famed champagne truffles. In a city of water and stone bridges, a top vantage point to survey the elemental landscape, above the twisting lanes of the Old Town, is the Lindenhof. This was the site of a former Roman customs house and fourth-century fort, perched above the water. Alongside soaking up the city vistas, this elevated park with its Linden trees and giant chess sets is the pitch-perfect spot for a cheeky picnic. The vast assortment of guildhalls is core to Zurich's backstory, and they're great fun to explore. In 1336, Zurich's first independent mayor, Rudolf Brun, established the guild laws, effectively shifting power from the abbeys to the merchant nobility. The handsome guildhalls, with all their intricate decorative features, lend themselves to a leisurely inspection. I started at the bakers' guild, in Oberdorfstrasse, before heading over the river's east bank to Niederdorf, to admire the guilds of the carpenters, builders, the food and wine dealers, the textiles and spice merchants, all along Limmatquai. Then, on Munsterhof, you've got mansions of the weavers, saddlemakers, painters and winemakers. In German-speaking Zurich, the street food tradition of wurst remains wildly popular – particularly for lunch. In the Old Town, tuck into some great sausage at Wursteria by Hinz and Kunz. This part-butcher shop and part deli serves up super spicy bratwurst in a fluffy bun. So good! As its name suggests, Cafe Conditorei 1842, on Napfgasse, is an old-school establishment, chock-full of sweet indulgence. Spanning four floors, food lovers can enjoy patisserie, cakes and hot drinking chocolate – they claim to be Zurich's best. On the ground floor of this historic confectioner's store, impressively decorated in neo-baroque style, you'll struggle to find a finer array of patisserie, cakes and tarts. I could have stayed there all day. And yes – the steaming mug of hot chocolate with whipped cream was magnificent. Speaking of chocolate, the Lindt and Sprungli factory has called Zurich home, since 1899. Seven years in the making, Lindt Home of Chocolate, was designed to complement the historic building and serve as a beacon to chocolate lovers everywhere. From cultivation to production, the interactive museum does a sterling job telling the story of Swiss chocolate making, not only about Lindt, but its predecessors. While the maze of white, milk, and dark chocolates is impressive, the Lindt Home of Chocolate also boasts another record: the world's largest chocolate fountain. Standing at about 30 feet tall, even Willy Wonka would be impressed by this show-stopper. Zurich is home to FIFA's world headquarters and in a bid to stop pesky football fans from loitering in the lobby, the FIFA Museum was created nine years ago, in the heart of town. Spread over three floors and loaded with interactive exhibitions, the FIFA Museum examines all aspects of the global game and how it passionately stirs people's emotions. Football is the great equaliser. Along with the original FIFA World Cup Trophy, the museum displays over 1,000 items of exclusive memorabilia and apparel, including the national shirts of all FIFA member associations. The original trophy, which features a gold statuette of Nike, the Greek goddess of victory, holding a cup, was permanently awarded to Brazil after they won the cup for the third time, in 1970. The current trophy contains 5kg of pure gold and its estimated value is over NZ$30m. A highlight amongst the interactive games gallery is the gigantic pinball machine, where you can test your own ball kicking skills. With the next World Cup just a year away and featuring the All Whites for just the third time, add this museum to your check-list. Creating quite a buzz in recent years, Zurich-West has been spectacularly transformed from a once scruffy industrial district. Emerging as a vibrant cultural quarter of trendy eateries and edgy art, factories have been repurposed as theatres and shipyards reimagined as art galleries. Viadukt is an exemplary example of the makeover, with a host of eateries, pop-up shops and art spaces housed inside the arches of the disused, 550-feet long railway viaduct. You'll also find Prime Tower here, a 35-storey skyscraper (Switzerland's tallest), serving up a panoramic treat across Zurich's rooftops, gleaming lake and snow-coated peaks beyond. Take in the sweeping scenery over a drink or two at Clouds Bar – and salute your return to Europe. The locals are very proud of the city's brilliant and bizarre festivals. In August Zurich hosts Street Parade, one of Europe's biggest celebrations of peace, love and electronic music, attended by millions of people. In a couple of weeks, the city grinds to a halt for Seschselauten. This annual April spectacle involves setting on fire a giant straw snowman called the Boogg. The time it takes for the Boogg's head to explode indicates whether it will be a good summer, apparently. The word is Zurich is in for a long, warm summer. Perfectly poised overlooking Paradeplatz, the city's most prestigious address, the Mandarin Oriental Savoy Hotel offers a stylish stay to remember, when in Zurich. Just steps from the city's iconic shopping sweep of Bahnhofstrasse, it's been just over a year since the Mandarin Oriental revitalised what has been Zurich's oldest grand hotel, reaching back to 1838. Elegantly and artfully refreshed, with a boutique hotel vibe, the 80 impeccably redesigned rooms and suites raise the bar on luxury and indulgence. There's four distinctive dining venues including the Michelin-starred Orsini, where the Italian fine dining experience is helmed by acclaimed two-Michelin starred Italian Consultant Chef Antonio Guida. Then there's 1838, the effervescent rooftop bar with its spell-binding panoramic vistas of the city, lake and serrated Swiss Alps. Plus Savoy Brasserie & Bar is a sure-bet for a stupendous breakfast, with an delightfully presented buffet selection, in addition to a la carte menu items. Accommodations take their design cues from the natural palette of Zurich, headlined by the artisanal hand-painted silk wallpapers, inspired by the aqua green and blue hues of the lake and sky, to the mist of the surrounding mountains. Meticulously crafted design elements and materials adorn the rooms. Accents of colour are also reflected in custom furniture and carpets. Principal materials include walnut as a common thread, touches of bronze and brass and enamelled lava together with the comfort of luxurious textiles. Throughout the hotel, I loved admiring the multitude of sculptural lighting fixtures and lamps. I stayed in the Munsterhof Suite, accentuating the sumptuous sense of comfort, glamour and space, loaded with indulgent touches. There's a personal cocktail bar, built-in headboards, sublime marble-clad bathrooms and expansive walk-in dressing areas. As is the case with all Mandarin Oriental properties, you'll soon get a sense of the strong local connection the hotel has with the city. Local artists are proudly showcased with numerous pieces of art to admire, throughout the hotel. Grab a peek at the storied meeting room on the second floor, which is still home to the Guild of Tanners and Shoemakers. These traditional Swiss craftsmen have been meeting here for over a century. Service personifies whip-smart Swiss efficiency and the charismatic staff are highly personable, outgoing and engaging. You'll struggle to find fault with this gorgeous hotel which has mastered the art of fusing contemporary comforts with timeless opulence and celebrating a deep respect for history, tradition and proud sense of place. www.mandarinoriental.com Grab a ticket to ride on the European railway network with a Eurail Pass. For over 65 years, Eurail Passes have enabled flexible borderless rail travel across Europe. 7000 Kiwis purchased such a pass last year, which gives you access to 30,000 destinations across 33 countries, allowing you to chart your own amazing rail adventure. On popular rail routes, it certainly pays to make a seat reservation in advance. Lock in your rail plans ahead of your trip, by booking tickets or a rail pass to suit with Eurail direct. The mobile pass is the way to go. The Eurail app is easy to navigate, packed with helpful information and benefits, network disruption notifications, and enabling you to check timetables, lock in bookings and seat reservations on the go, via your mobile. www.eurail.com Fly to Zurich with Cathay Pacific who operate ultra-contemporary A350-1000s, from Auckland via Hong Kong. The cabin air quality is decidedly better, the aircraft are noticeably quieter and I experienced minimal jet-lag. The extensive CX Entertainment system kept me suitably engaged with excellent movie and box-set selections, live news channels - all in vivid 4K, plus in-flight WiFi is available. www.cathaypacific.com Mike Yardley is our resident traveller and can be heard every Saturday with Jack Tame on Newstalk ZB. LISTEN ABOVE See omnystudio.com/listener for privacy information.

This episode features legendary electronic musician, producer and synth nut Benge.His works with John Foxx and the Maths and Hannah Peel are outstanding, also Wrangler, OMD, Blancmange and Creep Show with Mal from Cabaret Voltaire, John Grant and Phill Winter.He also runs a label - MemeTune Recordings, as well as a YouTube series MemeTune, semi-ironically exploring the history of synthesisers…Ladies and gentlemen - prepare to geek out - meet Benge.If you can, please support the Electronically Yours podcast via my Patreon: patreon.com/electronicallyours

Industrial Music - genauer gesagt die frühen Vertreter dieses Genres sind das Thema dieser Folge. Wir reden über Throbbing Gristle, Cabaret Voltaire, Clock DVA, SPK, 23 Skidoo, Coil und Test Dept.Bands, die zum Teil schon vor der Punk-Welle existierten, aber erst durch Punk anfingen Platten zu veröffentlichen, eine größere Aufmerksamkeit erlangten, um schließlich die elektronische Musik der späten 70er und frühen 80er zubeeinflussen.  Mit Post-Punk entwickelte sich der frühe, oft minimalistische Sound und die Performance-Kunst des Industrial dann weiter und hielt Einzug in andere Genres. Unser Extra-Tipp: BLAT "Maldita Realidad" - Link zu YoutubeBier: Moosehead Canadian LagerAbonniert diesen Podcast und folgt uns auf ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠und / oder ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Kontakt: prost-punk@web.de ⁠⁠⁠⁠⁠⁠⁠⁠

En Cultura Rápida exploramos todo lo que nos ofrece el encuentro de esta tarde de #Cultura25 en Radio 3: Creación artificial y retos culturales. Para ello, hablamos con Marina Núñez, artista plástica y participante en el evento.En Actualidad Mal descubrimos Transformations, una experiencia auditiva única en directo que redefine cómo escuchamos y sentimos la música. Nos acompañan Ralph Killhertz y Clara Gongsounds, sus creadores.Nos visitan Miriam Garlo, Álvaro Cervantes y Eva Libertad, protagonistas y directora de la película Sorda, que nos sumerge en la historia de Ángela, una mujer sorda que enfrenta los miedos de la maternidad y la comunicación con su hija.Y cerramos con Barra Libre de Aloma Rodríguez, descubriendo Escribir la vida: Fotodiario de Annie Ernaux, editado por Cabaret Voltaire. Un libro que fusiona el álbum de fotos con el diario íntimo para construir una narración única de la memoria y la identidadEscuchar audio

Huríes es la novela con la que Kamel Daoud ganó el Premio Goncourt 2024. Un libro que rompe el silencio oficial impuesto en Argelia sobre su guerra civil y que señala la profunda desigualdad en la que viven las mujeres en el país del autor. La novela, lectura clandestina en Argelia, se publica en España en la editorial Cabaret Voltaire con traducción de Lydia Vázquez. Kamel Daoud ha hablado con RNE durante su visita a España.Informa Íñigo PicabeaEscuchar audio

durée : 01:00:07 - Documentaire : Chris Watson, un portrait - par : François Bonnet - Chris Watson, compositeur et preneur de son anglais, à l'origine du groupe Cabaret Voltaire, connu pour ses enregistrements de terrain récompensés par un BAFTA, pour David Attenborough "The Life of Birds" et toute une série d'émissions de la BBC. - réalisé par : Alexandre Bazin

Ce premier épisode s'intéresse à Ubu Roi d'Alfred Jarry, une pièce révolutionnaire qui a enflammé le public dès sa première en 1886. L'écrivain et compositeur Hélios Azoulay partage son analyse des moments où l'art défie les conventions. L'émission nous transporte également en 1916, à Zurich, au cœur du mouvement Dada et du Cabaret Voltaire, où Tristan Tzara et ses contemporains bousculent les normes. Enfin, le scandale du Sacre du printemps d'Igor Stravinsky en 1913 est évoqué comme un tournant majeur de l'art moderne. Une plongée fascinante dans ces événements où le choc et la provocation redéfinissent la création artistique. Réalisation Axelle Thiry. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Host Chuck Da Fonk refuses to argue against the politics of the day and entrenches himself with topical music from Thomas Dolby and Cabaret Voltaire before churning on to the most new music he's offered up in weeks including tracks by Yehan Jehan and Zadi - together as the project titled Quasi Qui, Franc Moody, Perfume Genius, One Half of Bent, Eddie Chacon, Mitch Murder and many more artists with hot fresh releases. Tune into new broadcasts of FSQ, Thursdays from 6 - 8 PM EST / 11 PM - 1 AM GMT. (Friday)For more info & tracklisting, visit: https://thefaceradio.com/fsq///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Roger talks about working with Mal and Richard of Cabaret Voltaire on their 1984 album 'Microphonies'. He also turns the spotlight on Bedford Boys Club, which was a successful alternative / indie music venue in the Home Counties in the early-to-mid-eighties.Intro and outro music by Simon Elliott-Kemp.Artwork by Rionagh.Edited by Nigel Floyd.Sound FX courtesy of Freesound.orgWith particular thanks to:Rock drums - Big Joe Drummer.Kick and bass techno 2 - Frankum.Summer ambience - Klankbeeld.Space blaster - Suonho."Tension" - ERH.Drum loop (120bpm) - Wave Play SFX.Stezzer break-beat (130bpm) - Snapper 4298.Audience cheer - Bee Productive.Reggae bass - Zulu One Drop.Elektro Dub - Geek Horde.808 (120bpm) - Daytripper 13."Mono Creation" - Gis Sweden.Send us a textNever miss an episode.Follow me at: Blue Sky @rogerquail.bsky.socialYouTube https://www.youtube.com/@rogerquailReddit u/TheMoshOfGhostsFacebook https://www.facebook.com/roger.quail.3Instagram https://www.instagram.com/rogerquailRSS feed - https://feeds.buzzsprout.com/289673.rss

'Bad Hombre' de Pola Oloixarac (Random House) es una novela , podría ser un reportaje, pero se impone la ficción que no afecta a los hechos. Podemos darle muchas vueltas al género literario de este libro, pero lo que es seguro es que no va a pasar desapercibido. Pola no se corta y entra de lleno en las polémicas cancelaciones de hombres que tienen que ver más con sospechas que con hechos, con las condenas que no hace falta probar. Ella cree que este tipo de acciones hacen un flaco favor al feminismo. Sabe que su libro es provocador, pero no le importa. Ella narra historias que le han contado hombres y mujeres que son o fueron de su entorno o que se pusieron en contacto con ella. Es una novela con la que acabas discutiendo ¿Pero acaso no es bueno debatir? Seguro que sí. Además de su libro, Pola Oloixarac nos ha donado dos libros que cree que todo el mundo debe leer: 'El mundo deslumbrante' de Siri Husvedt (Seix Barral) y  'Pálido fuego' de Vladimir Nabokov (Anagrama) . Antes, Antonio Martínez Asensio, nuestro bibliotecario, nos trajo 4 libros relacionados con la actualidad: 'Sobre la tiranía: 20 lecciones que aprender del siglo XX " de Timothy Snyder (Galaxia Gutemberg),  'El valle de las flores' de Niviaq Korneliussen (Sexto Piso),  'Hojas de hierba' de Walt Whiman (Alianza) y 'Matar a un ruiseñor' de Harper Lee (Harper Collins). En el capítulo de novedades, Pepe Rubio trajo dos y un premio. Las dos novedades: 'Una vida ' de Alejandro Palomas (Destino) y 'Orbital' de Samantha Harvey (Anagrama). El premio, el Alfaguara 2025 que se acaba de fallar: 'Arderá el viento" de Guillermo Saccomano (Alfaguara). Del programa 'Un libro una hora' de Martínez Asensio nos quedamos con 'La flecha negra' de Robert Louis Stevenson (Alianza Editorial). Y finalmente los oyentes de Hoy por Hoy nos han donado 'El bosque animado' de Wenceslao Fernández Florez (Austral) y 'La verguenza' de Annie Ernaux (Cabaret Voltaire y Tusquets) 

Albert Masferrer porta tres d

Diego Genoud (@otro_periodista) charló con Tomás Trapé, politólogo, streamer y conductor de Cabaret Voltaire, sobre el peronismo, las juventudes y Milei.

Guillermo Moreno en Cabaret Voltaire Rosario 15 de octubre: Feliz cumpleaños al compañero y conductor Guillermo Moreno!

Nuestros pasos llevan la huella de las generaciones anteriores. Hay padre, pero no hemos sido su mismo ser. Esa unión solamente se produce con la madre. La primera palabra que mencionamos cuando aprendemos a hablar es mamá. Es un vocablo hermoso, a la altura de “Sí”, “origen”, “gol” o “Dios”. Muchos soldados en los campos de Francia, durante las guerras mundiales, llamaban a su mamá ante las balas cercanas. Para ellos, sería su última palabra también. “Fin” y “Madre” en la misma parcela de existencia, porque es justo que quien da la vida nos espere al final de la escapa.Por eso hoy te voy a hablar de dos madres valientes, que vivieron en distintas épocas, que construyeron un mundo de palabras para defender el presente de sus hijos, en Marruecos y en Inglaterra, a mediados del siglo XX y a finales del XVI, madres ambas, a pesar de vivir en un mundo de hombres.Esta tarde nos propone la lectura de ' El país de los otros. Leila Slimani. Cabaret Voltaire y ´Hamnet'. Maggie o'Farrell. Libros del Asteroide

Sedan 1979 gör Matt Johnson musik under namnet The The. Under 2000-talet har han mest skrivit filmsoundtracks men nyligen kom "Ensoulment", det första riktiga studioalbumet många år. Hemma hos Strage pratar Matt Johnson bland annat om puben som hans föräldrar drev i östra London (de ökända tvillingarna Kray hängde där), om när han fick en back öl för att åka på turné med Cabaret Voltaire, om samlingsskivan "Some bizarre" som inkluderade en av The Thes tidiga låtar (och den allra första låt som Depeche Mode spelade in), om samarbetena med Johnny Marr (som spelade längre i The The än i The Smiths), om varför Tony Blair var Margaret Thatchers sanna arvtagare, om att försöka sig på "method songwriting" (med katastrofala resultat), om The The-skivan som Bowie älskade, om psykedeliska droger, om zenmeditation och om åren han bodde i Göteborg. Hosted on Acast. See acast.com/privacy for more information.

【主播的话】Hi 朋友们，这个长假你去旅行了吗？今年 7 月份，不合时宜受到了瑞士国家旅游局的邀请，在苏黎世和琉森进行了一次深度的艺术和文化之旅。这次的行程以艺术和音乐为主线，也让我们从艺术这个视角更立体地了解了这个国家。瑞士的城市常年被评为世界上最宜居城市，同时它也是欧洲对于移民要求最高的国家。你是否也曾想象过在瑞士旅居一段时间？这期节目我们与旅居瑞士二十多年的艺术行业从业者宋云龙一起，和大家聊聊在瑞士的艺术与生活。在这期节目中你会听到，苏黎世和琉森这两座独特的瑞士城市值得深入游览的文化和艺术景点；从旅行和长居的不同角度如何理解瑞士这个国家独特的历史与文化；瑞士中立国原则的争议及背景；瑞士艺术教育体系的特点以及移民瑞士生活学习的体验。【本期主播】若含：微博@_R若含王磬：微博@王磬【本期嘉宾】宋云龙：居住瑞士超过20年的华人，艺术行业的从业者，导演。【本期剧透】2:29 瑞士小城琉森：古老历史与现代建筑的交融7:03 务实又含蓄的瑞士人10:49 除了“贵”以外没有任何毛病的国家12:50 一个没有战争痕迹的国家14:43 小城达沃斯：国际会议圣地18:26 瑞士建筑与城市的动物形象27:23 苏黎世美术馆新馆：策展背后的历史反思34:27 罗森加特私人美术馆：毕加索与女收藏家40:20 瑞士艺术的百花齐放与外来语言文化影响43:56 云龙：求学经历与瑞士艺术的教育模式50:53 艺术领域的就业与瑞士的职业模式01:00:50 瑞士移民的建议和体验【相关阅读】琉森（又名卢塞恩）：瑞士中部卢塞恩州的首府，位于德语区，位于卢塞恩湖畔。由于其美丽的自然风光和独特的人文情怀成为重要的旅游城市。琉森文化会议中心（KKL）：位于瑞士琉森，多功能的建筑，其音乐厅具有高质量的声学效果，由此被评价为世界百大厅院之一。由法国建筑师让·努维尔设计，于1998年落成。罗森加特私人美术馆：位于瑞士卢塞恩的一座非常特殊的美术馆，三百多件馆藏艺术品全部来自一对父女的收藏，藏品几乎涵盖了23位最著名现代艺术大师，包括毕加索、保罗·克利、塞尚等。博物馆的创始人安吉拉·罗森加特达沃斯：瑞士著名的小镇，以其滑雪胜地和每年举行的达沃斯世界经济论坛而闻名，吸引了来自世界各地的政治和商业领袖。垂死狮子像：位于瑞士城市琉森的一座负伤狮子的雕像。由丹麦雕塑家巴特尔·托瓦尔森设计，用以纪念1792年8月10日在保卫巴黎杜伊勒里宫的战斗中作战的1100多名瑞士雇佣兵。苏黎世美术馆：位于瑞士苏黎世的一座美术馆，收藏自中世纪至当代的美术品，主要为瑞士美术品。是瑞士最重要美术馆之一，其建筑本身也有很高的价值。伏尔泰酒(Cabaret Voltaire)：位于瑞士苏黎世，它是由雨果与他的同伴艾米·翰宁斯，创立于1916年2月5日。其他创始成员有马塞尔·詹科、理查德·胡森贝克、特里斯坦·查拉、和汉斯·阿尔普。达达运动的发祥地。【本期音乐】片头：Kevin MacLeod-BeBop for Joey片尾：Kevin MacLeod-Connecting Rainbows【Logo设计】刘刘（ins: imjanuary)【文字】含之【后期制作】方改则【互动方式】小红书@不合时宜微博@不合时宜TheWeirdo商务合作可发邮件至hibuheshiyi@126.com或私信 hibuheshiyi2会员计划咨询可添加微信：hibuheshiyi2或发送邮件至hibuhehsiyi@gmail.com

Hemos reivindicado la escritura de Agustín Gómez Arcos, autor español exiliado a Francia por el franquismo, porque siempre es buen momento para hablar de él y porque Cabaret Voltaire acaba de publicar todo su teatro, hasta ahora inédito en España. Charlamos con Antonio Duque, actor, director, escritor y amigo de Gómez Arcos, también con Miguel Lázaro, coeditor de Cabaret Voltaire, y con Laura Hojman, directora de cine que prepara una película sobre Agustín. Volvemos a San Sebastián porque presenta película Costa-Gavras y compite con ella, con 'Le dernier souffle', para conseguir la Concha de oro del festival. Seguimos con Muriel Romero, director de la Compañía Nacional de Danza, que ha hablado con nuestra compañera Olga Baeza. Y nos vamos con Martín Llade y una obra inédita de la juventud de Mozart. Escuchar audio

Guillermo Moreno en Cabaret Voltaire Rosario

David Eagle is a stand-up comedian and musician in Folk bank 'The Young'uns'. He told Amelia about how the band began, taking his show 'The Eagle Is candid' to this year's Edinburgh Fringe and his upcoming appearance on Rosie Jones' Disability Comedy Extravaganza. 'The Eagle Is Candid' is on 9.30 pm at The Cabaret Voltaire for the Fringe - learn more and book tickets on the Fringe website - David Eagle: The Eagle Is Candid | Comedy | Edinburgh Festival Fringe (edfringe.com) Rosie Jones' Disability Comedy Extravaganza airs on the 22nd August, learn more on the UKTV Play website - Rosie Jones's Disability Comedy Extravaganza returns for a third series on free-to-air channel U&Dave and free streaming service, U (uktv.co.uk) Image shows the right-side profile of David Eagle's face against a black background. He is a white man with blue eyes and short sandy blonde hair and he smiles as a soft light falls on the front of his face.

Anfang 2023 lehnte die Künstlerin Hito Steyerl den Hugo-Ball-Preis der Stadt Pirmasens ab, da in einigen Schriften Hugo Balls antisemitische Inhalte zu erkennen seien. Die Stadt und das Cabaret Voltaire in Zürich, wo Hugo Ball 1916 den Grundstein für den Dadaismus legte, veranstalteten daraufhin zahlreiche Vorträge und Workshops. Jetzt ging der Prozess mit einer abschließenden Podiumsdiskussion zu Ende.

Roger goes to the Octagon Centre for the second time, to cheer on and take snaps of his friends in Cabaret Voltaire, who are promoting their recently released new album 'The Crackdown'.Having signed to Some Bizarre / Virgin Records, the Cabs pull out of the stops to impress their hard-to-please home town audience. Intro and outro music: Simon Elliott-Kemp.Artwork: Rionagh.Editor: Nigel Floyd.Sound FX courtesy of Freesound.org, with particular thanks to:Xserra - Call to prayer.Xhale 303 - TR808 pattern, zap synthDavid Bain - radio sweepSuonho - radio scanResaural - deep ambienceProutlip - industrial ambienceOymal Donaldo - guitar feedbackLogic Motion - electro 808 loop (120 bpm)Snapper 4298 - 808 buzzbeat (120 bpm)DJ Duppy - duppy electro beat, commoditize beat (140 bpm)Walter Odington - reese 1 (mono)Mielitietty -Juno ambient soundscapeSyntheway - synth bassBreo 2012 - tension builder Never miss an episode.Follow me at: https://twitter.com/rogerquailhttps://www.instagram.com/rogerquail/RSS feed - https://feeds.buzzsprout.com/289673.rss

Für die Zürcher Stadtpräsidentin Corine Mauch ist klar: Die Parolen an Galerien und dem Cabaret Voltaire seien klar als antisemitisch zu werten. Sie spricht von «feigen Taten». In Zürich gebe es keinen Platz für Antisemitismus. Weitere Themen: * Nach Steinwürfen auf Polizeiboote plant Zürich einen neuen Steg * Den Zürcher Gemeinden geht es finanziell immer besser * So soll die Rheinpromenade in Schaffhausen aufgewertet werden * Böögg-Verbrennung in Heiden findet mit Steckenpferden statt * Wie sich der Pilot Walter Staub nach einem Unfall ins Leben zurückgekämpft hat

(00:00:37) Er ist Historiker, Buchautor, Gemeindepräsident, kuratiert daneben Ausstellungen und berät Museen. Ob ihn Kunst zur Politik inspiriert oder umgekehrt? (00:11:53) «La Suisse n`éxiste pas» war eine Provokation des Künstlers Ben Vautier. Nun ist er verstorben.  (00:16:46) Als Produzent von Bob Marley hat Lee Scratch Perry Musikgeschichte geschrieben. Was er als bildender Künstler geschaffen hat, zeigt nun das Cabaret Voltaire in Zürich.  (00:22:15) «Inshalla a Boy», ein Sozialdrama aus Jordanien, zeigt den harten Kampf einer Frau in einer zutiefst patriarchalen Welt. (00:26:09) Damit wir frei und sicher der Nase nach Wandern können, arbeiten Freiwillige.  (00:31:23) Er ist Kult: der Kaffeekocher von Bialetti. Der belgische Künstler David Bergé hat darüber ein Buch gestaltet: «Bialetti - catalogue».

Just like the title says, this month we've got a bunch of music that falls all along the spectrum of Dark Underground, from the lo-fi spookiness of The Kentucky Vampires to highly-produced industrial from Shotgun Messiah and 51 Miles Away. Plus, new music from Fenix F, J:Dead, and more! Special thanks to MadFace for suggesting this month's listener pick.  Send your listener submissions/ suggestions to arcanemachinepodcast@gmail.com! The Arcane Machine is a monthly show with supplemental content on Facebook, Twitter, and Discord throughout each month. If you like what you hear, please visit the artists' pages linked below and buy some music! Social Media: The Belfry: A Home for Dark Culture: The Belfry is the home of excellent podcast Cemetery Confessions, plus interviews, art, and other podcasts rooted deeply in dark/ alternative lifestyles. Join our Facebook group for discussion and bonus content: https://www.facebook.com/groups/TheArcaneMachine/ Follow The Arcane Machine on Twitter: @arcane_machine Follow The Arcane Machine on Instagram: @the_arcane_machine Use the Discord Widget on the side of the page to join our server and chat with us   The Tracklist:   1 – “Blow U Away” by Pigface from the album Easy Listening (2003) (Website) 2 – “Come Down” by Shotgun Messiah from the album Violent New Breed (1993) (Discogs) 3 – “Moonlight Kiss” by The Kentucky Vampires from the album The Kentucky Vampires (2018) (Bandcamp) 4 – “Battle for Dnipro” by Fenix F from the album Cybereligion (2024) (Bandcamp) 5 – “The Witch” by Rosetta Stone from the album An Eye for the Main Chance (1991) (Bandcamp) 6 – “Redeem Me (finally)” by 51 Miles Away from the album Time Catcher (2024) (Bandcamp) 7 – “What we'll be” by j:dead from the single What we'll be (2024) (Bandcamp) 8 – “Brighten Up My Life” by Violent Vickie & Mirror Of Haze from the album Brighten Up My Life (2023) (Bandcamp) 9 – “Diskono” by Cabaret Voltaire from The Crackdown (1983) (Bandcamp)

My guest on Line Noise this week is New York DJ Tedd Patterson, who held down a 13-year residency at Cielo and now spins regularly at Battle Hymn and House Of Yes. He has also released a gorgeous new single, Piece of Me, with Inaya Day. We spoke about his long and storied history with DJing, from Atlanta to New York to London, from Cabaret Voltaire to Tony Humphries; we talked about NYC's best parties, the secret of playing six-hour sets, the ultimate Cielo anthem and so much more.

https://www.rpmchallenge.com/“We work not only to produce but to give value to time.” (Delacroix)Ten years ago I participated in the RPM Song Challenge: 10 songs in 30 days. I chose the theme of “Time” - (a fertile and elastic subject), for my inventions.  Included here are 4 songs from that creative surge.It is said that time moves more quickly the older one gets. My brain can't compute that it's been ten years since these songs popped into being; It seemed like a speck.I hadn't heard these recordings since that time - they had been committed to little mini cards, and salted away in an obscure container. I've since moved, and I thought the files had been lost to the sands of…… well, you know.But, Eureka!  I remembered that I had logged entries into my diary, notating the precise location of each tune: (which card, the sequence of titles, and timings for each). And, they appeared! Talk about foresight, and good time-management… temporarily.So, in praise of our brief, yet glorious existence on this globe, allow me to share:Time Bends - An instrumental trinket, with one simple lyric stanza. It was created on a Mountain Dulcimer that had been gifted to me, and I recall becoming awestruck by its warm tone and craftsmanship. I felt that I needed to establish a relationship with it, and It didn't disappoint - lovingly responding to my explorations with this haunting melody. 50 Years Ago Today - As the challenge was taking place, there was a lot of press coverage on the approaching 50th anniversary of The Beatles appearance at Shea Stadium, which immediately reconnected me with my 12 year old self, and we pondered how the relentless bulldozer of time had flattened us. Our Bodies Are One - Though originally written in 2014 in response to another news story about a devoted husband and wife's long separation during his incarceration, and eventual death. As I listen to it anew, each line resonates with the tragic events that have transpired recently in a Siberian prison. I dedicate this song to Alexei and Yulia Navalny.Dada Dancehall - The music critic and historian, Greil Marcus a wrote a fascinating book connecting the dots between the Punk movement of the 1970s with the Dadaists of the World War I era.  In this song, Johnny Rotten of the Sex Pistols time travels to the Cabaret Voltaire of 1916, to sing a duet with Hugo Ball, the creator of the Dada Manifesto.

This month we're back to the BC era (Before Colin), where we'll be discussing our favourite songs of 1980, inlcuding lashings of nuclear paranoia, a brace of classic metal, and a nice healthy dollop of goth.We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year. Bands featured in this episode include (In alphabetical order, no spoilers here!) - AC/DC, Bauhaus, The Beat, David Bowie, Kate Bush, Cabaret Voltaire, Comsat Angels, The Clash, The Cramps, The Cure, Dead Kennedys, Devo, Dexys Midnight Runners, Diamond Head, Iron Maiden, Japan, Nic Jones, Journey, Joy Division, Judas Priest, Killing Joke, Motorhead, The Only Ones, Orchestral Manouvres In The Dark, Ozzy Osbourne, Siouxsie & The Banshees, The Specials, Stiff Little Fingers, Talking Heads, & Visage.Find all songs in alphabetical order here - https://open.spotify.com/playlist/1kij98NJCpKCK24D6GsvRG?si=cf71849309184fa9Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes, you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdg Ian's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqA and Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9Nw The playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Say hello at www.facebook.com/wedigmusicpcast or tweet us at http://twitter.com/wedigmusicpcast or look at shiny pictures on Instagram at http://instagram.com/wedigmusicpcast Part of the We Made This podcast network. https://twitter.com/wmt_network You can also find all the We Dig Music & Free With This Months Issue episodes at www.wedigpodcasts.com

Llega a los cines el 'Robot dreams' de Pablo Berger, Agustín Gómez Arcos en Español gracias a Cabaret Voltaire, doble de danza con el CND y el Ballet Nacional. Nos vamos con Martín Llade y las canciones de Napoléon que no encontramos en la película.Escuchar audio

Episode 112 Merry Moog 2023 Holiday Music Performed on the Moog and other Synthesizers Playlist   Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley. Emerson, Lake & Palmer, “Troika” from I Believe In Father Christmas (1995 Rhino Records). Arranged by, Emerson, Lake & Palmer. Moog and effects by Keith Emerson. Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer. Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin. Sounds Of Broadcasting 3, “Electronic Tinsel” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer. Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards. Unknown artist, “God Rest Ye Merry Gentlemen” from Electronic Computer Christmas Music (1990 Silver Bells Music). As the name suggests, this was a label dedication mostly to producing broadcast music for the holidays. They also release several albums of nature sounds. The studio musicians go unnamed. John Baker, “Christmas Commercial” from BBC Radiophonic Music (1968 BBC Radio Enterprises). A short piece used for broadcasting that was created by tape manipulation of the sounds of a mechanical cash register. It was part of collection of short works by BBC Radiophonic composers. “This record has been produced with the intention of entertaining rather than informing: the items chosen do not necessarily represent a survey of the music created at the BBC Radiophonic Workshop. The Workshop at the BBC Music Studios in Maida Vale, London, is equipped with tape recording machines and other electronic equipment for generating and manipulating sound. The composition and realization of this music and sound is done by a small number of specialized creative staff.” Christmas Baubles, “Orch” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track. Sounds Of Broadcasting 4, “Cutesy Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Michael Nyman, “Cream or Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. From Nyman's minimalist era before he became famous for soundtracks. Cabaret Voltaire, “Invocation” from Eight Crepuscule Tracks (1987 Interior Music). This track was originally included on the holiday album Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule), which suggested to me that it should be in this holiday podcast. Any excuse for a CV track. Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer. Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton. Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album. Sounds Of Broadcasting 5, “Christmas Moog Choir” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s. Pac-Man, “Snowflakes And Frozen Lakes” from Pac-Man Christmas Album (1982 Kid Stuff Records). Produced, Written by, Dana Walden, Patrick McBride. “A collection of Pac-Man's favorite Christmas songs.” Need I say more? Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise. Old Man Gloom, “Valhalla and Christmas Eve Parts I and II from Christmas (2004 Tortuga Recordings). Ambient/Noise band formed in New Mexico by guitarist/vocalist Aaron Turner and drummer Santos Montano. Guitar, Drum Programming, Drums, captured and organized sound, Kurt Ballou; Performed by Aaron Turner, Caleb Scofield, Luke Scarola, Nate Newton, Santos Montano. Sounds Of Broadcasting 6, “The Joyous Moment” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 John & Yoko and The Plastic Ono Band With The Harlem Community Choir (remixed by Thom Holmes in 2001), “Happy Christmas (War is Over)” (1971 Apple Records). I had a CD player that was in disrepair and decided to “perform” this remix using it. I ended up calling this the Lennon and Ono Sliding Moment remix. Opening background music: Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Joy Electric, “Let it Snow” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Christmas Baubles, “Noisy Organ” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track.     Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

Host Charles The Athlete™️ holds tightly on to the last days of summer by presenting this sunny episode of FSQ live from Charlie's Beach Club and Poolside Lounge in Santa Monica, California, and it is the penultimate of this 2023 pool season. Lots of 1980s new wave and boogie funk tunes pepper the program, selected for Charles' new 80s themed residency at LA's Breakroom 86 club, including jams by Eurythmics, Thompson Twins, Heaven 17, Cabaret Voltaire, George Clinton, and Kashif. Charles is absolutely enamored with a new and sonically diverse album by the mysterious German artist Erobique, and he features several cuts from it here. New music premieres this episode include fresh tunes by Duran Duran, David Holmes x Raven Violet, Skilaa, and Jake Shears x Hifi SeanTune into new broadcasts of FSQ, Thursday from 3 - 6 PM EST / 8 - 11 PM GMT.For more info visit: https://thefaceradio.com/fsq///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

"I approached and signed all of the first weird Warp acts." The Sheffield record producer and label cofounder discusses starting the UK label and the early days of bleep techno. Before Warp became the landmark label it is today, it was a Sheffield record store. Robert Gordon was an employee there in the early '80s, working alongside colleagues Steve Beckett and Rob Mitchell, with whom he'd start the label in 1989. Listeners familiar with the contemporary UK techno landscape may associate Warp with luminaries like Aphex Twin and other names associated with IDM and bleep techno. It also released a lot of artists who were recording in a Sheffield studio called FON, which is where Robert Gordon found his footing even before starting Warp. In this Exchange—conducted by DJ, producer, CDR founder and Resident Advisor board member Tony Nwachukwu—Gordon talks about FON and laying the groundwork for the Sheffield scene. In 1985, he recalls, it was the first local commercial 24-track studio and attracted luminaries like David Bowie, Yazz and groups tied to post-punk band Cabaret Voltaire. More recently, it's produced work by 808 State, Nightmares On Wax and Sweet Exorcist. Gordon also reflects on FON's early days. It was foundational to the sound of the '00s and formed a tight-knit community around itself that eventually became intrinsic to a bigger musical movement. Although Gordon left Warp in 1991, his A&Ring for the label—along with his own productions and engineering assistance—defined its sound. Listen to their conversation in full.

Episode 641: July 15, 2023 playlist: Water Damage, "Fuck That : Reel 13 (excerpt)" (2 Songs) 2023 12XU Belbury Poly, "The Wrong Spot" (The Path) 2023 Ghost Box Hyunhye Seo, "Eel I (Excerpt)" (Eel) 2023 Room40 Umeko Ando, "Iuta Upopo" (Upopo Sanke) 2023 Pingipung Alabaster DePlume, "Did You Know (feat. Momoko Gill)" (Come With Fierce Grace) 2023 International Anthem Cabaret Voltaire, "Soul Vine [70 Billion People]" (Plasticity) 1992 Plastex David Shea, "XY Suite" (Una Nota Solo) 2005 Metta Editions / 2023 Room40 Not Waving, "Never Let Me Go" (The Place I've Been Missing) 2023 Ecstatic Brontez Purnell, "Girl From Ghost Town" (No Jack Swing) 2023 Dark Entries lovesliescrushing, "below and above" (psalms) 2022 self-released Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Curiosity is one of the most endearing things that we have as children – the never ending barrage of “why?”. It's also one of the things, along with playfulness and adaptability, that can get kicked out of us as we get older. Stephen Mallinder is one of the most prolific, influential and pioneering DIY sound, art and writing radicals, from opening up new sound terrains with Cabaret Voltaire to making soundtracks, experimental filmography, forming DIY record labels, radio shows, festivals, solo stuff, remixes, collaborations such as the brilliant Wrangler, Ku-Ling Bros, getting himself a PhD, writing academic journals and now lecturing in Digital Music and Sound Arts at the Uni of Brighton. In a nutshell, he has constantly explored those unknown spaces where intense curiosity is not only possible but essential for constant development.https://www.heysunday.co/i-wanna-jump-like-dee-deeI Wanna Jump Like Dee Dee is the music podcast that does music interviews differently. Giles Sibbald talks to musicians, DJ's and producers about how they use an experimental mindset in every part of their lives.- brought to you by Hey Sunday, the mothership of the experimental mindset™- logo and art by Tide Adesanya, Coppie and Paste

Psychedelische Salons, Analytisches Kabarett, Performances – seit drei Jahren leitet Salome Hohl das «Cabaret Voltaire» in Zürich, die Geburtsstätte des Dadaismus. Inwiefern ihr eigenes Leben Dada ist und wie sich dies in Ton und Klang niederschlägt, verrät sie in «Musik für einen Gast». Vor 117 Jahren wurde von Kunstschaffenden im Zürcher Exil der Dadaismus erfunden. Ihr Treffpunkt war das Cabaret Voltaire im Niederdorf. Heute führt die Kunsthistorikerin Salome Hohl die Geschicke dieses geschichtsträchtigen Ortes. Wie die 38-jährige Ostschweizerin das Haus durch die Pandemie und einen langwierigen Umbau gesteuert hat und warum ihr die leibhaftige Debatte und der beseelte Diskurs am Herz liegen, darüber unterhält sich Salome Hohl im Gespräch mit Hannes Hug

In Blank Canvas: Art School Creativity From Punk to New Wave (Intellect Publishing, 2022), Simon Strange explores the relationship between art and music within education in the United Kingdom. Strange examines the diverse range of people who broke down the barriers between art, life, and the creative self. He looks at art school Britain in the 1960s and '70s, a hotbed of experimental DIY creativity that blurred the lines between art and music. Tracing lines from the Bauhaus “blank slate” through the white heat of the Velvet Underground and the cutting edge of the Slits, Blank Canvas draws on interviews with giants of the genre across the spectrums of music, gender, and race, from Brian Eno to Pauline Black, Cabaret Voltaire to Gaye Advert. What emerges is a portrait of the era as an eclectic range of musical styles and cultures fused, erupting into a diverse flow of outspoken originality. Providing a framework for creativity within the arts and education, the book illuminates a path for the cultural evolution of both musicians and artists hoping to create the future. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Wesley Doyle in conversation with David Eastaugh http://jawbonepress.com/conform-to-deform/ Along with Factory, Mute, and Creation, Some Bizzare was the vanguard of outsider music in the 1980s. The label's debut release reads like a who's who of electronic music, featuring early tracks from Soft Cell, Depeche Mode, Blancmange, and THE THE, while over the next decade its roster would include artists such as Marc Almond, Cabaret Voltaire, Einstürzende Neubauten, Foetus, Swans, Coil, and Psychic TV. For a time, Some Bizzare was the most exciting independent record label in the world, but the music is only half of the story. Self-styled label boss Stevo Pearce's unconventional dealings with the industry are legendary. Sometimes they were playful, other times less so; either way, he was a force to be reckoned with. His preternatural ability to spot talent meant his label was responsible for releasing some of the decade's most forward-thinking, transgressive, and influential music.

In Blank Canvas: Art School Creativity From Punk to New Wave (Intellect Publishing, 2022), Simon Strange explores the relationship between art and music within education in the United Kingdom. Strange examines the diverse range of people who broke down the barriers between art, life, and the creative self. He looks at art school Britain in the 1960s and '70s, a hotbed of experimental DIY creativity that blurred the lines between art and music. Tracing lines from the Bauhaus “blank slate” through the white heat of the Velvet Underground and the cutting edge of the Slits, Blank Canvas draws on interviews with giants of the genre across the spectrums of music, gender, and race, from Brian Eno to Pauline Black, Cabaret Voltaire to Gaye Advert. What emerges is a portrait of the era as an eclectic range of musical styles and cultures fused, erupting into a diverse flow of outspoken originality. Providing a framework for creativity within the arts and education, the book illuminates a path for the cultural evolution of both musicians and artists hoping to create the future. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Blank Canvas: Art School Creativity From Punk to New Wave (Intellect Publishing, 2022), Simon Strange explores the relationship between art and music within education in the United Kingdom. Strange examines the diverse range of people who broke down the barriers between art, life, and the creative self. He looks at art school Britain in the 1960s and '70s, a hotbed of experimental DIY creativity that blurred the lines between art and music. Tracing lines from the Bauhaus “blank slate” through the white heat of the Velvet Underground and the cutting edge of the Slits, Blank Canvas draws on interviews with giants of the genre across the spectrums of music, gender, and race, from Brian Eno to Pauline Black, Cabaret Voltaire to Gaye Advert. What emerges is a portrait of the era as an eclectic range of musical styles and cultures fused, erupting into a diverse flow of outspoken originality. Providing a framework for creativity within the arts and education, the book illuminates a path for the cultural evolution of both musicians and artists hoping to create the future. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In Blank Canvas: Art School Creativity From Punk to New Wave (Intellect Publishing, 2022), Simon Strange explores the relationship between art and music within education in the United Kingdom. Strange examines the diverse range of people who broke down the barriers between art, life, and the creative self. He looks at art school Britain in the 1960s and '70s, a hotbed of experimental DIY creativity that blurred the lines between art and music. Tracing lines from the Bauhaus “blank slate” through the white heat of the Velvet Underground and the cutting edge of the Slits, Blank Canvas draws on interviews with giants of the genre across the spectrums of music, gender, and race, from Brian Eno to Pauline Black, Cabaret Voltaire to Gaye Advert. What emerges is a portrait of the era as an eclectic range of musical styles and cultures fused, erupting into a diverse flow of outspoken originality. Providing a framework for creativity within the arts and education, the book illuminates a path for the cultural evolution of both musicians and artists hoping to create the future. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In keeping with tradition, we dive into the waters of field recordings for February and this time we discuss on of the classics of the genre - "Weather Report" by Chris Watson. Having spent time in Cabaret Voltaire and Hafler Trio, Waston set out on a lifelong journey recording in the field. "Weather Report" was his first compositional album in this style, and we get into every aspect of each track, from titles to location to possible sounds heard.

I Ya Toyah – “It’s No Good”, 2020. Orange Sector – “Behind the Glass”, 1999. Mareux – “Gopnik”, 2020. Cold Cave – “Confetti”, 2011. ZY_GOTE – “Pay for It with Your $oul”, 2018. RECON – “Left to Dream”, 2020. Das Ich – “Der Schrei (Laboratory X Remix)”, 1999. Sabotage Q.C.Q.C. – “Bin Ich”, 1998. Cabaret Voltaire – “Don’t Argue”, 1987. SPK – “Metall Field”, 1983. Actors – “Love U More”, 2021. Bella Morte – “Run Away”, 2018. The Cinematics – “Love and Terror”, 2018. Deserta – “Black Aura”, 2020. Website link: https://skullandcrossfades.com/you-love-me-like-you-re-waging-war

This week on Transmissions, a post-punk roundtable with Mark Stewart of The Pop Group, Stephen Mallinder of Cabaret Voltaire, Eric Random (The Buzzcocks, Nico). On Mark's latest album, VS, they team up for “Cast No Shadow,” which was made in response to the Simon Reynolds book Rip It Up and Start Again: Postpunk 1978–1984, and Nikolaos Katranis, Russell Craig Richardson, and Academy-award winner Leon Gast's forthcoming documentary of the same name.  How did post-punk hit their respective places? What role did regionalism play in the music's development? These three join us for a freewheeling hour of discussion and deconstruction—talking about the VU, German cosmic music, black magic, and more.  If you want to support Transmissions, check out Aquarium Drunkard's Patreon page. We're a part of the Talkhouse Podcast Network. Next week on the show, Craig Finn of the Hold Steady joins us to discuss his new record, A Legacy of Rentals, and his new podcast, That's How I Remember It. This Transmission is concluded. 

We had so much fun with What Was First last week that we just had to do one more!  Thanks to listener Nick Optus who wrote in to suggest we investigate the first release on the legendary Factory Records. There is a twist to the "first release" tale on this episode you won't want to miss, dear listener.  And oh yeah, the music. You'll hear from Joy Division, Durutti Column, John Dowie and Cabaret Voltaire from the "Factory Sample" double 7-inch. Hit play for your bite-size history lesson.  Subscribe to Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Twitter, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com