Podcasts about cockneys

This week we talk about how to play with AI to explain made up idioms. Consumption: St. Jimmy - Meander, Life, Cockneys vs Zombies, Alfred Hitchcock Presents season 2, Monk season 1 D'Viddy - Daredevil: Born Again Master Z - Codex Alera, Derry Girls, Black Mirror Music Provided By: Greg Gibbs / Most Guitars Are Made of Trees Dumbo Gets Mad / Plumy Tale The Clientele / Impossible

Send us a textIn part two of OTTL's celebration of 40 years of EastEnders, Mark, Lee and Mark H discuss some classic crossovers with Doctor Who....and Dimensions in Time. They take a trip to an emotionally charged Doctor Who exhibition with Bradley and Stacey in an episode of EastEnders from 15th February 2008. Then it's off to Albert Square with the Eleventh Doctor and Dermot O'Leary, before settling down for a pint in the Queen Vic with Lytton. Also: We choose which EastEnders stars we'd have liked to have played the Doctor and their companions, and Lee challenges the Marks to A Square Go.Support the showFollow us on TwitterLike us on FacebookBuy us a pint

Terrifying news from Australia this week, plus the laydown about cockneys, and some bad neighbourly chat. And keep an eye out for a bonus podcast – the full Pet Town SuperQuiz World Series campaign! Hear Johnny on Radio X every weekday at 4pm across the UK on digital radio, 104.9 FM in London, 97.7 FM in Manchester, on Global Player or via www.radiox.co.uk

Dave Dunning and Neil Patterson discuss the 3-0 win over Bournemouth and the 5-1 win over West Ham

The school year has started here in Colorado, so we're adjusting to life after summer break. Maybe it's a parents' break then? This week's movie, Cockneys vs Zombies, puts our two main characters in a real pickle. Their grandad's retirement home is about to be closed. They need cash to try to save it. So, what should they do? Assemble an Oceans 11-style crew of East End Dufuses (except for Katy, she seems pretty bright) to rob a bank. When their plan inevitably fails, they're just about to get nicked when...A GOD DAMNED ZOMBIE APOCALYPSE BREAKS OUT. Now they've really stepped in it. They've got to get way with the cash and save grandad and his friends from certain death. Oh yeah, Honor Blackman is in this. She was Pussy Galore in Goldfinger (1964). Cockneys vs Zombies final grade: Steve Another well done zombie flick. Interesting characters, good humor, and decent writing make this a movie well worth your time. Less-than-spectacular gore effects get then knocked down a peg. 4.13/5.0 Brandon This one hits in all the right places. It falls a bit short of Dead Snow, but still a well-done, entertaining horr-medy. Dialogue and sight-gags combine to make a good-quality flick that is easily re-watchable. Guns, guts, and a punted baby. What more could you ask for? 4.48/5 Cocktail of the Week: Bramble 2 oz Gin 1 oz Fresh Squeezed Lemon Juice A little squirty of simple syrup 1/2 oz Blackberry Liqueur Combine gin, lemon juice, and simple syrup in a cocktail shaker and shake to chill. Strain over ice in a rocks glass. Float blackberry liqueur on top to create two-tone effect. Cocktail Grade: Another pleasant spin on the "Liquor X/Sour" combination, of which we are a fan. We did add a little club soda on a subsequent round and that did seem to take it up a notch. Maybe berry liqueurs work better, for us, with a few bubbbles? 4.4/5 ------------------ Contact us with feedback or cocktail/movie recommendations to: boozeandbmovies@gmail.com X: @boozeandbmovies Instagram: @boozeandbmovies Threads: @boozeandbmovies www.facebook.com/boozeandbmovies --- Support this podcast: https://podcasters.spotify.com/pod/show/boozeandbmovies/support

Neil Linpow joins the show to talk about his film, “The Last Exit”. Neil talks of how he got into writing, British television and learning about the American phenomenon of Tubi. Watch Little Bone Lodge on Tubi! Films: Little Bone Lodge (2023), EastEnders (1985 TV Series), Cockneys vs Zombies (2012), Enter the Warriors Gate (2016), Blue Ruin (2013), Calm with Horses (2019), You Were Never Really Here (2017)  Hey, we're on YouTube!  Listening on an iPhone? Don't forget to rate us on iTunes!   Fill our fe-mailbag by emailing us at OverlookHour@gmail.com   Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)

Welcome to a special episode, in which I seek out east London's vanishing wartime voices.From my experience cockneys aren't a dying breed, they are alive and flourishing, part of the cockney diaspora of Essex, Suffolk, Kent and even as far afield as Australia.What is in danger of disappearing are the vanishing voices of wartime East London. Go to East London today and you will hear a myriad of accents, transformed as it is by immigration and gentrification. What you will struggle to hear are the voices that were heard in the shelters, pubs, markets and factories of wartime London. Even less likely, the beautiful lyrical songs, like the one which starts this special episode by east ender Dot Smee who sung in the shelters during the Blitz to drown out the sound of the bombs. Or poetry written and recited by Whitechapel seamstress, Sally Flood to express her frustration at the monotony of wartime work.This episode features three enterprising east enders who, like Dot, didn't just survive during the Second World War, but thrive. Their unique and beautiful voices, songs, poems and memories offer a fascinating glimpse into the kind of people wartime east Londoners are and the war that shaped them. For more true stories from East London, why not check out my only non-fiction book on the wartime matriarchy, The Stepney Doorstep Society.

Whiteboy drops some knowledge on happiness, Harry Kane can't say ‘Skechers', Jamesy has some interesting linguistical predictions and Whiteboy has a much better looking younger brother.    Subscribe to the L17 YouTube channel to watch the full episode @wearel17  Follow us on Instagram & TikTok @thatjoshjamesshow 

GRAB YOUR CITYSTACK!  Coming soon to a town near you. In the meantime: the best present for friends, family and loved ones living in and around London!!! CityStack Website We #supportourpubs - you can do it too - https://campaignforpubs.org.uk/https://campaignforpubs.org.uk/ This time, joined by new co-host to the team Alison, founder and CEO of CityStack and official partner for this episode, we were lucky enough to finally podcast in person at The Bow Bells, East London. In this episode we have our usual features such as pub of the month and 'pub news' and we were lucky to be joined by The Bow Bells landlord Dean, where we talked about the long family history of this pub, how ghosts are freaking people out in the women's toilet and what is and is not considered a 'proper boozer' in the East End. Social Media- Twitter - Instagram - Patreon - CityStack Instagram - The Bow Bells Instagram

Take car. Go to Mum's. Pop on Cockneys vs Zombies, go to the Winchester, have a nice cold pint with the lads, and wait for all of this to blow over. How's that for a slice of fried gold?"London ain't big enough for the both of 'em.A gang of bank robbers fight their way out of a zombie-infested London.The undead are brown bread!"

This month's movie is the 2012 "Cockneys vs Zombies" an East End/Shaun of the Dead/Bank Heist comedy mashup starring Alan Ford, Matthias Hoene, Rasmus Hardiker. With some of the craziest kill scenes of any zombie movie, lots of heart, and a dash of social commentary, we had great fun watching this one! Join us to hear the best bits, the funniest lines, and if it taught us anything about how to survive (or not) a zombie apocalypse.

In this episode, Pake and Daphne discuss Cockneys vs. Zombies, directed by Matthias Hoene and released on August 2, 2013.   Website: http://www.runforyourlivespodcast.comEmail:  runforyourlivespodcast@gmail.comFacebook:  https://www.facebook.com/runforyourlivespodcastTwitter: https://www.twitter.com/rfylpodcastInstagram:  https://www.instagram.com/runforyourlivespodcastYoutube:  https://www.youtube.com/@runforyourlivespodcastRFYL Spotify Music Playlist:  https://open.spotify.com/playlist/71Bsx083ldVuGwSgJKKEwr?si=0yB3Zq4iTeaMU_cBk6yAlw

Ray, Bernard and Mike discuss tearing Cockneys apart....again! And so much more!

Episode 159 of A History of Rock Music in Five Hundred Songs looks at “Itchycoo Park” by the Small Faces, and their transition from Mod to psychedelia. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "The First Cut is the Deepest" by P.P. Arnold. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one and part two. I've used quite a few books in this episode. The Small Faces & Other Stories by Uli Twelker and Roland Schmit is definitely a fan-work with all that that implies, but has some useful quotes. Two books claim to be the authorised biography of Steve Marriott, and I've referred to both -- All Too Beautiful by Paolo Hewitt and John Hellier, and All Or Nothing by Simon Spence. Spence also wrote an excellent book on Immediate Records, which I referred to. Kenney Jones and Ian McLagan both wrote very readable autobiographies. I've also used Andrew Loog Oldham's autobiography Stoned, co-written by Spence, though be warned that it casually uses slurs. P.P. Arnold's autobiography is a sometimes distressing read covering her whole life, including her time at Immediate. There are many, many, collections of the Small Faces' work, ranging from cheap budget CDs full of outtakes to hundred-pound-plus box sets, also full of outtakes. This three-CD budget collection contains all the essential tracks, and is endorsed by Kenney Jones, the band's one surviving member. And if you're intrigued by the section on Immediate Records, this two-CD set contains a good selection of their releases. ERRATUM-ISH: I say Jimmy Winston was “a couple” of years older than the rest of the band. This does not mean exactly two, but is used in the vague vernacular sense equivalent to “a few”. Different sources I've seen put Winston as either two or four years older than his bandmates, though two seems to be the most commonly cited figure. Transcript For once there is little to warn about in this episode, but it does contain some mild discussions of organised crime, arson, and mental illness, and a quoted joke about capital punishment in questionable taste which may upset some. One name that came up time and again when we looked at the very early years of British rock and roll was Lionel Bart. If you don't remember the name, he was a left-wing Bohemian songwriter who lived in a communal house-share which at various times was also inhabited by people like Shirley Eaton, the woman who is painted gold at the beginning of Goldfinger, Mike Pratt, the star of Randall and Hopkirk (Deceased), and Davey Graham, the most influential and innovative British guitarist of the fifties and early sixties. Bart and Pratt had co-written most of the hits of Britain's first real rock and roll star, Tommy Steele: [Excerpt: Tommy Steele, "Rock with the Caveman"] and then Bart had gone solo as a writer, and written hits like "Living Doll" for Britain's *biggest* rock and roll star, Cliff Richard: [Excerpt: Cliff Richard, "Living Doll"] But Bart's biggest contribution to rock music turned out not to be the songs he wrote for rock and roll stars, and not even his talent-spotting -- it was Bart who got Steele signed by Larry Parnes, and he also pointed Parnes in the direction of another of his biggest stars, Marty Wilde -- but the opportunity he gave to a lot of child stars in a very non-rock context. Bart's musical Oliver!, inspired by the novel Oliver Twist, was the biggest sensation on the West End stage in the early 1960s, breaking records for the longest-running musical, and also transferred to Broadway and later became an extremely successful film. As it happened, while Oliver! was extraordinarily lucrative, Bart didn't see much of the money from it -- he sold the rights to it, and his other musicals, to the comedian Max Bygraves in the mid-sixties for a tiny sum in order to finance a couple of other musicals, which then flopped horribly and bankrupted him. But by that time Oliver! had already been the first big break for three people who went on to major careers in music -- all of them playing the same role. Because many of the major roles in Oliver! were for young boys, the cast had to change frequently -- child labour laws meant that multiple kids had to play the same role in different performances, and people quickly grew out of the roles as teenagerhood hit. We've already heard about the career of one of the people who played the Artful Dodger in the original West End production -- Davy Jones, who transferred in the role to Broadway in 1963, and who we'll be seeing again in a few episodes' time -- and it's very likely that another of the people who played the Artful Dodger in that production, a young lad called Philip Collins, will be coming into the story in a few years' time. But the first of the artists to use the Artful Dodger as a springboard to a music career was the one who appeared in the role on the original cast album of 1960, though there's very little in that recording to suggest the sound of his later records: [Excerpt: Steve Marriott, "Consider Yourself"] Steve Marriott is the second little Stevie we've looked at in recent episodes to have been born prematurely. In his case, he was born a month premature, and jaundiced, and had to spend the first month of his life in hospital, the first few days of which were spent unsure if he was going to survive. Thankfully he did, but he was a bit of a sickly child as a result, and remained stick-thin and short into adulthood -- he never grew to be taller than five foot five. Young Steve loved music, and especially the music of Buddy Holly. He also loved skiffle, and managed to find out where Lonnie Donegan lived. He went round and knocked on Donegan's door, but was very disappointed to discover that his idol was just a normal man, with his hair uncombed and a shirt stained with egg yolk. He started playing the ukulele when he was ten, and graduated to guitar when he was twelve, forming a band which performed under a variety of different names. When on stage with them, he would go by the stage name Buddy Marriott, and would wear a pair of horn-rimmed glasses to look more like Buddy Holly. When he was twelve, his mother took him to an audition for Oliver! The show had been running for three months at the time, and was likely to run longer, and child labour laws meant that they had to have replacements for some of the cast -- every three months, any performing child had to have at least ten days off. At his audition, Steve played his guitar and sang "Who's Sorry Now?", the recent Connie Francis hit: [Excerpt: Connie Francis, "Who's Sorry Now?"] And then, ignoring the rule that performers could only do one song, immediately launched into Buddy Holly's "Oh Boy!" [Excerpt: Buddy Holly, "Oh Boy!"] His musical ability and attitude impressed the show's producers, and he was given a job which suited him perfectly -- rather than being cast in a single role, he would be swapped around, playing different small parts, in the chorus, and occasionally taking the larger role of the Artful Dodger. Steve Marriott was never able to do the same thing over and over, and got bored very quickly, but because he was moving between roles, he was able to keep interested in his performances for almost a year, and he was good enough that it was him chosen to sing the Dodger's role on the cast album when that was recorded: [Excerpt: Steve Marriott and Joyce Blair, "I'd Do Anything"] And he enjoyed performance enough that his parents pushed him to become an actor -- though there were other reasons for that, too. He was never the best-behaved child in the world, nor the most attentive student, and things came to a head when, shortly after leaving the Oliver! cast, he got so bored of his art classes he devised a plan to get out of them forever. Every art class, for several weeks, he'd sit in a different desk at the back of the classroom and stuff torn-up bits of paper under the floorboards. After a couple of months of this he then dropped a lit match in, which set fire to the paper and ended up burning down half the school. His schoolfriend Ken Hawes talked about it many decades later, saying "I suppose in a way I was impressed about how he had meticulously planned the whole thing months in advance, the sheer dogged determination to see it through. He could quite easily have been caught and would have had to face the consequences. There was no danger in anybody getting hurt because we were at the back of the room. We had to be at the back otherwise somebody would have noticed what he was doing. There was no malice against other pupils, he just wanted to burn the damn school down." Nobody could prove it was him who had done it, though his parents at least had a pretty good idea who it was, but it was clear that even when the school was rebuilt it wasn't a good idea to send him back there, so they sent him to the Italia Conti Drama School; the same school that Anthony Newley and Petula Clark, among many others, had attended. Marriott's parents couldn't afford the school's fees, but Marriott was so talented that the school waived the fees -- they said they'd get him work, and take a cut of his wages in lieu of the fees. And over the next few years they did get him a lot of work. Much of that work was for TV shows, which like almost all TV of the time no longer exist -- he was in an episode of the Sid James sitcom Citizen James, an episode of Mr. Pastry's Progress, an episode of the police drama Dixon of Dock Green, and an episode of a series based on the Just William books, none of which survive. He also did a voiceover for a carpet cleaner ad, appeared on the radio soap opera Mrs Dale's Diary playing a pop star, and had a regular spot reading listeners' letters out for the agony aunt Marje Proops on her radio show. Almost all of this early acting work wa s utterly ephemeral, but there are a handful of his performances that do survive, mostly in films. He has a small role in the comedy film Heavens Above!, a mistaken-identity comedy in which a radical left-wing priest played by Peter Sellers is given a parish intended for a more conservative priest of the same name, and upsets the well-off people of the parish by taking in a large family of travellers and appointing a Black man as his churchwarden. The film has some dated attitudes, in the way that things that were trying to be progressive and antiracist sixty years ago invariably do, but has a sparkling cast, with Sellers, Eric Sykes, William Hartnell, Brock Peters, Roy Kinnear, Irene Handl, and many more extremely recognisable faces from the period: [Excerpt: Heavens Above!] Marriott apparently enjoyed working on the film immensely, as he was a fan of the Goon Show, which Sellers had starred in and which Sykes had co-written several episodes of. There are reports of Marriott and Sellers jamming together on banjos during breaks in filming, though these are probably *slightly* inaccurate -- Sellers played the banjolele, a banjo-style instrument which is played like a ukulele. As Marriott had started on ukulele before switching to guitar, it was probably these they were playing, rather than banjoes. He also appeared in a more substantial role in a film called Live It Up!, a pop exploitation film starring David Hemmings in which he appears as a member of a pop group. Oddly, Marriott plays a drummer, even though he wasn't a drummer, while two people who *would* find fame as drummers, Mitch Mitchell and Dave Clark, appear in smaller, non-drumming, roles. He doesn't perform on the soundtrack, which is produced by Joe Meek and features Sounds Incorporated, The Outlaws, and Gene Vincent, but he does mime playing behind Heinz Burt, the former bass player of the Tornadoes who was then trying for solo stardom at Meek's instigation: [Excerpt: Heinz Burt, "Don't You Understand"] That film was successful enough that two years later, in 1965 Marriott came back for a sequel, Be My Guest, with The Niteshades, the Nashville Teens, and Jerry Lee Lewis, this time with music produced by Shel Talmy rather than Meek. But that was something of a one-off. After making Live It Up!, Marriott had largely retired from acting, because he was trying to become a pop star. The break finally came when he got an audition at the National Theatre, for a job touring with Laurence Olivier for a year. He came home and told his parents he hadn't got the job, but then a week later they were bemused by a phone call asking why Steve hadn't turned up for rehearsals. He *had* got the job, but he'd decided he couldn't face a year of doing the same thing over and over, and had pretended he hadn't. By this time he'd already released his first record. The work on Oliver! had got him a contract with Decca Records, and he'd recorded a Buddy Holly knock-off, "Give Her My Regards", written for him by Kenny Lynch, the actor, pop star, and all-round entertainer: [Excerpt: Steve Marriott, "Give Her My Regards"] That record wasn't a hit, but Marriott wasn't put off. He formed a band who were at first called the Moonlights, and then the Frantiks, and they got a management deal with Tony Calder, Andrew Oldham's junior partner in his management company. Calder got former Shadow Tony Meehan to produce a demo for the group, a version of Cliff Richard's hit "Move It", which was shopped round the record labels with no success (and which sadly appears no longer to survive). The group also did some recordings with Joe Meek, which also don't circulate, but which may exist in the famous "Teachest Tapes" which are slowly being prepared for archival releases. The group changed their name to the Moments, and added in the guitarist John Weider, who was one of those people who seem to have been in every band ever either just before or just after they became famous -- at various times he was in Johnny Kidd and the Pirates, John Mayall's Bluesbreakers, Family, Eric Burdon and the Animals, and the band that became Crabby Appleton, but never in their most successful lineups. They continued recording unsuccessful demos, of which a small number have turned up: [Excerpt: Steve Marriott and the Moments, "Good Morning Blues"] One of their demo sessions was produced by Andrew Oldham, and while that session didn't lead to a release, it did lead to Oldham booking Marriott as a session harmonica player for one of his "Andrew Oldham Orchestra" sessions, to play on a track titled "365 Rolling Stones (One For Every Day of the Year)": [Excerpt: The Andrew Oldham Orchestra, "365 Rolling Stones (One For Every Day of the Year)"] Oldham also produced a session for what was meant to be Marriott's second solo single on Decca, a cover version of the Rolling Stones' "Tell Me", which was actually scheduled for release but pulled at the last minute. Like many of Marriott's recordings from this period, if it exists, it doesn't seem to circulate publicly. But despite their lack of recording success, the Moments did manage to have a surprising level of success on the live circuit. Because they were signed to Calder and Oldham's management company, they got a contract with the Arthur Howes booking agency, which got them support slots on package tours with Billy J Kramer, Freddie and the Dreamers, the Kinks, and other major acts, and the band members were earning about thirty pounds a week each -- a very, very good living for the time. They even had a fanzine devoted to them, written by a fan named Stuart Tuck. But as they weren't making records, the band's lineup started changing, with members coming and going. They did manage to get one record released -- a soundalike version of the Kinks' "You Really Got Me", recorded for a budget label who rushed it out, hoping to get it picked up in the US and for it to be the hit version there: [Excerpt: The Moments, "You Really Got Me"] But the month after that was released, Marriott was sacked from the band, apparently in part because the band were starting to get billed as Steve Marriott and the Moments rather than just The Moments, and the rest of them didn't want to be anyone's backing band. He got a job at a music shop while looking around for other bands to perform with. At one point around this time he was going to form a duo with a friend of his, Davy Jones -- not the one who had also appeared in Oliver!, but another singer of the same name. This one sang with a blues band called the Mannish Boys, and both men were well known on the Mod scene in London. Marriott's idea was that they call themselves David and Goliath, with Jones being David, and Marriott being Goliath because he was only five foot five. That could have been a great band, but it never got past the idea stage. Marriott had become friendly with another part-time musician and shop worker called Ronnie Lane, who was in a band called the Outcasts who played the same circuit as the Moments: [Excerpt: The Outcasts, "Before You Accuse Me"] Lane worked in a sound equipment shop and Marriott in a musical instrument shop, and both were customers of the other as well as friends -- at least until Marriott came into the shop where Lane worked and tried to persuade him to let Marriott have a free PA system. Lane pretended to go along with it as a joke, and got sacked. Lane had then gone to the shop where Marriott worked in the hope that Marriott would give him a good deal on a guitar because he'd been sacked because of Marriott. Instead, Marriott persuaded him that he should switch to bass, on the grounds that everyone was playing guitar since the Beatles had come along, but a bass player would always be able to find work. Lane bought the bass. Shortly after that, Marriott came to an Outcasts gig in a pub, and was asked to sit in. He enjoyed playing with Lane and the group's drummer Kenney Jones, but got so drunk he smashed up the pub's piano while playing a Jerry Lee Lewis song. The resulting fallout led to the group being barred from the pub and splitting up, so Marriott, Lane, and Jones decided to form their own group. They got in another guitarist Marriott knew, a man named Jimmy Winston who was a couple of years older than them, and who had two advantages -- he was a known Face on the mod scene, with a higher status than any of the other three, and his brother owned a van and would drive the group and their equipment for ten percent of their earnings. There was a slight problem in that Winston was also as good on guitar as Marriott and looked like he might want to be the star, but Marriott neutralised that threat -- he moved Winston over to keyboards. The fact that Winston couldn't play keyboards didn't matter -- he could be taught a couple of riffs and licks, and he was sure to pick up the rest. And this way the group had the same lineup as one of Marriott's current favourites, Booker T and the MGs. While he was still a Buddy Holly fan, he was now, like the rest of the Mods, an R&B obsessive. Marriott wasn't entirely sure that this new group would be the one that would make him a star though, and was still looking for other alternatives in case it didn't play out. He auditioned for another band, the Lower Third, which counted Stuart Tuck, the writer of the Moments fanzine, among its members. But he was unsuccessful in the audition -- instead his friend Davy Jones, the one who he'd been thinking of forming a duo with, got the job: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] A few months after that, Davy Jones and the Lower Third changed their name to David Bowie and the Lower Third, and we'll be picking up that story in a little over a year from now... Marriott, Lane, Jones, and Winston kept rehearsing and pulled together a five-song set, which was just about long enough to play a few shows, if they extended the songs with long jamming instrumental sections. The opening song for these early sets was one which, when they recorded it, would be credited to Marriott and Lane -- the two had struck up a writing partnership and agreed to a Lennon/McCartney style credit split, though in these early days Marriott was doing far more of the writing than Lane was. But "You Need Loving" was... heavily inspired... by "You Need Love", a song Willie Dixon had written for Muddy Waters: [Excerpt: Muddy Waters, "You Need Love"] It's not precisely the same song, but you can definitely hear the influence in the Marriott/Lane song: [Excerpt: The Small Faces, "You Need Loving"] They did make some changes though, notably to the end of the song: [Excerpt: The Small Faces, "You Need Loving"] You will be unsurprised to learn that Robert Plant was a fan of Steve Marriott. The new group were initially without a name, until after one of their first gigs, Winston's girlfriend, who hadn't met the other three before, said "You've all got such small faces!" The name stuck, because it had a double meaning -- as we've seen in the episode on "My Generation", "Face" was Mod slang for someone who was cool and respected on the Mod scene, but also, with the exception of Winston, who was average size, the other three members of the group were very short -- the tallest of the three was Ronnie Lane, who was five foot six. One thing I should note about the group's name, by the way -- on all the labels of their records in the UK while they were together, they were credited as "Small Faces", with no "The" in front, but all the band members referred to the group in interviews as "The Small Faces", and they've been credited that way on some reissues and foreign-market records. The group's official website is thesmallfaces.com but all the posts on the website refer to them as "Small Faces" with no "the". The use  of the word "the" or not at the start of a group's name at this time was something of a shibboleth -- for example both The Buffalo Springfield and The Pink Floyd dropped theirs after their early records -- and its status in this case is a strange one. I'll be referring to the group throughout as "The Small Faces" rather than "Small Faces" because the former is easier to say, but both seem accurate. After a few pub gigs in London, they got some bookings in the North of England, where they got a mixed reception -- they went down well at Peter Stringfellow's Mojo Club in Sheffield, where Joe Cocker was a regular performer, less well at a working-man's club, and reports differ about their performance at the Twisted Wheel in Manchester, though one thing everyone is agreed on is that while they were performing, some Mancunians borrowed their van and used it to rob a clothing warehouse, and gave the band members some very nice leather coats as a reward for their loan of the van. It was only on the group's return to London that they really started to gel as a unit. In particular, Kenney Jones had up to that point been a very stiff, precise, drummer, but he suddenly loosened up and, in Steve Marriott's tasteless phrase, "Every number swung like Hanratty" (James Hanratty was one of the last people in Britain to be executed by hanging). Shortly after that, Don Arden's secretary -- whose name I haven't been able to find in any of the sources I've used for this episode, sadly, came into the club where they were rehearsing, the Starlight Rooms, to pass a message from Arden to an associate of his who owned the club. The secretary had seen Marriott perform before -- he would occasionally get up on stage at the Starlight Rooms to duet with Elkie Brooks, who was a regular performer there, and she'd seen him do that -- but was newly impressed by his group, and passed word on to her boss that this was a group he should investigate. Arden is someone who we'll be looking at a lot in future episodes, but the important thing to note right now is that he was a failed entertainer who had moved into management and promotion, first with American acts like Gene Vincent, and then with British acts like the Nashville Teens, who had had hits with tracks like "Tobacco Road": [Excerpt: The Nashville Teens, "Tobacco Road"] Arden was also something of a gangster -- as many people in the music industry were at the time, but he was worse than most of his contemporaries, and delighted in his nickname "the Al Capone of pop". The group had a few managers looking to sign them, but Arden convinced them with his offer. They would get a percentage of their earnings -- though they never actually received that percentage -- twenty pounds a week in wages, and, the most tempting part of it all, they would get expense accounts at all the Carnaby St boutiques and could go there whenever they wanted and get whatever they wanted. They signed with Arden, which all of them except Marriott would later regret, because Arden's financial exploitation meant that it would be decades before they saw any money from their hits, and indeed both Marriott and Lane would be dead before they started getting royalties from their old records. Marriott, on the other hand, had enough experience of the industry to credit Arden with the group getting anywhere at all, and said later "Look, you go into it with your eyes open and as far as I was concerned it was better than living on brown sauce rolls. At least we had twenty quid a week guaranteed." Arden got the group signed to Decca, with Dick Rowe signing them to the same kind of production deal that Andrew Oldham had pioneered with the Stones, so that Arden would own the rights to their recordings. At this point the group still only knew a handful of songs, but Rowe was signing almost everyone with a guitar at this point, putting out a record or two and letting them sink or swim. He had already been firmly labelled as "the man who turned down the Beatles", and was now of the opinion that it was better to give everyone a chance than to make that kind of expensive mistake again. By this point Marriott and Lane were starting to write songs together -- though at this point it was still mostly Marriott writing, and people would ask him why he was giving Lane half the credit, and he'd reply "Without Ronnie's help keeping me awake and being there I wouldn't do half of it. He keeps me going." -- but for their first single Arden was unsure that they were up to the task of writing a hit. The group had been performing a version of Solomon Burke's "Everybody Needs Somebody to Love", a song which Burke always claimed to have written alone, but which is credited to him, Jerry Wexler, and Bert Berns (and has Bern's fingerprints, at least, on it to my ears): [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"] Arden got some professional writers to write new lyrics and vocal melody to their arrangement of the song -- the people he hired were Brian Potter, who would later go on to co-write "Rhinestone Cowboy", and Ian Samwell, the former member of Cliff Richard's Drifters who had written many of Richard's early hits, including "Move It", and was now working for Arden. The group went into the studio and recorded the song, titled "Whatcha Gonna Do About It?": [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] That version, though was deemed too raucous, and they had to go back into the studio to cut a new version, which came out as their first single: [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] At first the single didn't do much on the charts, but then Arden got to work with teams of people buying copies from chart return shops, bribing DJs on pirate radio stations to play it, and bribing the person who compiled the charts for the NME. Eventually it made number fourteen, at which point it became a genuinely popular hit. But with that popularity came problems. In particular, Steve Marriott was starting to get seriously annoyed by Jimmy Winston. As the group started to get TV appearances, Winston started to act like he should be the centre of attention. Every time Marriott took a solo in front of TV cameras, Winston would start making stupid gestures, pulling faces, anything to make sure the cameras focussed on him rather than on Marriott. Which wouldn't have been too bad had Winston been a great musician, but he was still not very good on the keyboards, and unlike the others didn't seem particularly interested in trying. He seemed to want to be a star, rather than a musician. The group's next planned single was a Marriott and Lane song, "I've Got Mine". To promote it, the group mimed to it in a film, Dateline Diamonds, a combination pop film and crime caper not a million miles away from the ones that Marriott had appeared in a few years earlier. They also contributed three other songs to the film's soundtrack. Unfortunately, the film's release was delayed, and the film had been the big promotional push that Arden had planned for the single, and without that it didn't chart at all. By the time the single came out, though, Winston was no longer in the group. There are many, many different stories as to why he was kicked out. Depending on who you ask, it was because he was trying to take the spotlight away from Marriott, because he wasn't a good enough keyboard player, because he was taller than the others and looked out of place, or because he asked Don Arden where the money was. It was probably a combination of all of these, but fundamentally what it came to was that Winston just didn't fit into the group. Winston would, in later years, say that him confronting Arden was the only reason for his dismissal, saying that Arden had manipulated the others to get him out of the way, but that seems unlikely on the face of it. When Arden sacked him, he kept Winston on as a client and built another band around him, Jimmy Winston and the Reflections, and got them signed to Decca too, releasing a Kenny Lynch song, "Sorry She's Mine", to no success: [Excerpt: Jimmy Winston and the Reflections, "Sorry She's Mine"] Another version of that song would later be included on the first Small Faces album. Winston would then form another band, Winston's Fumbs, who would also release one single, before he went into acting instead. His most notable credit was as a rebel in the 1972 Doctor Who story Day of the Daleks, and he later retired from showbusiness to run a business renting out sound equipment, and died in 2020. The group hired his replacement without ever having met him or heard him play. Ian McLagan had started out as the rhythm guitarist in a Shadows soundalike band called the Cherokees, but the group had become R&B fans and renamed themselves the Muleskinners, and then after hearing "Green Onions", McLagan had switched to playing Hammond organ. The Muleskinners had played the same R&B circuit as dozens of other bands we've looked at, and had similar experiences, including backing visiting blues stars like Sonny Boy Williamson, Little Walter, and Howlin' Wolf. Their one single had been a cover version of "Back Door Man", a song Willie Dixon had written for Wolf: [Excerpt: The Muleskinners, "Back Door Man"] The Muleskinners had split up as most of the group had day jobs, and McLagan had gone on to join a group called Boz and the Boz People, who were becoming popular on the live circuit, and who also toured backing Kenny Lynch while McLagan was in the band. Boz and the Boz People would release several singles in 1966, like their version of the theme for the film "Carry on Screaming", released just as by "Boz": [Excerpt: Boz, "Carry on Screaming"] By that time, McLagan had left the group -- Boz Burrell later went on to join King Crimson and Bad Company. McLagan left the Boz People in something of a strop, and was complaining to a friend the night he left the group that he didn't have any work lined up. The friend joked that he should join the Small Faces, because he looked like them, and McLagan got annoyed that his friend wasn't taking him seriously -- he'd love to be in the Small Faces, but they *had* a keyboard player. The next day he got a phone call from Don Arden asking him to come to his office. He was being hired to join a hit pop group who needed a new keyboard player. McLagan at first wasn't allowed to tell anyone what band he was joining -- in part because Arden's secretary was dating Winston, and Winston hadn't yet been informed he was fired, and Arden didn't want word leaking out until it had been sorted. But he'd been chosen purely on the basis of an article in a music magazine which had praised his playing with the Boz People, and without the band knowing him or his playing. As soon as they met, though, he immediately fit in in a way Winston never had. He looked the part, right down to his height -- he said later "Ronnie Lane and I were the giants in the band at 5 ft 6 ins, and Kenney Jones and Steve Marriott were the really teeny tiny chaps at 5 ft 5 1/2 ins" -- and he was a great player, and shared a sense of humour with them. McLagan had told Arden he'd been earning twenty pounds a week with the Boz People -- he'd actually been on five -- and so Arden agreed to give him thirty pounds a week during his probationary month, which was more than the twenty the rest of the band were getting. As soon as his probationary period was over, McLagan insisted on getting a pay cut so he'd be on the same wages as the rest of the group. Soon Marriott, Lane, and McLagan were all living in a house rented for them by Arden -- Jones decided to stay living with his parents -- and were in the studio recording their next single. Arden was convinced that the mistake with "I've Got Mine" had been allowing the group to record an original, and again called in a team of professional songwriters. Arden brought in Mort Shuman, who had recently ended his writing partnership with Doc Pomus and struck out on his own, after co-writing songs like "Save the Last Dance for Me", "Sweets For My Sweet", and "Viva Las Vegas" together, and Kenny Lynch, and the two of them wrote "Sha-La-La-La-Lee", and Lynch added backing vocals to the record: [Excerpt: The Small Faces, "Sha-La-La-La-Lee"] None of the group were happy with the record, but it became a big hit, reaching number three in the charts. Suddenly the group had a huge fanbase of screaming teenage girls, which embarrassed them terribly, as they thought of themselves as serious heavy R&B musicians, and the rest of their career would largely be spent vacillating between trying to appeal to their teenybopper fanbase and trying to escape from it to fit their own self-image. They followed "Sha-La-La-La-Lee" with "Hey Girl", a Marriott/Lane song, but one written to order -- they were under strict instructions from Arden that if they wanted to have the A-side of a single, they had to write something as commercial as "Sha-La-La-La-Lee" had been, and they managed to come up with a second top-ten hit. Two hit singles in a row was enough to make an album viable, and the group went into the studio and quickly cut an album, which had their first two hits on it -- "Hey Girl" wasn't included, and nor was the flop "I've Got Mine" -- plus a bunch of semi-originals like "You Need Loving", a couple of Kenny Lynch songs, and a cover version of Sam Cooke's "Shake". The album went to number three on the album charts, with the Beatles and the Rolling Stones in the number one and two spots, and it was at this point that Arden's rivals really started taking interest. But that interest was quelled for the moment when, after Robert Stigwood enquired about managing the band, Arden went round to Stigwood's office with four goons and held him upside down over a balcony, threatening to drop him off if he ever messed with any of Arden's acts again. But the group were still being influenced by other managers. In particular, Brian Epstein came round to the group's shared house, with Graeme Edge of the Moody Blues, and brought them some slices of orange -- which they discovered, after eating them, had been dosed with LSD. By all accounts, Marriott's first trip was a bad one, but the group soon became regular consumers of the drug, and it influenced the heavier direction they took on their next single, "All or Nothing". "All or Nothing" was inspired both by Marriott's breakup with his girlfriend of the time, and his delight at the fact that Jenny Rylance, a woman he was attracted to, had split up with her then-boyfriend Rod Stewart. Rylance and Stewart later reconciled, but would break up again and Rylance would become Marriott's first wife in 1968: [Excerpt: The Small Faces, "All or Nothing"] "All or Nothing" became the group's first and only number one record -- and according to the version of the charts used on Top of the Pops, it was a joint number one with the Beatles' double A-side of "Yellow Submarine" and "Eleanor Rigby", both selling exactly as well as each other. But this success caused the group's parents to start to wonder why their kids -- none of whom were yet twenty-one, the legal age of majority at the time -- were not rich. While the group were on tour, their parents came as a group to visit Arden and ask him where the money was, and why their kids were only getting paid twenty pounds a week when their group was getting a thousand pounds a night. Arden tried to convince the parents that he had been paying the group properly, but that they had spent their money on heroin -- which was very far from the truth, the band were only using soft drugs at the time. This put a huge strain on the group's relationship with Arden, and it wasn't the only thing Arden did that upset them. They had been spending a lot of time in the studio working on new material, and Arden was convinced that they were spending too much time recording, and that they were just faffing around and not producing anything of substance. They dropped off a tape to show him that they had been working -- and the next thing they knew, Arden had put out one of the tracks from that tape, "My Mind's Eye", which had only been intended as a demo, as a single: [Excerpt: The Small Faces, "My Mind's Eye"] That it went to number four on the charts didn't make up for the fact that the first the band heard of the record coming out at all was when they heard it on the radio. They needed rid of Arden. Luckily for them, Arden wasn't keen on continuing to work with them either. They were unreliable and flakey, and he also needed cash quick to fund his other ventures, and he agreed to sell on their management and recording contracts. Depending on which version of the story you believe, he may have sold them on to an agent called Harold Davison, who then sold them on to Andrew Oldham and Tony Calder, but according to Oldham what happened is that in December 1966 Arden demanded the highest advance in British history -- twenty-five thousand pounds -- directly from Oldham. In cash. In a brown paper bag. The reason Oldham and Calder were interested was that in July 1965 they'd started up their own record label, Immediate Records, which had been announced by Oldham in his column in Disc and Music Echo, in which he'd said "On many occasions I have run down the large record companies over issues such as pirate stations, their promotion, and their tastes. And many readers have written in and said that if I was so disturbed by the state of the existing record companies why didn't I do something about it.  I have! On the twentieth of this month the first of three records released by my own company, Immediate Records, is to be launched." That first batch of three records contained one big hit, "Hang on Sloopy" by the McCoys, which Immediate licensed from Bert Berns' new record label BANG in the US: [Excerpt: The McCoys, "Hang on Sloopy"] The two other initial singles featured the talents of Immediate's new in-house producer, a session player who had previously been known as "Little Jimmy" to distinguish him from "Big" Jim Sullivan, the other most in-demand session guitarist, but who was now just known as Jimmy Page. The first was a version of Pete Seeger's "The Bells of Rhymney", which Page produced and played guitar on, for a group called The Fifth Avenue: [Excerpt: The Fifth Avenue, "The Bells of Rhymney"] And the second was a Gordon Lightfoot song performed by a girlfriend of Brian Jones', Nico. The details as to who was involved in the track have varied -- at different times the production has been credited to Jones, Page, and Oldham -- but it seems to be the case that both Jones and Page play on the track, as did session bass player John Paul Jones: [Excerpt: Nico, "I'm Not Sayin'"] While "Hang on Sloopy" was a big hit, the other two singles were flops, and The Fifth Avenue split up, while Nico used the publicity she'd got as an entree into Andy Warhol's Factory, and we'll be hearing more about how that went in a future episode. Oldham and Calder were trying to follow the model of the Brill Building, of Phil Spector, and of big US independents like Motown and Stax. They wanted to be a one-stop shop where they'd produce the records, manage the artists, and own the publishing -- and they also licensed the publishing for the Beach Boys' songs for a couple of years, and started publicising their records over here in a big way, to exploit the publishing royalties, and that was a major factor in turning the Beach Boys from minor novelties to major stars in the UK. Most of Immediate's records were produced by Jimmy Page, but other people got to have a go as well. Giorgio Gomelsky and Shel Talmy both produced tracks for the label, as did a teenage singer then known as Paul Raven, who would later become notorious under his later stage-name Gary Glitter. But while many of these records were excellent -- and Immediate deserves to be talked about in the same terms as Motown or Stax when it comes to the quality of the singles it released, though not in terms of commercial success -- the only ones to do well on the charts in the first few months of the label's existence were "Hang on Sloopy" and an EP by Chris Farlowe. It was Farlowe who provided Immediate Records with its first home-grown number one, a version of the Rolling Stones' "Out of Time" produced by Mick Jagger, though according to Arthur Greenslade, the arranger on that and many other Immediate tracks, Jagger had given up on getting a decent performance out of Farlowe and Oldham ended up producing the vocals. Greenslade later said "Andrew must have worked hard in there, Chris Farlowe couldn't sing his way out of a paper bag. I'm sure Andrew must have done it, where you get an artist singing and you can do a sentence at a time, stitching it all together. He must have done it in pieces." But however hard it was to make, "Out of Time" was a success: [Excerpt: Chris Farlowe, "Out of Time"] Or at least, it was a success in the UK. It did also make the top forty in the US for a week, but then it hit a snag -- it had charted without having been released in the US at all, or even being sent as a promo to DJs. Oldham's new business manager Allen Klein had been asked to work his magic on the US charts, but the people he'd bribed to hype the record into the charts had got the release date wrong and done it too early. When the record *did* come out over there, no radio station would play it in case it looked like they were complicit in the scam. But still, a UK number one wasn't too shabby, and so Immediate Records was back on track, and Oldham wanted to shore things up by bringing in some more proven hit-makers. Immediate signed the Small Faces, and even started paying them royalties -- though that wouldn't last long, as Immediate went bankrupt in 1970 and its successors in interest stopped paying out. The first work the group did for the label was actually for a Chris Farlowe single. Lane and Marriott gave him their song "My Way of Giving", and played on the session along with Farlowe's backing band the Thunderbirds. Mick Jagger is the credited producer, but by all accounts Marriott and Lane did most of the work: [Excerpt: Chris Farlowe, "My Way of Giving"] Sadly, that didn't make the top forty. After working on that, they started on their first single recorded at Immediate. But because of contractual entanglements, "I Can't Make It" was recorded at Immediate but released by Decca. Because the band weren't particularly keen on promoting something on their old label, and the record was briefly banned by the BBC for being too sexual, it only made number twenty-six on the charts. Around this time, Marriott had become friendly with another band, who had named themselves The Little People in homage to the Small Faces, and particularly with their drummer Jerry Shirley. Marriott got them signed to Immediate, and produced and played on their first single, a version of his song "(Tell Me) Have You Ever Seen Me?": [Excerpt: The Apostolic Intervention, "(Tell Me) Have You Ever Seen Me?"] When they signed to Immediate, The Little People had to change their name, and Marriott suggested they call themselves The Nice, a phrase he liked. Oldham thought that was a stupid name, and gave the group the much more sensible name The Apostolic Intervention. And then a few weeks later he signed another group and changed *their* name to The Nice. "The Nice" was also a phrase used in the Small Faces' first single for Immediate proper. "Here Come the Nice" was inspired by a routine by the hipster comedian Lord Buckley, "The Nazz", which also gave a name to Todd Rundgren's band and inspired a line in David Bowie's "Ziggy Stardust": [Excerpt: Lord Buckley, "The Nazz"] "Here Come the Nice" was very blatantly about a drug dealer, and somehow managed to reach number twelve despite that: [Excerpt: The Small Faces, "Here Come the Nice"] It also had another obstacle that stopped it doing as well as it might. A week before it came out, Decca released a single, "Patterns", from material they had in the vault. And in June 1967, two Small Faces albums came out. One of them was a collection from Decca of outtakes and demos, plus their non-album hit singles, titled From The Beginning, while the other was their first album on Immediate, which was titled Small Faces -- just like their first Decca album had been. To make matters worse, From The Beginning contained the group's demos of "My Way of Giving" and "(Tell Me) Have You Ever Seen Me?", while the group's first Immediate album contained a new recording of  "(Tell Me) Have You Ever Seen Me?", and a version of "My Way of Giving" with the same backing track but a different vocal take from the one on the Decca collection. From this point on, the group's catalogue would be a complete mess, with an endless stream of compilations coming out, both from Decca and, after the group split, from Immediate, mixing tracks intended for release with demos and jam sessions with no regard for either their artistic intent or for what fans might want. Both albums charted, with Small Faces reaching number twelve and From The Beginning reaching number sixteen, neither doing as well as their first album had, despite the Immediate album, especially, being a much better record. This was partly because the Marriott/Lane partnership was becoming far more equal. Kenney Jones later said "During the Decca period most of the self-penned stuff was 99% Steve. It wasn't until Immediate that Ronnie became more involved. The first Immediate album is made up of 50% Steve's songs and 50% of Ronnie's. They didn't collaborate as much as people thought. In fact, when they did, they often ended up arguing and fighting." It's hard to know who did what on each song credited to the pair, but if we assume that each song's principal writer also sang lead -- we know that's not always the case, but it's a reasonable working assumption -- then Jones' fifty-fifty estimate seems about right. Of the fourteen songs on the album, McLagan sings one, which is also his own composition, "Up the Wooden Hills to Bedfordshire". There's one instrumental, six with Marriott on solo lead vocals, four with Lane on solo lead vocals, and two duets, one with Lane as the main vocalist and one with Marriott. The fact that there was now a second songwriter taking an equal role in the band meant that they could now do an entire album of originals. It also meant that their next Marriott/Lane single was mostly a Lane song. "Itchycoo Park" started with a verse lyric from Lane -- "Over bridge of sighs/To rest my eyes in shades of green/Under dreaming spires/To Itchycoo Park, that's where I've been". The inspiration apparently came from Lane reading about the dreaming spires of Oxford, and contrasting it with the places he used to play as a child, full of stinging nettles. For a verse melody, they repeated a trick they'd used before -- the melody of "My Mind's Eye" had been borrowed in part from the Christmas carol "Gloria in Excelsis Deo", and here they took inspiration from the old hymn "God Be in My Head": [Excerpt: The Choir of King's College Cambridge, "God Be in My Head"] As Marriott told the story: "We were in Ireland and speeding our brains out writing this song. Ronnie had the first verse already written down but he had no melody line, so what we did was stick the verse to the melody line of 'God Be In My Head' with a few chord variations. We were going towards Dublin airport and I thought of the middle eight... We wrote the second verse collectively, and the chorus speaks for itself." [Excerpt: The Small Faces, "Itchycoo Park"] Marriott took the lead vocal, even though it was mostly Lane's song, but Marriott did contribute to the writing, coming up with the middle eight. Lane didn't seem hugely impressed with Marriott's contribution, and later said "It wasn't me that came up with 'I feel inclined to blow my mind, get hung up, feed the ducks with a bun/They all come out to groove about, be nice and have fun in the sun'. That wasn't me, but the more poetic stuff was." But that part became the most memorable part of the record, not so much because of the writing or performance but because of the production. It was one of the first singles released using a phasing effect, developed by George Chkiantz (and I apologise if I'm pronouncing that name wrong), who was the assistant engineer for Glyn Johns on the album. I say it was one of the first, because at the time there was not a clear distinction between the techniques now known as phasing, flanging, and artificial double tracking, all of which have now diverged, but all of which initially came from the idea of shifting two copies of a recording slightly out of synch with each other. The phasing on "Itchycoo Park" , though, was far more extreme and used to far different effect than that on, say, Revolver: [Excerpt: The Small Faces, "Itchycoo Park"] It was effective enough that Jimi Hendrix, who was at the time working on Axis: Bold as Love, requested that Chkiantz come in and show his engineer how to get the same effect, which was then used on huge chunks of Hendrix's album. The BBC banned the record, because even the organisation which had missed that the Nice who "is always there when I need some speed" was a drug dealer was a little suspicious about whether "we'll get high" and "we'll touch the sky" might be drug references. The band claimed to be horrified at the thought, and explained that they were talking about swings. It's a song about a park, so if you play on the swings, you go high. What else could it mean? [Excerpt: The Small Faces, “Itchycoo Park”] No drug references there, I'm sure you'll agree. The song made number three, but the group ran into more difficulties with the BBC after an appearance on Top of the Pops. Marriott disliked the show's producer, and the way that he would go up to every act and pretend to think they had done a very good job, no matter what he actually thought, which Marriott thought of as hypocrisy rather than as politeness and professionalism. Marriott discovered that the producer was leaving the show, and so in the bar afterwards told him exactly what he thought of him, calling him a "two-faced", and then a four-letter word beginning with c which is generally considered the most offensive swear word there is. Unfortunately for Marriott, he'd been misinformed, the producer wasn't leaving the show, and the group were barred from it for a while. "Itchycoo Park" also made the top twenty in the US, thanks to a new distribution deal Immediate had, and plans were made for the group to tour America, but those plans had to be scrapped when Ian McLagan was arrested for possession of hashish, and instead the group toured France, with support from a group called the Herd: [Excerpt: The Herd, "From the Underworld"] Marriott became very friendly with the Herd's guitarist, Peter Frampton, and sympathised with Frampton's predicament when in the next year he was voted "face of '68" and developed a similar teenage following to the one the Small Faces had. The group's last single of 1967 was one of their best. "Tin Soldier" was inspired by the Hans Andersen story “The Steadfast Tin Soldier”, and was originally written for the singer P.P. Arnold, who Marriott was briefly dating around this time. But Arnold was *so* impressed with the song that Marriott decided to keep it for his own group, and Arnold was left just doing backing vocals on the track: [Excerpt: The Small Faces, "Tin Soldier"] It's hard to show the appeal of "Tin Soldier" in a short clip like those I use on this show, because so much of it is based on the use of dynamics, and the way the track rises and falls, but it's an extremely powerful track, and made the top ten. But it was after that that the band started falling apart, and also after that that they made the work generally considered their greatest album. As "Itchycoo Park" had made number one in Australia, the group were sent over there on tour to promote it, as support act for the Who. But the group hadn't been playing live much recently, and found it difficult to replicate their records on stage, as they were now so reliant on studio effects like phasing. The Australian audiences were uniformly hostile, and the contrast with the Who, who were at their peak as a live act at this point, couldn't have been greater. Marriott decided he had a solution. The band needed to get better live, so why not get Peter Frampton in as a fifth member? He was great on guitar and had stage presence, obviously that would fix their problems. But the other band members absolutely refused to get Frampton in. Marriott's confidence as a stage performer took a knock from which it never really recovered, and increasingly the band became a studio-only one. But the tour also put strain on the most important partnership in the band. Marriott and Lane had been the closest of friends and collaborators, but on the tour, both found a very different member of the Who to pal around with. Marriott became close to Keith Moon, and the two would get drunk and trash hotel rooms together. Lane, meanwhile, became very friendly with Pete Townshend, who introduced him to the work of the guru Meher Baba, who Townshend followed. Lane, too, became a follower, and the two would talk about religion and spirituality while their bandmates were destroying things. An attempt was made to heal the growing rifts though. Marriott, Lane, and McLagan all moved in together again like old times, but this time in a cottage -- something that became so common for bands around this time that the phrase "getting our heads together in the country" became a cliche in the music press. They started working on material for their new album. One of the tracks that they were working on was written by Marriott, and was inspired by how, before moving in to the country cottage, his neighbours had constantly complained about the volume of his music -- he'd been particularly annoyed that the pop singer Cilla Black, who lived in the same building and who he'd assumed would understand the pop star lifestyle, had complained more than anyone. It had started as as fairly serious blues song, but then Marriott had been confronted by the members of the group The Hollies, who wanted to know why Marriott always sang in a pseudo-American accent. Wasn't his own accent good enough? Was there something wrong with being from the East End of London? Well, no, Marriott decided, there wasn't, and so he decided to sing it in a Cockney accent. And so the song started to change, going from being an R&B song to being the kind of thing Cockneys could sing round a piano in a pub: [Excerpt: The Small Faces, "Lazy Sunday"] Marriott intended the song just as an album track for the album they were working on, but Andrew Oldham insisted on releasing it as a single, much to the band's disgust, and it went to number two on the charts, and along with "Itchycoo Park" meant that the group were now typecast as making playful, light-hearted music. The album they were working on, Ogden's Nut-Gone Flake, was eventually as known for its marketing as its music. In the Small Faces' long tradition of twisted religious references, like their songs based on hymns and their song "Here Come the Nice", which had taken inspiration from a routine about Jesus and made it about a drug dealer, the print ads for the album read: Small Faces Which were in the studios Hallowed be thy name Thy music come Thy songs be sung On this album as they came from your heads We give you this day our daily bread Give us thy album in a round cover as we give thee 37/9d Lead us into the record stores And deliver us Ogdens' Nut Gone Flake For nice is the music The sleeve and the story For ever and ever, Immediate The reason the ad mentioned a round cover is that the original pressings of the album were released in a circular cover, made to look like a tobacco tin, with the name of the brand of tobacco changed from Ogden's Nut-Brown Flake to Ogden's Nut-Gone Flake, a reference to how after smoking enough dope your nut, or head, would be gone. This made more sense to British listeners than to Americans, because not only was the slang on the label British, and not only was it a reference to a British tobacco brand, but American and British dope-smoking habits are very different. In America a joint is generally made by taking the dried leaves and flowers of the cannabis plant -- or "weed" -- and rolling them in a cigarette paper and smoking them. In the UK and much of Europe, though, the preferred form of cannabis is the resin, hashish, which is crumbled onto tobacco in a cigarette paper and smoked that way, so having rolling or pipe tobacco was a necessity for dope smokers in the UK in a way it wasn't in the US. Side one of Ogden's was made up of normal songs, but the second side mixed songs and narrative. Originally the group wanted to get Spike Milligan to do the narration, but when Milligan backed out they chose Professor Stanley Unwin, a comedian who was known for speaking in his own almost-English language, Unwinese: [Excerpt: Stanley Unwin, "The Populode of the Musicolly"] They gave Unwin a script, telling the story that linked side two of the album, in which Happiness Stan is shocked to discover that half the moon has disappeared and goes on a quest to find the missing half, aided by a giant fly who lets him sit on his back after Stan shares his shepherd's pie with the hungry fly. After a long quest they end up at the cave of Mad John the Hermit, who points out to them that nobody had stolen half the moon at all -- they'd been travelling so long that it was a full moon again, and everything was OK. Unwin took that script, and reworked it into Unwinese, and also added in a lot of the slang he heard the group use, like "cool it" and "what's been your hang-up?": [Excerpt: The Small Faces and Professor Stanley Unwin, "Mad John"] The album went to number one, and the group were justifiably proud, but it only exacerbated the problems with their live show. Other than an appearance on the TV show Colour Me Pop, where they were joined by Stanley Unwin to perform the whole of side two of the album with live vocals but miming to instrumental backing tracks, they only performed two songs from the album live, "Rollin' Over" and "Song of a Baker", otherwise sticking to the same live show Marriott was already embarrassed by. Marriott later said "We had spent an entire year in the studios, which was why our stage presentation had not been improved since the previous year. Meanwhile our recording experience had developed in leaps and bounds. We were all keenly interested in the technical possibilities, in the art of recording. We let down a lot of people who wanted to hear Ogden's played live. We were still sort of rough and ready, and in the end the audience became uninterested as far as our stage show was concerned. It was our own fault, because we would have sussed it all out if we had only used our brains. We could have taken Stanley Unwin on tour with us, maybe a string section as well, and it would have been okay. But we didn't do it, we stuck to the concept that had been successful for a long time, which is always the kiss of death." The group's next single would be the last released while they were together. Marriott regarded "The Universal" as possibly the best thing he'd written, and recorded it quickly when inspiration struck. The finished single is actually a home recording of Marriott in his garden, including the sounds of a dog barking and his wife coming home with the shopping, onto which the band later overdubbed percussion, horns, and electric guitars: [Excerpt: The Small Faces, "The Universal"] Incidentally, it seems that the dog barking on that track may also be the dog barking on “Seamus” by Pink Floyd. "The Universal" confused listeners, and only made number sixteen on the charts, crushing Marriott, who thought it was the best thing he'd done. But the band were starting to splinter. McLagan isn't on "The Universal", having quit the band before it was recorded after a falling-out with Marriott. He rejoined, but discovered that in the meantime Marriott had brought in session player Nicky Hopkins to work on some tracks, which devastated him. Marriott became increasingly unconfident in his own writing, and the writing dried up. The group did start work on some new material, some of which, like "The Autumn Stone", is genuinely lovely: [Excerpt: The Small Faces, "The Autumn Stone"] But by the time that was released, the group had already split up. The last recording they did together was as a backing group for Johnny Hallyday, the French rock star. A year earlier Hallyday had recorded a version of "My Way of Giving", under the title "Je N'Ai Jamais Rien Demandé": [Excerpt: Johnny Hallyday, "Je N'Ai Jamais Rien Demandé"] Now he got in touch with Glyn Johns to see if the Small Faces had any other material for him, and if they'd maybe back him on a few tracks on a new album. Johns and the Small Faces flew to France... as did Peter Frampton, who Marriott was still pushing to get into the band. They recorded three tracks for the album, with Frampton on extra guitar: [Excerpt: Johnny Hallyday, "Reclamation"] These tracks left Marriott more certain than ever that Frampton should be in the band, and the other three members even more certain that he shouldn't. Frampton joined the band on stage at a few shows on their next few gigs, but he was putting together his own band with Jerry Shirley from Apostolic Intervention. On New Year's Eve 1968, Marriott finally had enough. He stormed off stage mid-set, and quit the group. He phoned up Peter Frampton, who was hanging out with Glyn Johns listening to an album Johns had just produced by some of the session players who'd worked for Immediate. Side one had just finished when Marriott phoned. Could he join Frampton's new band? Frampton said of course he could, then put the phone down and listened to side two of Led Zeppelin's first record. The band Marriott and Frampton formed was called Humble Pie, and they were soon releasing stuff on Immediate. According to Oldham, "Tony Calder said to me one day 'Pick a straw'. Then he explained we had a choice. We could either go with the three Faces -- Kenney, Ronnie, and Mac -- wherever they were going to go with their lives, or we could follow Stevie. I didn't regard it as a choice. Neither did Tony. Marriott was our man". Marriott certainly seemed to agree that he was the real talent in the group. He and Lane had fairly recently bought some property together -- two houses on the same piece of land -- and with the group splitting up, Lane moved away and wanted to sell his share in the property to Marriott. Marriott wrote to him saying "You'll get nothing. This was bought with money from hits that I wrote, not that we wrote," and enclosing a PRS statement showing how much each Marriott/Lane

This episode Gav and Stef are joined by the writer of Doctor Who, Torchwood, Severance and Cockneys vs Zombies to discuss the best episodes of British TV horror as well as Danny Dyer, ambiguity and when is it acceptable to touch a monkey's knackers?

Welcome to the Instant Trivia podcast episode 608, where we ask the best trivia on the Internet. Round 1. Category: State Dept. Travel Warnings 1: The U.S. uses the Swiss embassy in Iran to conduct business and the Polish embassy in this neighboring country. Iraq. 2: Say so long to Sarajevo; the U.S. has been warning people about visiting this country since 1992. Bosnia. 3: In June 1997 the U.S. closed its embassy in Brazzaville in this country and advises you not to visit. The Congo. 4: If you decide to go to this country (against U.S. wishes), really avoid the city of Cali. Colombia. 5: With tensions between Ethiopia and this country mounting, the State Dept. warned Americans to get out. Eritrea. Round 2. Category: Musical Memories 1: This bandleader said "No 1-nighter is complete without" the following. Benny Goodman. 2: According to the song, it's why "I'm In The Mood For Love". simply because you're near me. 3: According to Sammy Cahn, it's when "Love Is Lovelier". the second time around. 4: Of "Dancing In The Dark", "Apple Blossom Time" or "Amapola" the 1 that's a waltz. "Apple Blossom Time". 5: "That's An Irish Lullaby" is usually referred to by this title, the song's 1st line. "Too Ra Loo Ra Loo Ral". Round 3. Category: Ode To England 1: Edward IV called off this invasion after Louis XI tendered some financial persuasion. invading France. 2: Chiefs and rajahs were there to see, in 1897, her diamond jubilee. Queen Victoria. 3: These Londoners turned the simple word "wife" into the rhyming "trouble-and-strife". Cockneys. 4: Headquarters was needed for Peel's new police force and this place was chosen as a matter of course. Scotland Yard. 5: A Westminster court with the power to seize was in a chamber whose ceiling was covered in these. stars. Round 4. Category: Stop The Presses! 1: A kids magazine survey found out this fairy tends to leave girls about 25 cents more than boys. the tooth fairy. 2: A British paper claimed Prince Charles puts toothpaste in his nose to prevent this nocturnal noise. snoring. 3: People Magazine reported that Clint Black wears size 7 1/4 while Garth Brooks' is 7 5/8. a cowboy hat. 4: In 1992 she not only left her ministry but divorced her jailed husband. Tammy Faye Bakker. 5: The 4th annual International Leisure Suit Convention drew 1500 polyester lovers to this Iowa capital. Des Moines. Round 5. Category: Biblical Military Men 1: This Philistine had a "helmet of brass" and a coat of mail weighing 5,000 shekels. Goliath. 2: The Roman centurion Cornelius, possibly the first Gentile Christian, was converted by this fisherman. Peter. 3: Moses designated him to defend Israel against Amalek; he later brought down the walls of Jericho. Joshua. 4: Benaiah was commander of this wise king's army. Solomon. 5: This Hittite soldier was sent to the front lines of battle so that David could take his wife Bathsheba. Uriah. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

John and Scotto review the trope subverting and uniquely British horror comedy, Cockneys vs. Zombies. John's Ratings Scotto's Ratings Listen to Episode 491 Download Episode 491 IMDb https://www.imdb.com/title/tt1362058/ Trailer In three weeks ... Alien Nation

John and Scotto review the trope subverting and uniquely British horror comedy, Cockneys vs. Zombies. John’s Rating – 4.5 BrainsScotto’s Rating –4.5 Brains Stream Downloadhttps://www.podtrac.com/pts/redirect.mp3/archive.org/download/ztoep491/ztoep491.mp3IMDbhttps://www.imdb.com/title/tt1362058/Trailerhttps://youtu.be/HLe5rHUkpeYIn three weekshttps://www.imdb.com/title/tt0094631/

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Big Brother is watching. So hide all your cockneys, and brush your teeth. What? No, let’s just work out the opposite of those three things instead. Do not share, and certainly do not enjoy.

Heute wagen wir uns ins Milieu prügelnder Fußballfans. In "Hooligans" kloppen sich Frodo und der Typ aus Sons of Anarchy fröhlich durch die Londoner Oststadt. Vielleicht kein guter Film, aber eine spannende kleine Sozialstudie die uns dazu anregt, mal näher hinzuschauen. Wie entstand die Hooligan-Szene und welche Auswüchse brachte sie hervor? Sind das alles Nazis? Warum wird englisches Bier warm getrunken und warum versteht keiner die Cockneys? – – – – – – – – – – – Die Links zu unseren Werbepartnern findet ihr hier: https://bit.ly/kussponsored

Heute wagen wir uns ins Milieu prügelnder Fußballfans. In "Hooligans" kloppen sich Frodo und der Typ aus Sons of Anarchy fröhlich durch die Londoner Oststadt. Vielleicht kein guter Film, aber eine spannende kleine Sozialstudie die uns dazu anregt, mal näher hinzuschauen. Wie entstand die Hooligan-Szene und welche Auswüchse brachte sie hervor? Sind das alles Nazis? Warum wird englisches Bier warm getrunken und warum versteht keiner die Cockneys? – – – – – – – – – – – Die Links zu unseren Werbepartnern findet ihr hier: https://bit.ly/kussponsored

3:54 - Jerks of the Week 7:43 - Behind the Mask: The Rise of Leslie Vernon 9:16 - Angel Heart 11:23 - The Last Man on Earth 12:24 - Cockneys vs. Zombies 14:53 - Hey Arnold! The Jungle Movie 26:21 - No Time to Die 51:00 - Unidentified with Demi Lovato 1:02:23 - Exit Wounds

This is the Podcast of the Damned This is episode number 12 and this week on the show we are sticking with another zombie movie to talk all about the 2012 British horror comedy Cockneys vs Zombies. We also have some trivia, bad reviews and our listener question of the week. A major part of PotD is listener interaction, so please send your thoughts in on anything horror related to podofthedamned@gmail.com. You can also find us on Twitter - https://twitter.com/DamnedPodcast and Facebook at - https://www.facebook.com/groups/podofthedamned Thank you for listening. Theme Tune Credit: Song - Otaku Pride Artist - Becko Album - Otaku Pride --- Send in a voice message: https://anchor.fm/podcastofthedamned/message

December 29th-30th 1922: General Manager John Reith begins work! The good ship Broadcasting finally gets its captain. On Episode 35 of The British Broadcasting Century, we bring you the complete tale of not only Reith's first day - the liftsman, the lone office, the "Dr Livingstone, I presume" moment - but also his commute to work, from Scotland to London via Newcastle. Here he investigates/interviews/interrogates poor Tom Payne, director of Newcastle 5NO, a BBC station that's only five days old, temporarily running from the back of a lorry in a stable-yard. We'll hear from Reith, Payne (who claims to be the only person to bank-roll a British radio station), Birmingham director Percy Edgar, early BBC governor Mary Agnes Hamitlon. Plus we'll hear from Mark Carter of BBC Radio Sussex, BBC Radio Surrey, Susy Radio, Wey Valley Radio, across which he's been presenter, producer and now Executive Editor. There's also a treasure trove of radio memoribilia including 'the green book' of what you can and can't say on the radio - in 1948 - courtesy of the collection of former BBC Head of Heritage Justin Phillips. We're ever so grateful to his family for sharing that with us.   SHOWNOTES: This episode leans on several books, the chief of which is probably Garry Alligan's 1938 book Sir John Reith, but also Asa Briggs' various books, Brian Hennessy's The Emergence of Broadcasting in Britain, and The Reith Diaries edited by Charles Stuart. Plus about a dozen others.  Join us on Patreon for a tour of my radio history bookshelf, plus extras, audio, video, an occasional reading from C.A. Lewis' 1924 book Broadcasting From Within, plus the glowing feeling of supporting this podcast. Thanks to all who support us there and keep us ticking over. For a one-off contribution, you could buy us a coffee at ko-fi.com/paulkerensa. Thanks! It all helps keep us afloat. This podcast is NOTHING to do with the present-day BBC - it's entirely run, researched, presented and corralled by Paul Kerensa, who you can email if you want to add something to the show on radio history. Your contributions are welcome. The British Broadcasting Century Facebook page is here. Join us there. The British Broadcasting Century Facebook group is here. Join us there too. The British Broadcasting Century Twitter profile is here. Join us there three. My other podcast of interviews is A Paul Kerensa Podcast. Have a listen! My mailing list is here - sign up for updates on all I do, writing, teaching writing, stand-up, radio etc. My books are available here or orderable from bookshops, inc Hark! The Biography of Christmas. Coming in 2022: a novel on all this radio malarkey. Archive clips are either public domain or used with kind permission from the BBC, copyright content reproduced courtesy of the British Broadcasting Corporation. All rights reserved. Please rate and review this podcast where you found it... and keep liking/sharing/commenting on what we do online. It all helps others find us.      APPROXIMATE TRANSCRIPT: Previously on the BBCentury...   The 6-week-old BBC now has 4 plucky stations! Yes, the Geordies have joined the Cockneys the Brummies and the Mancunians... Except 5NO Newcastle has had a few teething troubles. No one there's run a radio station before! So on Christmas Eve Eve 1922, their first is broadcast from the back of a lorry in a stableyard.   But fear not, with Christmas behind us, Head Office are on the case! And the BBC's first and only General Manager John Reith is well-rested, he's even asked a friend what broadcasting is, and he reckons he's ok to take control. He's always liked fishing. That's what broadcasting is... isn't it?   THIS TIME... Still puzzling out what his job is, John Reith begins work! We've got all the info on his legendary first day, his ‘Dr Livingstone I presume' moment... and his first task of running the Beeb: fixing Newcastle. He seeks to inform, educate and entertain, but first troubleshoot.   Plus bang up to date, we'll hear from a man with radio in his very fibre... local radio executive editor and presenter, from BBC Radio Sussex and BBC Radio Surrey, and Susy Radio, and Wey Valley Radio... Mark Carter   As we mark the start of the Reith era, buckle up, it's going to be a bumpy ride. Here on the BBCentury   TITLES   Hullo, hullo...   We've seen a few eps ago, how Reith, and Burrows, and Anderson and Lewis were all hired as the first 4 founding fathers at the BBC. But they start work at New Year. Of course, we know that those of them who were broadcasters, Burrows and Lewis – they were already workig super-hard, planning and presenting almost 7 days a week, even through Christmas.   But the start of the BBC's new era, with a head office at Magnet House, till Savoy Hill opened, all of this happens after Christmas 1922, going into New Year 1923.   So this ep, I'll tell you about Reith's first day, Dec 29th. Next episode, we'll round off with a rather sweet New Year's Eve bit of programming. Then I think we'll have a bit of a recap and a breather, before starting 1923 proper, when the BBC exploded into life, with a booming staff, the first proper live concerts from the royal opera house, and so much more.   What a tale! What an era! I wish I was there. I can't be, so next best thing, I'll spend a pandemic researching and recording this... The BBCe, now with the first day of work from John Reith!   STING   But before he starts in London, we're going super-geeky, super0detailed, and I'll actually tell you about Reith's JOURNEY to London. Because that's really notable too.   Having been appointed, and spent a day or two with Burrows and co, scouting for offices, puzzling out what broadcasting is, Reith has spent Christmas in Scotland, staying with his mum...   “I told her that I wanted her to live to see me a knight anyhow. I feel if this job succeeds and I am given grace to succeed in it, I might nt be so far off this. I do want a title for dear mother's sake, and Muriel's...”    That from Reith's diary, Dec 28th 1922. So he's keen on this job, for the authoritative position it gives him, it seems, to begin with, at least. He's turned down good deputy jobs before this point. He wanted to lead something. Anything. Even a thing he doesn't understand.   Here's a snapshot what Reith would have been completely unaware was on that Christmas, on each of the BBC's stations:   We told you all about the London Christmas last time, but from Boxing Day, you'd hear more from the brand new 2LO Orchestra, and a triumphant Boxing Day Peter Pan, Uncle Jeff and Uncle Arthur holding the fort, rewarded with many gifts from the listeners. Demand for radio sets outstripped supply. The radio boom was booming. In Brum: Percy Edgar gives his Dickens, artistes don't turn up. Callout on air. Frederick Warrander turned up, with his pianist! Manc: Christmas stories for kids, then grownups, Handel's Messiah, ghost stories Newcastle: Hawaiian band   Then there's 2MT Writtle, who've had the week off for Christmas – that's not a BBC station, but they've done the groundwork earlier in the year, and now Peter Eckersley is there pondering whether he should keep going, in this Marconi station out in Essex, now that proper broadcasting has begun – and the big boss is on his way to start work.   So Friday 29th December, Reith says bye mum, I'll come back when I'm knighted, and leaves Dunardoch for London – raring to start work the next day, a Saturday, but he wanted to get in before his small staff turns up after the weekend.   But, his Director of Progs Arthur Burrows, who knows more than almost anyone about how all this runs, he's asked his boss to make a stopover en route to Magnet House in London. Burrows wants Reith to get off the train at Newcastle, and check in on the baby station, 5NO. We talked about their launch last time – so at this point it's only 5 days old, and it's the first BBC station to be built from scratch.   Burrows has his doubts about the Newcastle staff. New station director Payne is out on a limb, setting up this new station in the northeast – with the smallest, most abandoned staff.... Probably adding to Burrows' doubts were Tom Payne's announcing habits: he kept repeating the callsign over and over: ‘This is 5NO calling, this is 5NO calling, this is 5NO calling...”   Payne was popular locally already in amateur radio circles – but would he have the chops to broadcast nationally, on radio? To fit in, with what Burrows had set in motion?   Reith's a bit reluctant to break his journey in Newcastle. Doesn't quite see why. Doesn't quite know what a radio station is. But he's quite keen to see one in action – although Newcastle's version is a stableyard, so not really your typical radio station...   ‘Newcastle at 12:30. Here I really began my BBC responsibility. Saw transmitting station and studio place and landlords. It was very interesting. Away at 4:28, London at 10:10, bed at 12:00. I am trying to keep in close touch with Christ in all I do and I pray he may keep close to me. I have a great work to do.'   Reith is dumbfounded. He's got off the train, and found Tom Payne alternating between announcing what's on the radio, playing some live musical instruments, and trying to shut up a howling dog in a nearby kennel. So did he let Mr Payne off the hook?   “As the temporary Station Director knew more than I did, as he had produced programmes of some kind or another for 5 days already... I rather naturally left him in possession for the time being.”   As for the tech setup in Newcastle, that doesn't improve too quickly. Reith will be shocked in the New Year of '23 to discover their new control room is in fact a standard public phone box installed in the middle of the studio. Forget the engineer through the glass. This was an engineer in the glass, in a glass box, closed in from before the programme started till after it finished, no ventilation, no seat, no dignity.   Come January, Reith would personally seek new premises for those provincial stations that were lacking. Eventually.   For now though, on Dec 29th, Reith leaves Newcastle, after a stopover of less than 4hrs, and continues to London.   So Reith has arrived in London, slept off his train journey, and awoken ready for his first day at the BBC. London at 10:10, bed at 12:00. I am trying to keep in close touch with Christ in all I do and I pray he may keep close to me. I have a great work to do.' At 9am that Saturday, Reith arrives at the GEC offices in Kingsway, London. “where I had been informed temporary accommodation had been at our disposal.” This is Magnet House., first offices of the BBC.   He has doubts what he'll find, but is pleased to see a large notice in the foyer: “Brit Broad Company, 2nd floor”   “This was rather reassuring. One was therefore not altogether unexpected and there really was such a thing as the BBC. Before I was permitted to enter the elevator, an enquiry was naturally made regarding my business. ‘BBC', I said deliberately. “Nobody there yet, sir,” he replied. So I told him that this was it, or part of it, one quarter approximately.”   How delightfully drole, of both Reith and the liftsman.   “A room about 30fr by 15, furnished with 3 long tables and some chairs. A door at one end invited examination: a tiny compartment 6ft sq, here a table and a chair, also a telephone. ‘This,' I thought, ‘is the general manager's office'. The door swung to behind me. I wedged it open; sat down, surveyed the emptiness of the outer office. Though various papers had accumulated in the past fortnight, I had read them all before. No point in pretending to be busy with no one to see.”   It's an unusual start for Reith then, still a little clueless as to what's required of him. He needs his staff to arrive before he can quite figure out what to do, how to run this BBC. So he picks up the phone, a bit like Manuel when he briefly takes charge of Fawlty Towers. “Manuel Towers! How are you today!” Or Alan Partridge picking up the hotel phone to find he's reached reception.   In Reith's case, he's delighted a female voice answers. Yes? “Having been unexpectedly answered, I trued hurriedly to think of a number which at 9:15am I might be properly expected to call up, on BBC business. Naturally without success. As there was no BBC business to anything with. So I enquired, somewhat fatuously, and with some embarrassment, if she had had any intrusctions about calls for the BBC or from them, and that if so, the BBC was there.” Now. Just.     This receptionist would connect many calls to R over the coming months, and years, Miss Isobel Shields.   Reith was a fan of Mr Gamage of the GEC. He was not a fan of Major Anderson, his new, brief secretary.     1/2hr later, Major Anderson, Sec, arrived 9:30am, “with some manifestation of authority”.  Silk hat, two attache cases, legal-looking books under his arm. Reith described it as a bit “Livingstone and Stanley”, each presumed the other was the Secretary or General Manager.  ‘I hadn't seen him before. It was an awful shock. I saw at once that he would never do... Conversation was not brisk...”   Then Mr Gamage, Secretary of the GEC, lovely welcoming fella. For 10 weeks, Gamage sees to their every need, and refuses all offer of payment for the room, lunch, tea, phone calls. GEC's guest.   That night Major Anderson the Sec goes home to type a letter, to invite Miss Isobel Shields to stop working for General Electric, be poached by the BBC, and become one of the first six staff members, and the first female employee.   Next time: New Year 1922!

Sign up to our newsletter here. Join our facebook group here or join our Discord here.You can physically send us stuff to PO BOX 7127, Reservoir East, Victoria, 3073.Want to help support the show?Sanspants+ | Shop | TeesWant to get in contact with us? mailto:sanspantsradio@gmail.com Email | Twitter | Website | Facebook | RedditOr individually at;Jackson | Zoe | Adam | Cass | Hayden See acast.com/privacy for privacy and opt-out information.

A Serious Disc Agreement is the only "serious" podcast on the Australian Internet about "Movie Disc Culture."Hang onto your slipcases because Blake Howard (One Heat Minute) and special guest, Australian podcasting royalty and award-winning screenwriter Lee Zachariah team up to unbox Plumeria Pictures/Film Stories brand new release of SNEAKERS.________SNEAKERS (FILM STORIES LIMITED EDITION)"Why don't more people talk about Sneakers? It's hard to think of a finer ensemble suspense caper from the 1990s, especially from a major Hollywood studio (Universal). Yet with its blend of suspense, wit and memorable characters, this is just the kind of movie that deserves to be seen again and again. Robert Redford leads the all-star cast, including Dan Aykroyd, Ben Kingsley, Mary McDonnell, River Phoenix, Sidney Poitier and David Strathairn. It's co-written by Phil Alden Robinson, Lawrence Lasker and War Games scribe Walter F. Parkes, and is one of the few films directed by the brilliant Robinson, who has the small matter of 1989 classic Field Of Dreams to his name. The result is a smart, hugely entertaining and laugh-out-loud tech treat. It already seems they really don't make ‘em like this anymore."– Simon Brew, Film Stories EditorSPECIAL FEATURES• Exclusive new video interview with writer-director Phil Alden Robinson (45 mins)• Exclusive audio commentary with Film Stories editor Simon Brew and Sneakers superfan James Moran (Severance, Cockneys vs Zombies)• Exclusive audio commentary with film critic and Sneakers superfan Priscilla Page• Audio commentary with writer-director Phil Alden Robinson and director of photography John Lindley• 1992 cast interviews with Robert Redford and Sidney Poitier• Original theatrical trailer• English subtitles for the hard of hearing• 5.1 and stereo audio tracks________One Heat Minute ProductionsWEBSITE: oneheatminute.comPATREON: One Heat Minute Productions PatreonTWITTER: @OneBlakeMinute & @OHMPodsMERCH: http://tee.pub/lic/41I7L55PXV4LEE ZACHARIAHTWITTER:@LEEZACHARIAHPODCAST: HELL IS FOR HYPHENATESWEBSITE: HTTP://WWW.LEEZACHARIAH.COM/Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Scrubbing the bath, beavers and Cockneys!

We finally get to Cockneys vs Zombies, a wonderfully fun film by Matthias Hoene. Aside from all of the fun of joining some East Enders dealing with a zombie outbreak, there are some spectacular lessons to glean from this movie. It’s a fast-paced ride of laughs and a masterclass all at the same time. Cockneys vs Zombies can be found on Amazon Video and iTunes.

A Wall recap, a life-altering chimp attack, snooker, psychology nonsense, ants, and a dog statue. See acast.com/privacy for privacy and opt-out information.

In this episode we do a deep dive with Mark Lane, a film producer from London, England. Mark has produced a variety of movies including hits such as 47 meters Down, 47 meters Down Uncaged, Final Score, Green Street Hooligans, Cockneys vs Zombies, and many more. Mark tells us the story of how he got to where he is now. From falling in love with art and pursuing it in college, to becoming a movie producer, Mark's story is real and enticing. This is a long format podcast, listen to it in parts, or binge the whole thing. Check out Tea Shop Productions at Check out SNAAK BAR: https://snaakbar.com/ Use coupon code: ttales20 for a 20% discount from SNAAK BAR For financing questions and information contact: https://open.spotify.com/show/4aUfAFwXh3jE0cAA2dSspk For the video Version of the podcast check out our YouTube channel: Terrestrial Tales

Mulv & McCune back with the Arsenal Review. City slap the Gooners in their return to Premier League action. Leroy Sane wants to leave, and City take on Burnley on Monday!

This is Shirts and Skins - a cockney podcast by Resident Evil fans, for Resident Evil fans! In our third bonus episode we tear apart the 2012 zombie comedy film “Cockneys vs Zombies”, as voted on by our Patreon supporters. How many times can we compare the film to Shaun of the Dead? How surprisingly stacked is the cast in this flick? Which zombie was Adam’s favourite? And which one looked like a member of The Pueblo People? Join our Discord server: http://discordapp.com/invite/hKmmFGG Support the show: http://patreon.com/FASprayPod Twitter: http://twitter.com/FASprayPod Instagram: http://instagram.com/FASprayPod Facebook: http://facebook.com/FASprayPod YouTube: http://youtube.com/FirstAidSprayPodcast Panel: Psyniac (http://twitter.com/psyniac_123), Steve (http://twitter.com/FireButtonGames) and Adam (http:/twitter.com/AdVickers01). Logo by www.twitch.tv/brinnstar First Aid Spray banner design by http://deviantart.com/EmzelWolf “First Aid Spray” theme by Mono Memory (http://twitter.com/MonoMemory85). All other music is ™ and © Capcom and their original composers.

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Nos mezclamos con una serie de tipos que no siguen las normas que dicta la ley, a la hora de gestionar sus negocios: por un lado, volvemos a la Gran Bretaña de los Lores y los Cockneys, para saborear los nuevos cultivos de la última película de Guy Ritchie: “The Gentlemen” aka ”The Gentlemen: Los […]

Zombie-Komödien und Karneval! Eine Folge voller Gegensätze erwartet Euch diesmal mit unseren TRASHOTHEKaren: Horror und Spaß, Cockneys vs. Zombies, Karneval und Sven. Darüber hinaus noch einen ganz besonderen Terminhinweis – wir lassen unseren TRASHOTHEK-Stammtisch wieder aufleben! Dazu noch neues SPIELZEUCH und auch interessante Filmveröffentlichungen. Alaaf und Helau! SHOWNOTES ZUR FOLGE: TERMINHINWEISE: TRASHOTHEK Stammtisch https://www.facebook.com/events/1522545537900378 Filmbörse Köln https://www.facebook.com/groups/355730627925083 Filmbörse Neuss https://www.facebook.com/FilmboerseNeuss SPIELZEUCH: Hasbro Star Wars Galaxy of Adventures: https://starwarscollector.de/cat/hasbro/goa-5/ NEUE FILME: Little Monsters: https://splendid-film.de/little-monsters 47 Meters Down: Uncaged: https://www.concorde-movie-lounge.de/home-entertainment/details/?tx_exutecmoviedata_fe%5Bmovie%5D=52410&tx_exutecmoviedata_fe%5Baction%5D=show&tx_exutecmoviedata_fe%5Bcontroller%5D=Movie&cHash=222d8cfdbb70c80a6e1a40e47eb70cdc Jet Generation – Wie Mädchen heute Männer lieben https://www.lisa-film-kollektion.de/product_info.php?info=p67_edv-13---jet-generation---cover-a.html Bluthund – Tauchfahrt des Schreckens http://icatchermedia.de/epages/55133b9d-0ac5-4283-a6ed-a02f38f08fc4.sf/de_DE/?ObjectPath=/Shops/55133b9d-0ac5-4283-a6ed-a02f38f08fc4/Products/ux001 Für die Inhalte externer Links übernimmt die TRASHOTHEK keine Haftung! Unser komplettes Impressum gibt es hier: http://www.trashothek.de/trashothek_impressum.html

Melanie Light is an emerging British genre film maker. She lives in the vibrantly diverse and political city of Bristol, UK. She is known for her hard hitting, fantastically designed and admirably directed short films. Her ever popular film THE HERD, was invited to over 30 film festivals worldwide including Sitges, Fantaspoa and Leeds, and won numerous awards and received press from Fangoria and heavy metal magazine Metal Hammer, which reviewed the film's notable score. Melanie uses genre films to bring forth issues of animal rights, feminism, the climate crisis and patricarchy. She has worked as a Standby Art Director on films and TV dramas such as The Autopsy of Jane Doe, Cockneys vs Zombies, Sony’s Phillip K Dick's Electric Dreams and HBO’s brand new Gangs of London. Melanie’s directing work includes short film, TRUST, a short film dealing with abortion rights, THE SKIN YOU’RE IN, an animal rights film about the fur industry; an episode of SHRINK, a London based web series which deals with mental health and depression; 5 episodes for US online horror series FEAR HAUS, an Atlanta based series showcasing new genre short films; short film ESCAPE, a rape revenge thriller filmed in the Nevada Desert; SWITCH, a short female serial killer film which premiered at Film 4 FrightFest and TURN OFF YOUR BLOODY PHONE a horrifically hilarious horror set in the beautiful Phoenix Cinema in East Finchely, London. Melanie is currently moving into directing feature films. http://melanielight.co.uk https://www.imdb.com/name/nm2512799/?ref_=rvi_nm  http://womeninhorrormonth.com 

This week, as Brendan lands in the UK, we ask, ‘what is the most aerodynamic snack to eat in a storm?’ Plus, we discover how the world might end thanks, in no small part, to British astronaut Tim Peake. Hear Johnny on Radio X every weekday at 4pm across the UK on digital radio, 104.9 FM in London, 97.7 FM in Manchester, on your mobile or via www.radiox.co.uk

A selection of three essential articles read aloud from the holiday issue of The Economist. This week, visiting the most diverse district in Africa, (17:30) meeting the Cockneys of Thetford, (34:22) and the tangled history of California’s eucalyptus trees.Please subscribe to The Economist for full access to print, digital and audio editions:www.economist.com/radiooffer See acast.com/privacy for privacy and opt-out information.

A selection of three essential articles read aloud from the holiday issue of The Economist. This week, visiting the most diverse district in Africa, (17:30) meeting the Cockneys of Thetford, (34:22) and the tangled history of California’s eucalyptus trees.Please subscribe to The Economist for full access to print, digital and audio editions:www.economist.com/radiooffer See acast.com/privacy for privacy and opt-out information.

We need crucifixes, garlic, silver, holy water, and Christopher Lee! Featuring: Dave Roberts & David Hopkins. Running Time: 1:18:13 This week we get all British with the zombie-comedy, Cockneys vs Zombies! Before that, a quick recap of the horror things we took in this past week including the Post Mortem podcast, the Blackwood podcast, and

Mike and Ting catch up on E3, the Steam sale and other news from the past 6 weeks. The “book club” game is: Thimbleweed Park. Finish the game by the next episode! Pre-Chat Eat, Fast and Live Longer Everything Is Not Vine (DO I HAVE APHANTASIA?! SUPER NEAT DISCUSSION :O) (YouTube) Aphantasia Baader–Meinhof effect Aphantasia: Ex-Pixar chief Ed Catmull says 'my mind's eye is blind' Subvocalization – 6 Tips To Stop It E3 Surprises Sequel to The Legend of Zelda: Breath of the Wild - First Look Trailer - Nintendo E3 2019 (YouTube) The Legend of Zelda (Series) Ganondorf Explained - Zelda: Breath of the Wild Sequel - Timeline Placement (YouTube) Breath Of The Wild Is Getting A Sequel Because The Team Had Too Many DLC Ideas (And Other Info From Zelda's Producer) Collection Of Mana and Trials Of Mana Announced - E3 2019 Baldur's Gate 3: Everything we know Viconia DeVir Edwin Odesseiron Divinity: Original Sin Baldur's Gate: Siege of Dragonspear Baldur's Gate 3 - Community Update 01 (YouTube) Elden Ring: Everything we know about FromSoftware's next game E3 Game Critic Award Nominees Watch Dogs: Legion: E3 2019 Official World Premiere Trailer (YouTube) Playing as an old lady in Watch Dogs: Legion Rhyming slang Final Fantasy VII Remake - E3 2019 Trailer | PS4 (YouTube) Final Fantasy 7 Remake's New Battle System Is A Little Like Fallout's VATS - E3 2019 Where Did Jedi: Fallen Order's No Human Dismemberment Rule Come From? Saw Gerrera Full Star Wars: Jedi Fallen Order Demo Shows Off More Of Its Metroid Influences E3 Others Cyberpunk 2077 — Official E3 2019 Cinematic Trailer (YouTube) 'Cyberpunk 2077' comes out next April, and Keanu Reeves is in it Not all Pokémon will carry over to Pokémon Sword and Shield Post-Brexit migration: how does Australia's points system work? Pokemon Call of the Trainer Cadence of Hyrule: Crypt of the NecroDancer Featuring The Legend of Zelda Gleeokenspiel - Cadence of Hyrule Soundtrack (YouTube) The Legend of Zelda: Link’s Awakening Gameplay - Nintendo Treehouse: Live | E3 2019 (YouTube) Here's How Zelda: Link's Awakening's Dungeon Editor Mode Works Rapid Fire Sony's Patented Another Way To Reduce Loading Times PS5 footage surfaces of Spider-Man running without loading screens Nintendo Says It Will Not Release A Game Before It's Ready – E3 2019 Bungie postpones Destiny 2 fixes to "preserve work-life balance" of team Respawn Details Its Plan To Keep Apex Legends Fresh, But Avoid Employee Burnout How Fortnite’s success led to months of intense crunch at Epic Games Epic Games Store extends weekly game giveaways to the end of the year Ubisoft's numbers say subtitles are really jolly popular The Steam Summer Sale Has a Weird Event Where You Fuel Race Cars By Buying Games and Earning Achievements Too Bad Steam’s Summer Sale Game Is Kinda Broken (2015) Valve forced to tweak its confusing Steam 'Grand Prix Summer Sale' Post-Chat Hong Kong-China extradition plans explained ‘Nearly 2 million’ people take to streets, forcing public apology from Hong Kong leader Carrie Lam as suspension of controversial extradition bill fails to appease protesters Police use rubber bullets as Hong Kong protesters vow ‘no retreat’  

This week Mike is joined by filmmakers Cat Davies and James Moran to discuss Romero’s divisive conclusion to his ‘Dead’ trilogy, Day Of The Dead (1985). He is then joined by filmmaker, journalist and podcaster Sam Ashurst to discuss punk masterpiece Return Of The Living Dead (1985). Music by Jack Whitney.  Visit our website www.evolutionofhorror.com  Subscribe and donate on PATREON for bonus monthly content and extra treats... www.patreon.com/evolutionofhorror  Email us!  Follow us on TWITTER Follow us on INSTAGRAM Like us on FACEBOOK Join the DISCUSSION GROUP Follow us on LETTERBOXD James Moran is a filmmaker and writer and can be found on TWITTER Cat Davies is a filmmaker and producer and can be found on TWITTER Sam Ashurst is a filmmaker and journalist and can be found on TWITTER Check out Sam's new YOUTUBE Channel, DEEP CUT VIDEOS Mike Muncer is a producer, podcaster and film journalist and can be found on TWITTER

The sex life of train drivers, Bisto Best, what's going on at Greggs, making the most out of having thick thighs, mum-plaques, Cockneys vs Tinkers and haunted motorway service stations. With Dan Reeves and Adam Firman. Subscribe and follow us for loads more important nonsense! Follow Dan and Adam on Instagram @thedanreeves @adamfirman Email the show: veryimportantveryserious@gmail.com  Music from filmmusic.ioKevin MacLeod

The Oscars, Lysette Anthony, Cockneys, North Korea, Graeme Souness’ latest masterclass, Puel’s coin-drop future and nothing about Kepa… See acast.com/privacy for privacy and opt-out information.

Sir Michael Caine has starred in over 100 movies and won two Academy Awards, and today he shares stories and advice from his remarkable career.  He reveals why he never believed in taking advice from older movie stars, why he never wanted to be James Bond, and how the 1960’s made it cool to be a young cockney in the movies.  He recalls his humble working class beginnings in the projects of London known as the Elephant Castle, shares how he learned his famous discipline while serving in the Korean War, and advises young actors to "make reliability your brand."  He talks about coming out of his self-imposed retirement over 20 years ago and says he’s getting better parts now at age 85 than he did when he was a young leading man.  Plus Michael Caine on why John Wayne never wore suede shoes, John Huston on a director's most important job, having the best time of his life filming Dirty Rotten Scoundrels, and doing Vegas with Frank Sinatra and the Rat Pack. Order Michael Caine's wonderful new book Blowing the Bloody Doors Off: And Other Lessons in Life on Amazon, Audible or wherever books are sold, and follow him on twitter at @themichaelcaine.  Today's episode was sponsored by Espresso Monster and National Security Agency Career Recruitment.  Visit Kickass News at www.kickassnews.com, subscribe to Kickass News on Apple Podcasts, and follow us on twitter at @KickassNewsPod.

It can only be episode 309 of Regular Features, and you know what that means: more tip-top audio content from the boys what love ya. Joe has been properly researching how to show someone a good time without spending any money, except on spaghetti and string. Steve had a argument with a lady so fierce that a pizza shop burned down, and Log introduces a Cockney-off that promises to completely gentrify Mile End. Cram your buds in your lugs and bang your knees together in unfettered glee!

I let him takeme to a restaurant of his choice, but on the way I bought a paper. When we hadordered our dinner, I propped it against a bottle of St. Galmier and began toread. We ate in silence. I felt him looking at me now and again, but I took nonotice. I meant to force him to conversation."Is thereanything in the paper?" he said, as we approached the end of our silentmeal.I fancied therewas in his tone a slight note of exasperation."I alwayslike to read the feuilleton on the drama, " I said.I folded thepaper and put it down beside me."I'veenjoyed my dinner, " he remarked."I thinkwe might have our coffee here, don't you?""Yes."We lit our cigars.I smoked in silence. I noticed that now and then his eyes rested on me with afaint smile of amusement. I waited patiently."What haveyou been up to since I saw you last?" he asked at length.I had not verymuch to say. It was a record of hard work and of little adventure; ofexperiments in this direction and in that; of the gradual acquisition of theknowledge of books and of men. I took care to ask Strickland nothing about hisown doings. I showed not the least interest in him, and at last I was rewarded.He began to talk of himself. But with his poor gift of expression he gave butindications of what he had gone through, and I had to fill up the gaps with myown imagination. It was tantalising to get no more than hints into a characterthat interested me so much. It was like making one's way through a mutilatedmanuscript. I received the impression of a life which was a bitter struggleagainst every sort of difficulty; but I realised that much which would haveseemed horrible to most people did not in the least affect him. Strickland wasdistinguished from most Englishmen by his perfect indifference to comfort; itdid not irk him to live always in one shabby room; he had no need to be surroundedby beautiful things. I do not suppose he had ever noticed how dingy was thepaper on the wall of the room in which on my first visit I found him. He didnot want arm-chairs to sit in; he really felt more at his ease on a kitchenchair. He ate with appetite, but was indifferent to what he ate; to him it wasonly food that he devoured to still the pangs of hunger; and when no food wasto be had he seemed capable of doing without. I learned that for six months hehad lived on a loaf of bread and a bottle of milk a day. He was a sensual man,and yet was indifferent to sensual things. He looked upon privation as nohardship. There was something impressive in the manner in which he lived a lifewholly of the spirit.When the smallsum of money which he brought with him from London came to an end he sufferedfrom no dismay. He sold no pictures; I think he made little attempt to sellany; he set about finding some way to make a bit of money. He told me with grimhumour of the time he had spent acting as guide to Cockneys who wanted to seethe night side of life in Paris; it was an occupation that appealed to hissardonic temper and somehow or other he had acquired a wide acquaintance withthe more disreputable quarters of the city. He told me of the long hours hespent walking about the Boulevard de la Madeleine on the look-out forEnglishmen, preferably the worse for liquor, who desired to see things whichthe law forbade. When in luck he was able to make a tidy sum; but theshabbiness of his clothes at last frightened the sight-seers, and he could notfind people adventurous enough to trust themselves to him. Then he happened ona job to translate the advertisements of patent medicines which were sentbroadcast to the medical profession in England. During a strike he had beenemployed as a house-painter.Meanwhile hehad never ceased to work at his art; but, soon tiring of the studios, entirelyby himself. He had never been so poor that he could not buy canvas and paint,and really he needed nothing else. So far as I could make out, he painted withgreat difficulty, and in his unwillingness to accept help from anyone lost muchtime in finding out for himself the solution of technical problems whichpreceding generations had already worked out one by one. He was aiming atsomething, I knew not what, and perhaps he hardly knew himself; and I got againmore strongly the impression of a man possessed. He did not seem quite sane. Itseemed to me that he would not show his pictures because he was really notinterested in them. He lived in a dream, and the reality meant nothing to him.I had the feeling that he worked on a canvas with all the force of his violentpersonality, oblivious of everything in his effort to get what he saw with themind's eye; and then, having finished, not the picture perhaps, for I had anidea that he seldom brought anything to completion, but the passion that firedhim, he lost all care for it. He was never satisfied with what he had done; itseemed to him of no consequence compared with the vision that obsessed hismind."Why don'tyou ever send your work to exhibitions?" I asked. "I should havethought you'd like to know what people thought about it. ""Wouldyou?"I cannotdescribe the unmeasurable contempt he put into the two words."Don't youwant fame? It's something that most artists haven't been indifferent to. ""Children.How can you care for the opinion of the crowd, when you don't care twopence forthe opinion of the individual?""We're notall reasonable beings, " I laughed."Who makesfame? Critics, writers, stockbrokers, women. ""Wouldn'tit give you a rather pleasing sensation to think of people you don't know andhad never seen receiving emotions, subtle and passionate, from the work of yourhands? Everyone likes power. I can't imagine a more wonderful exercise of itthan to move the souls of men to pity or terror. ""Melodrama.""Why doyou mind if you paint well or badly?""I don't.I only want to paint what I see. ""I wonderif I could write on a desert island, with the certainty that no eyes but minewould ever see what I had written. "我让他带我到一家他选定的餐馆，但是在路上走的时候我买了一份报纸。叫了菜以后，我就把报纸支在一瓶圣·卡尔密酒上，开始读报。我们一言不发地吃着饭。我发现他不时地看我一眼，但是我根本不理睬他。我准备逼着他自己讲话。“报纸上有什么消息？”在我们这顿沉默无语的晚餐将近尾声时，他开口说。也许这只是我的幻觉吧，从他的声音里我好象听出来他已经有些沉不住气了。“我喜欢读评论戏剧的杂文，”我说。我把报纸叠起来，放在一边。“这顿饭吃得很不错，”他说。“我看咱们就在这里喝咖啡好不好？”“好吧。”我们点起了雪茄。我一言不发地抽着烟。我发现他的目光时不时地停在我身上，隐约闪现着笑意。我耐心地等待着。“从上次见面以后你都做什么了？”最后他开口说。我没有太多的事好说。我的生活只不过是每日辛勤工作，没有什么奇闻艳遇。我在不同方向进行了摸索试验；我逐渐积累了不少书本知识和人情世故。在谈话中，对他这几年的生活我有意闭口不问，装作丝毫也不感兴趣的样子。最后，我的这个策略生效了。他主动谈起他的生活来。但是由于他太无口才，对他自己这一段时间的经历讲得支离破碎，许多空白都需要我用自己的想象去填补。对于这样一个我深感兴趣的人只能了解个大概，这真是一件吊人胃口的事，简直象读一部残缺不全的稿本。我的总印象是，这个人一直在同各式各样的困难艰苦斗争；但是我发现对于大多数人说来似乎是根本无法忍受的事，他却丝毫不以为苦。思特里克兰德与多数英国人不同的地方在于他完全不关心生活上的安乐舒适。叫他一辈子住在一间破破烂烂的屋子里他也不会感到不舒服，他不需要身边有什么漂亮的陈设。我猜想他从来没有注意到我第一次拜访他时屋子的糊墙纸是多么肮脏。他不需要有一张安乐椅，坐在硬靠背椅上他倒觉得更舒服自在。他的胃口很好，但对于究竟吃什么却漠不关心。对他说来他吞咽下去的只是为了解饥果腹的食物，有的时候断了顿儿，他好象还有挨饿的本领。从他的谈话中我知道他有六个月之久每天只靠一顿面包、一瓶牛奶过活。他是一个耽于饮食声色的人，但对这些事物又毫不在意。他不把忍饥受冻当作什么苦难。他这样完完全全地过着一种精神生活，不由你不被感动。当他把从伦敦带来的一点钱花完以后，他也没有沮丧气馁。他没有出卖自己的画作，我想他在这方面并没有怎么努力。他开始寻找一些挣钱的门径。他用自我解嘲的语气告诉我，有一段日子他曾经给那些想领略巴黎夜生活的伦敦人当向导。由于他惯爱嘲讽挖苦，这倒是一个投合他脾气的职业。他对这座城市的那些不体面的地区逐渐都熟悉起来。他告诉我他如何在马德莲大马路走来走去，希望遇到个想看看法律所不允许的事物的英国老乡，最好是个带有几分醉意的人。如果运气好他就能赚一笔钱。但是后来他那身破烂衣服把想观光的人都吓跑了，他找不到敢于把自己交到他手里的冒险家了。这时由于偶然的机会他找到了一个翻译专卖药广告的工作，这些药要在英国医药界推销，需要英语说明。有一次赶上罢工，他甚至还当过粉刷房屋的油漆匠。在所有这些日子里，他的艺术活动一直没有停止过。但是不久他就没有兴致到画室去了；他只关在屋子里一个人埋头苦干。因为一文不名，有时他连画布和颜料都买不起，而这两样东西恰好是他最需要的。从他的谈话里我了解到，他在绘画上遇到的困难很大，因为他不愿意接受别人指点，不得不浪费许多时间摸索一些技巧上的问题，其实这些问题过去的画家早已逐一解决了。他在追求一种我不太清楚的东西，或许连他自己也知道得并不清楚。过去我有过的那种印象这一次变得更加强烈了：他象是一个被什么迷住了的人，他的心智好象不很正常。他不肯把自己的画拿给别人看，我觉得这是因为他对这些画实在不感兴趣。他生活在幻梦里，现实对他一点儿意义也没有。我有一种感觉，他好象把自己的强烈个性全部倾注在一张画布上，在奋力创造自己心灵所见到的景象时，他把周围的一切事物全都忘记了。而一旦绘画的过程结束——或许并不是画幅本身，因为据我猜想，他是很少把一张画画完的，我是说他把一阵燃烧着他心灵的激情发泄完毕以后，他对自己画出来的东西就再也不关心了。他对自己的画儿从来也不满意；同缠住他心灵的幻景相比，他觉得这些画实在太没有意义了。“为什么你不把自己的画送到展览会上去呢？”我问他说，“我想你会愿意听听别人的意见的。”“你愿意听吗？”他说这句话时那种鄙夷不屑劲儿我简直无法形容。“你不想成名吗？大多数画家对这一点还是不能无动于衷的。”“真幼稚。如果你不在乎某一个人对你的看法，一群人对你有什么意见又有什么关系？”“我们并不是人人都是理性动物啊！”我笑着说。“成名的是哪些人？是评论家、作家、证券经纪人、女人。”“想到那些你从来不认识、从来没见过的人被你的画笔打动，或者泛起种种遐思，或者感情激荡，难道你不感到欣慰吗？每个人都喜爱权力。如果你能打动人们的灵魂，或者叫他们凄怆哀悯，或者叫他们惊惧恐慌，这不也是一种奇妙的行使权力的方法吗？”“滑稽戏。”“那么你为什么对于画得好或不好还是很介意呢？”“我并不介意。我只不过想把我所见到的画下来。”“如果我置身于一个荒岛上，确切地知道除了我自己的眼睛以外再没有别人能看到我写出来的东西，我很怀疑我还能不能写作下去。”

I let him takeme to a restaurant of his choice, but on the way I bought a paper. When we hadordered our dinner, I propped it against a bottle of St. Galmier and began toread. We ate in silence. I felt him looking at me now and again, but I took nonotice. I meant to force him to conversation."Is thereanything in the paper?" he said, as we approached the end of our silentmeal.I fancied therewas in his tone a slight note of exasperation."I alwayslike to read the feuilleton on the drama, " I said.I folded thepaper and put it down beside me."I'veenjoyed my dinner, " he remarked."I thinkwe might have our coffee here, don't you?""Yes."We lit our cigars.I smoked in silence. I noticed that now and then his eyes rested on me with afaint smile of amusement. I waited patiently."What haveyou been up to since I saw you last?" he asked at length.I had not verymuch to say. It was a record of hard work and of little adventure; ofexperiments in this direction and in that; of the gradual acquisition of theknowledge of books and of men. I took care to ask Strickland nothing about hisown doings. I showed not the least interest in him, and at last I was rewarded.He began to talk of himself. But with his poor gift of expression he gave butindications of what he had gone through, and I had to fill up the gaps with myown imagination. It was tantalising to get no more than hints into a characterthat interested me so much. It was like making one's way through a mutilatedmanuscript. I received the impression of a life which was a bitter struggleagainst every sort of difficulty; but I realised that much which would haveseemed horrible to most people did not in the least affect him. Strickland wasdistinguished from most Englishmen by his perfect indifference to comfort; itdid not irk him to live always in one shabby room; he had no need to be surroundedby beautiful things. I do not suppose he had ever noticed how dingy was thepaper on the wall of the room in which on my first visit I found him. He didnot want arm-chairs to sit in; he really felt more at his ease on a kitchenchair. He ate with appetite, but was indifferent to what he ate; to him it wasonly food that he devoured to still the pangs of hunger; and when no food wasto be had he seemed capable of doing without. I learned that for six months hehad lived on a loaf of bread and a bottle of milk a day. He was a sensual man,and yet was indifferent to sensual things. He looked upon privation as nohardship. There was something impressive in the manner in which he lived a lifewholly of the spirit.When the smallsum of money which he brought with him from London came to an end he sufferedfrom no dismay. He sold no pictures; I think he made little attempt to sellany; he set about finding some way to make a bit of money. He told me with grimhumour of the time he had spent acting as guide to Cockneys who wanted to seethe night side of life in Paris; it was an occupation that appealed to hissardonic temper and somehow or other he had acquired a wide acquaintance withthe more disreputable quarters of the city. He told me of the long hours hespent walking about the Boulevard de la Madeleine on the look-out forEnglishmen, preferably the worse for liquor, who desired to see things whichthe law forbade. When in luck he was able to make a tidy sum; but theshabbiness of his clothes at last frightened the sight-seers, and he could notfind people adventurous enough to trust themselves to him. Then he happened ona job to translate the advertisements of patent medicines which were sentbroadcast to the medical profession in England. During a strike he had beenemployed as a house-painter.Meanwhile hehad never ceased to work at his art; but, soon tiring of the studios, entirelyby himself. He had never been so poor that he could not buy canvas and paint,and really he needed nothing else. So far as I could make out, he painted withgreat difficulty, and in his unwillingness to accept help from anyone lost muchtime in finding out for himself the solution of technical problems whichpreceding generations had already worked out one by one. He was aiming atsomething, I knew not what, and perhaps he hardly knew himself; and I got againmore strongly the impression of a man possessed. He did not seem quite sane. Itseemed to me that he would not show his pictures because he was really notinterested in them. He lived in a dream, and the reality meant nothing to him.I had the feeling that he worked on a canvas with all the force of his violentpersonality, oblivious of everything in his effort to get what he saw with themind's eye; and then, having finished, not the picture perhaps, for I had anidea that he seldom brought anything to completion, but the passion that firedhim, he lost all care for it. He was never satisfied with what he had done; itseemed to him of no consequence compared with the vision that obsessed hismind."Why don'tyou ever send your work to exhibitions?" I asked. "I should havethought you'd like to know what people thought about it. ""Wouldyou?"I cannotdescribe the unmeasurable contempt he put into the two words."Don't youwant fame? It's something that most artists haven't been indifferent to. ""Children.How can you care for the opinion of the crowd, when you don't care twopence forthe opinion of the individual?""We're notall reasonable beings, " I laughed."Who makesfame? Critics, writers, stockbrokers, women. ""Wouldn'tit give you a rather pleasing sensation to think of people you don't know andhad never seen receiving emotions, subtle and passionate, from the work of yourhands? Everyone likes power. I can't imagine a more wonderful exercise of itthan to move the souls of men to pity or terror. ""Melodrama.""Why doyou mind if you paint well or badly?""I don't.I only want to paint what I see. ""I wonderif I could write on a desert island, with the certainty that no eyes but minewould ever see what I had written. "我让他带我到一家他选定的餐馆，但是在路上走的时候我买了一份报纸。叫了菜以后，我就把报纸支在一瓶圣·卡尔密酒上，开始读报。我们一言不发地吃着饭。我发现他不时地看我一眼，但是我根本不理睬他。我准备逼着他自己讲话。“报纸上有什么消息？”在我们这顿沉默无语的晚餐将近尾声时，他开口说。也许这只是我的幻觉吧，从他的声音里我好象听出来他已经有些沉不住气了。“我喜欢读评论戏剧的杂文，”我说。我把报纸叠起来，放在一边。“这顿饭吃得很不错，”他说。“我看咱们就在这里喝咖啡好不好？”“好吧。”我们点起了雪茄。我一言不发地抽着烟。我发现他的目光时不时地停在我身上，隐约闪现着笑意。我耐心地等待着。“从上次见面以后你都做什么了？”最后他开口说。我没有太多的事好说。我的生活只不过是每日辛勤工作，没有什么奇闻艳遇。我在不同方向进行了摸索试验；我逐渐积累了不少书本知识和人情世故。在谈话中，对他这几年的生活我有意闭口不问，装作丝毫也不感兴趣的样子。最后，我的这个策略生效了。他主动谈起他的生活来。但是由于他太无口才，对他自己这一段时间的经历讲得支离破碎，许多空白都需要我用自己的想象去填补。对于这样一个我深感兴趣的人只能了解个大概，这真是一件吊人胃口的事，简直象读一部残缺不全的稿本。我的总印象是，这个人一直在同各式各样的困难艰苦斗争；但是我发现对于大多数人说来似乎是根本无法忍受的事，他却丝毫不以为苦。思特里克兰德与多数英国人不同的地方在于他完全不关心生活上的安乐舒适。叫他一辈子住在一间破破烂烂的屋子里他也不会感到不舒服，他不需要身边有什么漂亮的陈设。我猜想他从来没有注意到我第一次拜访他时屋子的糊墙纸是多么肮脏。他不需要有一张安乐椅，坐在硬靠背椅上他倒觉得更舒服自在。他的胃口很好，但对于究竟吃什么却漠不关心。对他说来他吞咽下去的只是为了解饥果腹的食物，有的时候断了顿儿，他好象还有挨饿的本领。从他的谈话中我知道他有六个月之久每天只靠一顿面包、一瓶牛奶过活。他是一个耽于饮食声色的人，但对这些事物又毫不在意。他不把忍饥受冻当作什么苦难。他这样完完全全地过着一种精神生活，不由你不被感动。当他把从伦敦带来的一点钱花完以后，他也没有沮丧气馁。他没有出卖自己的画作，我想他在这方面并没有怎么努力。他开始寻找一些挣钱的门径。他用自我解嘲的语气告诉我，有一段日子他曾经给那些想领略巴黎夜生活的伦敦人当向导。由于他惯爱嘲讽挖苦，这倒是一个投合他脾气的职业。他对这座城市的那些不体面的地区逐渐都熟悉起来。他告诉我他如何在马德莲大马路走来走去，希望遇到个想看看法律所不允许的事物的英国老乡，最好是个带有几分醉意的人。如果运气好他就能赚一笔钱。但是后来他那身破烂衣服把想观光的人都吓跑了，他找不到敢于把自己交到他手里的冒险家了。这时由于偶然的机会他找到了一个翻译专卖药广告的工作，这些药要在英国医药界推销，需要英语说明。有一次赶上罢工，他甚至还当过粉刷房屋的油漆匠。在所有这些日子里，他的艺术活动一直没有停止过。但是不久他就没有兴致到画室去了；他只关在屋子里一个人埋头苦干。因为一文不名，有时他连画布和颜料都买不起，而这两样东西恰好是他最需要的。从他的谈话里我了解到，他在绘画上遇到的困难很大，因为他不愿意接受别人指点，不得不浪费许多时间摸索一些技巧上的问题，其实这些问题过去的画家早已逐一解决了。他在追求一种我不太清楚的东西，或许连他自己也知道得并不清楚。过去我有过的那种印象这一次变得更加强烈了：他象是一个被什么迷住了的人，他的心智好象不很正常。他不肯把自己的画拿给别人看，我觉得这是因为他对这些画实在不感兴趣。他生活在幻梦里，现实对他一点儿意义也没有。我有一种感觉，他好象把自己的强烈个性全部倾注在一张画布上，在奋力创造自己心灵所见到的景象时，他把周围的一切事物全都忘记了。而一旦绘画的过程结束——或许并不是画幅本身，因为据我猜想，他是很少把一张画画完的，我是说他把一阵燃烧着他心灵的激情发泄完毕以后，他对自己画出来的东西就再也不关心了。他对自己的画儿从来也不满意；同缠住他心灵的幻景相比，他觉得这些画实在太没有意义了。“为什么你不把自己的画送到展览会上去呢？”我问他说，“我想你会愿意听听别人的意见的。”“你愿意听吗？”他说这句话时那种鄙夷不屑劲儿我简直无法形容。“你不想成名吗？大多数画家对这一点还是不能无动于衷的。”“真幼稚。如果你不在乎某一个人对你的看法，一群人对你有什么意见又有什么关系？”“我们并不是人人都是理性动物啊！”我笑着说。“成名的是哪些人？是评论家、作家、证券经纪人、女人。”“想到那些你从来不认识、从来没见过的人被你的画笔打动，或者泛起种种遐思，或者感情激荡，难道你不感到欣慰吗？每个人都喜爱权力。如果你能打动人们的灵魂，或者叫他们凄怆哀悯，或者叫他们惊惧恐慌，这不也是一种奇妙的行使权力的方法吗？”“滑稽戏。”“那么你为什么对于画得好或不好还是很介意呢？”“我并不介意。我只不过想把我所见到的画下来。”“如果我置身于一个荒岛上，确切地知道除了我自己的眼睛以外再没有别人能看到我写出来的东西，我很怀疑我还能不能写作下去。”

Have you seen a fox? Have you seen men in tights? Great, now enjoy this week's Dream Factory.Find The Dream Factory on all of your social media channels and send us YOUR film suggestions by leaving a review on iTunes or emailing us: dreamfactorypod@gmail.com The Dream Factory is a comedy podcast that turns YOUR film ideas into movie masterpieces. Become a member at https://plus.acast.com/s/dreamfactory. Hosted on Acast. See acast.com/privacy for more information.

De vandrande, och ibland spurtande, döda är fokus för veckans avsnitt. Med avstamp kring de mer oortodoxa filmerna Cockneys vs Zombies och Pride and Prejudice and Zombies diskuterar vi den moderna zombiefilmen. Hur tacklar dagens filmvärld att simpla vandrande lik med hjärna på tungan inte riktigt är tillräckligt längre. Andra filmer som tas upp är: […]

Movies discussed: 13 Sins, Cottage Country, Cockneys vs. Zombies, Suckablood (short) Charlie and Matt are running the show this week while Josh is on vacation. We assume he’s staying in every motel in which the proprietor has a host of mommy issues. Next weeks assignments: Folklore theme Thale Kill List Jug Face The Faeries of Blackheath Woods (short) Watch along with us if you like and we’ll see you next week. The post Episode 98 – The Rudder’s Come Off Man! appeared first on Horror Show Hot Dog.

In this special interview, I chat with writer, producer and director Matthias Hoene who directed the 2012 comedy horror Cockneys vs. Zombies and the upcoming 2016 fantasy kung fu epic, The Warrior's Gate.   Check out the trailer here: https://www.youtube.com/watch?v=308lg5Y_qkw    

Sheran James of The Sharin' Hour on KX 93.5 talks about Brexit, Cockneys and the “other” Royals.

Talking about creativity and the anxiety that comes with it with writer/director James Moran (Doctor Who, Torchwood, Cockneys vs Zombies).

Guns of Hollywood talks about all the action and guns in Cockneys vs. Zombies (2012). We’re joined this episode by Ezra Bristow our resident UK armorer.

Guns of Hollywood talks about all the action and guns in Cockneys vs. Zombies (2012). We're joined this episode by Ezra Bristow our resident UK armorer.

Join Jessi, Freak, and Micro for their pilot episode of Zombie Anonymous! This week they discuss Cockneys vs Zombies, Improvised Weapons, their Zombie Apocalypse Plans, The Walking Thread, and are joined by Mike Caldwell of "The XD Experience" for some great conversation.

Kicking off the first June episode of Reel CinemAntics and always you have your hosts Wade C (me) and Jeremy G storming your ears like we did at Normandy. Good show this week, we have an appearance from Jeremys friend Jose on the show weighing in with our shenanigans. We talk about A Million Ways To Die In The West, our Netflix review of Cockneys vs Zombies, and then The Reel Showdown segment of Hulk vs Doomsday, and always we talk about the news in TV and film. Kick back with a cold one and enjoy.

On this week's most Bodacious of horror podcasts, your inefficacious anchors Gill and Roscoe are joined by not one but two very special guests! First up, we talk to Matthias Hoene, the director of the excellent horror comedy "Cockneys vs Zombies" (2012) (featuring a stellar cast of British players, including Alan Ford, Honor Blackman, Michelle Ryan and Richard Briers). Matthias tells us about his experiences of living in East London and how the unique cockney mindset influenced this most original of fright flick. Next, we have an interview with Trevor Juenger, who presents us with an altogether different take on the genre, in the form of his psychological arthouse feature, "Coyote" (2013), starring BoHoPo and fan favourite, Bill Oberst Jr. Trevor chats to us about his particular vision for 21st Century cinema, expressed through both his work and his DIY KINO manifesto, his influences and creative processes. Matthias Hoene: www.cockneysvszombies.com www.matthiashoene.com Trevor Juenger: www.diykino.org Gill & Roscoe: Website: www.bodacioushorror.co.uk Twitter: @BodaciousHorror and @GillRockatansky Email: feedback@BodaciousHorror.co.uk Facebook: www.facebook.com/BodaciousHorror Gill & Roscoe are proud members of the Horrorphilia Podcasting Network (www.horrorphilia.com).

Our good buddy and honorary Deadite, Jim Smith of the amazing band Teeel hangs out with the crew to review the horror/comedy, Cockneys vs. Zombies and to discuss the recent interview he conducted with our own Tiny Wight on his blog, iheartsynths.com. Dynamo and Sir Isaac apologize to Outside the Cinema in an attempt to quell the ongoing feud. We also make some big announcements regarding upcoming releases and we get some controversial voicemails this week. What are you waiting for? Listen now!Topics discussed: Tiny/Nytmare collaboration, Big Scary Monster remixes, Kavinsky, nihilistic film endings, Alan "Fucking" Ford, pod racing, Dynamo's hat, Hepatitis, Guy Ritchie, big drum sounds, Tiny's synth collection, musket museum, Voyager XL, Tiny's Chupacabra adventure, iheartsynths.com, diseased meat Hot Pockets, cassette compilations, Oracle’s sanctum, Outside the Cinema, info on the new Teeel release, Depeche Mode compilation, layering drums, Simon Pegg, LoLed out loud, Danny Boyle, pulled pork, Moon Knight, Pirates, goats, the killing people you know fantasy, Chia Pet beards, NCW, watta wings, porn, MonsterZero’s catch phrases, old people, the character you always want in a zombie movie, CGI, Shaun of the Dead, smoke and blood, “It's No Good”, Warm Bodies, In The Lavender and Lock, Stock and Two Smoking Barrels.Support the show (https://www.patreon.com/trickortreatradio)

On Episode 81, we have an interview with the best referee in the world of pro wrestling, CHIKARA’s senior official, Mr. Bryce Remsburg. Bryce drops by to chat about all the happenings in the CHIKARAsphere and he also hits on Dynamo’s special lady friend. Our featured film review is the Sci-Fi/Horror flick, +1. We also have a big old nerdy conversation about super teams, our favorite heroes and the facial hair stylings of a certain emerald archer. Pull out your long boxes, mylar bags and cardboard backing boards and be sure not to crease the corners while listening to this episode!Topics discussed: Captain Britain and M13, Marshal Law, Clerks 2, Last House on the Left remake, Cockneys vs Zombies, MonsterZero's bullying, Easton PA stuck in the past, Deloreans, OTC, Invasion of the Body Snatchers, creepy ‘stache, kill counts, Horace Pinker, Adam Sandler on the Cosby Show, Fencing, Aniversario super no vacancy, Nashua and Springfield, 100 best super teams of all time, Dynamo 5, boxes of wine, UFC, slow moving evil, The Crpytocast, Jushin Liger, time travel, vending machines vs sharks, Legion of Superheroes, Facebook stalking, 2.0, Tommy Young, Green Arrow’s facial hair, Dynamo's reviews of Wolfie and MR's critique style, Ravenshadow’s rhymes, Icarus tattoo, CHIKARA returns, great referees, MonsterZero's fear of snow, Tiny on eBay, National Pro Wrestling Day, threesomes in a library, NIN, tech Issues, Goodfellas, photos of hot ladies on the FIB, Infinity Inc, Wawa, DIY, flaming tennis, Bryce Remsburg, Ophidian and Green Ant, "what's up", people not playing well together, bad CGI, A Clockwork Orange, the Ashes shorts, subtle vacancy, CHIKARA jumping on point, PWG, Monsterzero is a pussy, Ravenshadow's wedding, Dennis Iliadis, Shocker, chupacabra uprising, Bobby Chaynz and Pete Wisdom!Support the show (https://www.patreon.com/trickortreatradio)

Hello! Welcome back from my 2 week podcast hiatus!  A little behind the scenes action is that I recorded this Movie Monday episode on day 2 of my podcasting vacation...  Addiction is not a laughing matter lol.  I discuss: Somebody Up There Likes Me, Cockneys vs. Zombies, and The Heat.

Holly Smurf! This week I Preview Review Smurfs 2, 2 Guns, Cockneys vs Zombies, and the first ever TV Preview Review, Welcome to The Family starring the one and only Mike O2019Malley.

Holly Smurf! This week I Preview Review Smurfs 2, 2 Guns, Cockneys vs Zombies, and the first ever TV Preview Review, Welcome to The Family starring the one and only Mike O2019Malley.

Woluld you buy a used pig from this man? Yep we’re back… AGAIN. After someone’s honey moon break we’re back to full podcasting strength and jump straight back into it with news of why James Cromwell is looking so weird in that pic, what’s going on with the next Star Wars and Turtles movies and our reviews of...(deep breath)… Wreck it Ralph, Beasts of the Southern Wild, Lincoln, Cockneys vs Zombies, Hitchcock, Life of Pi ( Gavin’s review) and our take on Cloud Atlas. Phew! In amongst all that we’ve also got some more news and we talk about the trailers below. If you are an iTunes user you may think we’ve been even quieter recently that we have actually been; you see unfortunately the iTunes feed …um broke. It should be all fixed now so you should have a nice backlog to listen to ( thanks to Nev for pointing this out, you should check out his band  on twitter @youthmass). Here’s the show notes so you can play along at home: Here’s the video of James Cromwell’s PETA protest at Wisconsin University Awesome red band Trailer for Danny Boyle’s Trance Trailer for Welcome to the Punch starring James McAvoy & Mark Strong The trailer for The Hangover part III Trailer for Kevin Smith & Scott Mews in Jay & Silent Bob's Super Groovy Cartoon Movie The latest action packed trailer for Star Trek Into Darkness And finally another trailer for Will & Jaden Smith’s After Earth      

Endnu en found-footage film finder vej til DD skærmene og det er åbenbart blevet tid til at minde om, hvad man skal og ikke skal gøre i den forbindelse. Dennis ser klassiker fra sin Top 10 liste, men har mindre held med en anden klassiker. Så har vi tegnefilm, hemmelige agenter, tidsrejse og zombier! Følgende titler omtales: 0:04:15 National Lampoon's Vacation 0:09:29 The Road to El Dorado 0:15:56 Charlie's Angels 0:25:01 Charlie's Angels: Full Throttle 0:32:32 The Substitute (1996) 0:39:48 Devil's Playground 0:45:46 Strings 0:59:18 Munich 1:20:15 The Bay 1:32:28 Seeking a Friend for the End of the World Bluray 1:42:24 Cockneys vs. Zombies Bluray 1:50:53 Safety Not Guaranteed

We don't know where your zombies are, but we know where we keep ours - Episode 194 of Mail Order Zombie.  This time around, Brother D reviews the new zombie movie Cockneys vs Zombies (dir. Matthias Hoene) and then ropes Miss Bren into talking about [REC] 2 (dir. Jaume Balagueró, Paco Plaza) and The Bay (dir. Barry Levinson) . . . but not necessarily in that order - this episode of MOZ was recorded in the most random way possible with the Feedback Discussion being recorded with Bren and D Monday night, the Cockneys vs Zombies review Wednesday night, and the reviews of three short movies from The Collective Vol. 5 (Voice Over, They Said They Were Here to Help, and (se) XX_Z (ombie) sometime in between.  We've even lost track of when the review of the first three episodes of season two of The Walking Dead was recorded!  Jimmy and Eric from Galacic Gaming News seemed a bit more on the ball with their update on the latest in zombie video game news.INTRO (00:00)[REC] 2 / THE BAY (05:11)COLLECTIVE VOL. 5 (18:40)VIDEO GAME NEWS (29:46)THE WALKING DEAD (35:45)COCKNEYS VS ZOMBIES (50:55)FEEDBACK Mail Order Zombie Facebook Group - http://tinyurl.com/facebookmozMail Order Zombie Twitter - http://www.twitter.com/mailorderzombieEmail us at MailOrderZombie@gmail.com or call us at 206-202-2505!Chronicles of the Nerds - http://chroniclesofthenerds.com/JABB pictures - http://www.jabbpictures.com/Medieval Zombie Dilemma - http://ericlinden.com/medieval-zombie-dilemma-film-by-freddiew-fire-by-action-factory/Galactic Gaming News -http://www.galacticgamingnews.tumblr.comGalactic Gaming News Facebook - http://www.facebook.com/galacticgamingnewsDead Island: Riptide - http://www.ign.com/articles/2012/10/30/dead-island-riptide-release-date-announced?abthid=5090b304be10adde15000070The Walking Dead: Survival Instinct - http://www.ign.com/articles/2012/10/25/the-walking-dead-shooter-gets-a-new-titleZombiU multiplayer - http://www.ign.com/articles/2012/10/29/first-zombiu-multiplayer-details-surfaceResident Evil 6 patch - http://www.ign.com/articles/2012/10/24/huge-resident-evil-6-update-incoming(Some production music produced by Kevin MacLeod.)

Show 1 of Source Radio's Favourite show!

The first week Bonfire Night Special.

The Problems: the Greek dessert crisis (from the root, disagreeos); analyzing the tactical dearth of mousse in the Maginot Line; a shared fate for Ernst Röhm and the Clampett family; disruptive oninonomics behind food that blooms; no Abrahamic sandwiches for Halal the Elder; some phallocentric appeals of flan and its equipment; John’s beef with the compulsory heat of Turkey’s nuts; why hasenpfeffers are expendable; ruined by a young Marlo Thomas; when *M*A*S*H* got all Chachi; line-editing Raymond Carver’s cocktail napkins; accent on the fakeyest Cockneys, Guv’na; formally moving on to African-American-tie racism; efforts to secure Ann-Margret’s hips (and flips) a place on our canonical phalanx; John’s morbid—and ultimately unfounded—fear of Neil Young’s doobie; saving a lovely, dark-haired girl from hipster yodeling; and some editorial follow-up on why Merlin could still use a good Pounding. Ep. 05: “Carry on, Maude” - Roderick on the Line - Merlin Mann on Huffduffer “La carte des desserts” by tedseverson Roderick on the Line Ep. 05 Show Notes

Grade 4