Podcasts about Geldof

In our latest episode, we dive into the haunting story behind I Don't Like Mondays by The Boomtown Rats and honor the powerful legacy of Bob Geldof. More than a chart-topping hit, the song sparked global reflection—and Geldof's passion led to the legendary Live Aid and Live 8 benefit concerts, raising millions for famine relief. Tune in as we pay tribute to music that made a difference.#BobGeldof #IDontLikeMondays #BoomtownRats #LiveAid #Live8 #MusicHistory #PodcastTribute #BenefitConcerts #80sMusic #SongWithAStory #MusicForChange #NewPodcast

Is there anybody who doesn't know the name Bob Geldof? Along with the Sex Pistols and the Clash, Geldof and the Boomtown Rats are attributed with changing the face of music. A significant part is due to the Live Aid concert and Geldof's activism – which is part of the reason he's made his way to our shores. Geldof has a couple of dates lined up in New Zealand, coinciding with the 40th anniversary of Live Aid and the 50th anniversary of the Boomtown Rats. The show's called ‘An Evening with Bob Geldof: Songs and Stories from an Extraordinary Life', and it's a slightly different type of show than he normally performs. Geldof told Mike Hosking that it leans more theatrical, with visuals and songs accompanying the storytelling element. “It's not something I'd normally do,” he continued. “In the summer, as you said, the Rats are 50, we do all the big festivals and then we're talking off mic about, y'know, suddenly Bobby Boomtown's in the house." "The sagacious quiet person you're listening to right now becomes something else.” This show is set to be a bit less intense, Geldof jokingly warning people to bring a sleeping bag as the stories may go on for a while. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Bob Geldof is a musician, an activist, a charity man, and a Knight of the British Empire... despite being an Irishman. He rose to fame as a member of The Boomtown Rats, but in 1984 an item on the 6 o'clock news sparked him to create one of the world's most memorable charity drives; Band Aid and then eventually Live Aid, raising money to end famine in Ethiopia. Geldof is in Wellington this week to share stories of his life and joined Nick Mills to discuss his legacy and what audiences can expect at Saturday's show at the St James Theatre. LISTEN ABOVESee omnystudio.com/listener for privacy information.

En 1984, le Townhouse, studio londonien créé par Richard Branson, le patron de Virgin, a transformé le quartier de Shepherd's Bush en endroit branché tant on croise tous ceux qui hantent le Top 40. Pas étonnant que parmi les Simple Minds, Elton John ou Bryan Ferry, Phil Collins y ait pris ses quartiers pour enregistrer ce qui sera déjà son troisième album solo. Le téléphone sonne. Qui le demande ? Bob Geldof. Le chanteur des Boomtown Rats, un groupe new wave de la première heure mais dont l'heure de gloire semble déjà passée. Que lui veut-il ? Encore un qui veut se faire produire par Phil Collins ? Passe-le moi !Vous l'avez compris, les deux hommes ne se connaissent pas et pourtant, Geldof va direct au but : Tu as vu les infos à la BBC ?Non, là, je suis dans les bois. Une expression de Quincy Jones pour dire que quand on est en studio, on est hors du monde. Et là, Geldof de lui raconter le reportage qu'il a vu la veille à la BBC avec ces gens qui meurent de faim en Ethiopie et ce médecin obligé de décider qui va vivre ou pas, car ils n'a pas reçu assez de nourriture des associations.J'ai décidé avec ma femme, une animatrice télé très populaire, de faire quelque chose. On ne peut pas attendre. J'ai besoin d'un batteur très connu alors j'ai pensé immédiatement à toi.Pour faire quoi ?Quelques jours plus tard, le 25 novembre, Phil se retrouve un dimanche au Sarm Studios, qu'il ne connaît que trop bien, y ayant enregistré trois albums avec Genesis du temps de Peter Gabriel. Un autre studio de Richard Branson mais racheté par Trevor Horn, le leader des Buggles, il est devenu le repère de la scène pop des années 80. On le devine, entouré des jeunes Spandau Ballet, Culture Club et autres Bananarama, Phil Collins a l'impression d'être dans les pages d'un magazine teenager comme le Smash Hits. D'autant plus qu'il les voit défiler, chanter toute la journée en attendant que ce soit son tour de jouer. Et quand vient le moment, ils sont tous là à le regarder, derrière sa batterie, quand Midge Ure d'Ultravox, le producteur, lui dit, tu commences ici et tu fais ce que tu veux ! Ah bon ? Top, vas-y !Et Phil, le casque sur les oreilles, improvise sa piste de batterie. Il n'en mène pas large, évidemment. Mais quand le morceau s'arrête, il entend Midge crier un grand Impeccable ! Tout le monde l'applaudit. T'es sûr ? J'ai envie de la refaire. Non, pas besoin, il est tard. Et voilà, one take comme Frank Sinatra. Phil Collins fait alors la connaissance de Bono et parle un peu avec Sting à qui il propose de venir faire les chœurs sur son prochain album No jacket Required. Ainsi Sting lui proposera-t-il de faire un duo au Live Aid qui deviendra mythique : Genesis et The Police, deux univers si lointains et pourtant. La boucle est bouclée, Phil Collins est vraiment l'incarnation de ces années de renouvellement que furent les années 80, il est, comme dans le clip de cette chanson, le roi du monde. Avec humour, bien sûr, regardez-le jusqu'à la fin.

Ce n'est pas parce que c'est le milieu d'une décennie dont on parle beaucoup mais je peux vous dire qu'on a particulièrement aimé vivre les années 1984, 85. Pourquoi ? Parce qu'après le plaisir de la découverte de nouveaux artistiques au début des années 80, toutes ces chanteuses, chanteurs et groupes qui jouent des musiques nouvelles et dont entre parenthèses aucune ne ressemble aux autres, en 1984, au rythme de leurs sorties, beaucoup d'entre eux sont devenus des stars.Et donc les images de la BBC réalisées ce dimanche 25 novembre au matin sont réjouissantes. Même si nous sommes en plein Londres, à Notting Hill, il faut rappeler que dans les années 80, le dimanche, tout est fermé, y compris les pubs. Et donc l'attroupement énorme devant le Sarm Studios ne passe pas inaperçu dans le quartier. Des journalistes, photographes, cameramen, assistent et immortalisent, en effet, l'arrivée de la plus grande concentration de pop stars.Alors bien sûr, on n'est pas à Hollywood où comme on le verra avec We are the world, les stars arrivent en limousine fringuées, coiffées et maquillées façon show bizness. Non, ils ont beau vendre des millions de disques, ces Britanniques sont chez eux, alors Sting arrive à pied, avec son journal sous le bras, les trois chanteuses de Bananarama débarquent d'une Volkswagen, et le reste est à l'avenant. Bien sûr qu'ils sont au courant qu'ils vont être photographiés et filmés pour la presse mais it's sunday morning et on est entre copains. Paul Weller, l'ex-leader de The Jam, aujourd'hui Style Council, est là depuis très tôt. Comme Phil Collins, et pourtant il ne jouera pas de sa batterie avant la soirée. Paul Young discute avec Gary Kemp et Tony Hadley de Spandau Ballet dans un couloir, les Status Quo boivent un café dans la salle de prise de son qui est particulièrement spacieuse. Il faut dire que c'est une ancienne nef d'église qui offre donc toute la place pour les grands ensembles de musiciens et aussi une réverbération naturelle unique. C'est ici qu'ont été enregistré des classiques comme Stairway to Heaven de Led Zeppelin ou We will rock you de Queen. Ah ben oui, la fameuse scène du film Bohemian Rhapsody, et ben c'est là.Le studio a alors changé de main, il appartient désormais à Trevor Horn, l'ex-chanteur des Buggles, devenu un des plus grand producteurs du monde, il vient d'y produire Frankie Goes to Hollywood, Yes, ABC ou encore Grace Jones. Raison pour laquelle, Geldof lui demande d'accueillir gratuitement toutes ces stars du Band Aid pour enregistrer Do they know it's christmas ? Pas de problème mais Trevor n'a rien de libre avant six semaines. Enfin si, un seul jour, le dimanche 25 novembre. Banco ! Geldof accepte le challenge et fait venir tout le monde le jour dit, et vous savez quoi ? Ils ont remis ça plusieurs fois pour les vingt, trente et quarante ans de cette incroyable aventure. La nouvelle version de 2024 est un mashup de toutes les époques, toutes les générations. Même si les temps ont bien changé, l'esprit Band Aid est toujours là, qui aurait cru ça, il y a 40 ans exactement.

Décembre 1984, peu après la St Nicolas, nous découvrons à la télé de courts reportages dans lesquels on voit toutes nos nouvelles stars de la New Wave, mais pas que, bref des membres de U2, Spandau Ballet, Duran Duran, Culture Club ou The Police, chanter et jouer ensemble, avec Phil Collins. La chanson s'appelle Do They Know it's Christmas et est éditée pour rassembler un maximum d'argent pour lutter contre la famine en Afrique. Ce n'est évidemment pas le premier disque du genre charity bizness. Même s'il n'y en a pas encore eu beaucoup, on se souvient du coffret Bengla Desh de George Harrison et ses amis en 1971, ou encore du concert annuel Secret Policeman's Ball au profit d'Amnesty International. Mais celui-ci va dépasser tout ce qu'on a connu jusqu'à présent car dès sa sortie, il monte à la première place, se vend dans le mois à 3 millions d'exemplaires rien qu'en Grande-Bretagne et atteint la première place dans treize autres pays dont la Belgique. Près de douze millions de singles vendus, c'est deux fois Billie Jean au même moment, c'est énorme. Il faut dire que les images du reportage de la BBC montrant des humanitaires en Ethiopie contraints de choisir quels enfants vont vivre car ils n'ont pas reçu assez de nourriture pour les sauver tous, a secoué tous les téléspectateurs dont Bob Geldof, le chanteur du groupe les Boomtown Rats et sa femme, l'animatrice télé Paula Yates.Et justement, quelques jours plus tard, fin octobre 1984, à Newcastle, elle reçoit sur leplateau de son émission musicale, Midge Ure, le leader du groupe Ultravox. Quand Geldof, resté à Londres, appelant sa femme, apprend que son pote Midge est de l'émission, il lui dit : passe-le moi. T'as vu les images à la BBC ?Oui, je n'ai jamais rien vu d'aussi terrible. J'en avais les larmes aux yeux.Tu as vu les vagues de donation du public après le reportage ? T'es au courant ? Si on faisait quelque chose aussi ?Tu veux dire des donations, appeler nos potes à faire pareil ?Et si au lieu de demander aux gens de donner, on leur demandait d'acheter un truc, un disque sur lequel tout le monde abandonne ses droits pour maximiser le bénéfice ? Geldof et Midge Ure conviennent de se voir le lundi 5 novembre pour en parler et le croirez-vous, le 7 décembre, le disque Do They Know it's Christmas est en vente partout. Avec le casting le plus hallucinant des années 80 quand on sait la place que tous ces jeunes artistes occupent encore aujourd'hui dans notre vie 40 ans après, qu'on ait connu l'époque ou pas.Les auteurs compositeurs Midge Ure et Bob Geldof ont, bien sûr, abandonné leurs droits au profit de l'aide humanitaire. Ils comptaient récolter quelques dizaines de milliers de livres, ils vont en envoyer 8 millions en Ethiopie. Bob Geldof enchaînera avec le festival télévisé Live Aid au mois de juillet 85. Et si vous ne voyez toujours pas qui est Bob Geldof, c'est lui qui chante cette chanson qui lui avait été inspirée, elle aussi, par un moment d'horreur télévisée.

Thats right folks, it's a whole new season, it's a whole new look (Courtesy of John Delucca), it's a whole new us! But in most of the really critical ways it is very much the same us.  It's time for the long-awaited "Heist Szn"(sic)- and we open with a little film called Heat. You may have heard of it. Joining us is Dr. M.R. Geldof, host of the Dr Violence podcast! ----- FREE PALESTINE Hey, Devon here. For the past few months I've been talking to a family trapped in Gaza, working to cover their daily living costs amidst repeated displacements in the Genocide. Their names are Ahmed and Layla, and their 4 kids are Jana, Malik, Lana and Amir. Anything you can contribute would mean the world to me. They deserve to live. They deserve to survive. https://www.gofundme.com/f/a8jzz-help-me-and-my-family-get-out-of-the-gaza-strip https://www.map.org.uk/donate/donate ----- Consider supporting us on our reasonably-priced patreon! https://www.patreon.com/killjamesbond ------ WEB DESIGN ALERT Tom Allen is a friend of the show (and the designer behind our website). If you need web design help, reach out to him here:  https://www.tomallen.media/ Kill James Bond is hosted by November Kelly, Abigail Thorn, and Devon. You can find us at https://killjamesbond.com

Janice BREEN Burns Janice Breen Burns is a highly respected fashion journalist, editor and features writer of more than 30 years experience in metro daily newspapers and more recently, digital media. Voxfrock.com.au is her digital blogzine based on the variety of content and style of newspaper fashion pages.Renowned for her industry knowledge and witty, realistic insights into the role of fashion in everyday life. She is a frequent contributor to workshops and seminars, industry panels, radio and television reports relevant to fashion and its culture. She is listed annually from the inaugural issue of  “Who's Who of Australian Women”, was admitted to the Stonnington Fashion Hall of Fame in 2011.She has also judged the Victoria Racing Club's Fashions on the Field series during the Melbourne Cup Carnival since 1982.So we're thrilled to have her join us on the pod to talk all things fashion after a stunning sun soaked Melbourne cup with Oaks Day tomorrow the ladies are getting ready to launch …In 2013 she was appointed to the board of the Melbourne Fashion Festival, a not-for-profit event that attracts more than 350,00 fans every year.So welcome back Janice thrilled to have you join me again on the WhatIveLearntPodcast podcast .. for a fashion check up ! Noting it's the US election today which feels rather dystopian let's hone in on our premium local fashion fare here in downtown Melbourne From Heiress Nicky Hilton Rothschild and Australian designer Rebecca Vallance to .. Elizabeth and Damien Hurley to dapper Sir Bob  Geldof and Singer Ronan Keating there was a vast array of who's who .. from here and abroad .. why do they love us so much ? Deborah's Instagram: https://www.instagram.com/what.ive.learnt/Mind, Film and Publishing: https://www.mindfilmandpublishing.com/Apple Podcast: https://podcasts.apple.com/au/podcast/what-ive-learnt/id153556330Spotify: https://open.spotify.com/show/3TQjCspxcrSi4yw2YugxBkBuzzsprout: https://www.buzzsprout.com/1365850

Joining Ruth to open their jewellery box on this episode is iconic Londoner and forever fashion icon, Pixie Geldof. Pixie not only reveals some of her most treasured jewellery, she also opens her little black book of London recommendations. There's also time for some home renovation chat and a look down festival memory lane. Shop Pixie's all time favourite Daisy piece at 20% using the code PIXIE20 - stay tuned to hear which piece it is. *Code valid for 1 week, expires 24th September 2024.    Follow Daisy: @daisylondon Follow Ruth: @ruthbewsey Follow Pixie: @pixiegeldof Learn more about your ad choices. Visit megaphone.fm/adchoices

Live Aid was a historic benefit concert held simultaneously at Wembley Stadium in London and JFK Stadium in Philadelphia on July 13, 1985. The event was organized by Boomtown Rats frontman Bob Geldof and Ultravox vocalist Midge Ure. The movement that led to Live Aid began with the release of the successful charity single “Do They Know It's Christmas?” in December 1984. This song, written by Geldof, inspired a global effort to alleviate the devastating famine in Ethiopia.  #history #Beverly #mafia #⁠beverlyhils #truecrime #tedbundy #truecrimecommunity #truecrimeaddict #truecrimememes #killers #killer #murder #mindhunter #murderer #kansas #icp #ouijamacc #juggalettes #juggalo #bondage #twiztid #thegathering #murdermuseum #eldorado #odditiesandcuriosities #caveman #oddities #rare #parkcity #death #charlesmanson #jeffreydahmer #edgein #crime #horror #darkart #richardramirez #halloween #criminal #horrorart #creepy #btkart #truecrimeart #truecrimepodcast #cannibal #albertfish #r #thriller #netflix #truecrimejunkie #horrormovies #history #selfie #truecrimefan #homicide #mystery #truecrimeobsessed #scary #serialkillerart #truecrime #truecrimecommunity #truecrimepodcast #crime #murder #podcast #truecrimeaddict #serialkiller #serialkillers #truecrimejunkie #horror #unsolved #murderino #podcastersofinstagram #truecrimeobsessed #mystery #ssdgm #truecrimefan #killer #truecrimememes #unsolvedmysteries #creepy #paranormal #podcasts #history #tedbundy #criminal #scary #podcasting #coldcase #murdermystery #bookstagram #death #buzzfeedunsolved #crimescene #truecrimepodcasts #missingperson #missing #halloween #crimejunkie #news #myfavoritemurder #spooky #supernatural #truecrimestories #homicide #ryanbergara #shanemadej #murderer #podcaster #truecrimebooks #memes #spotify #podernfamily #boogara #shaniac #jeffreydahmer #police #s #justice #history #ww #travel #art #photography #architecture #love #culture #nature #travelphotography #photooftheday #s #historia #instagood #historical #worldwar #heritage #india #instagram #museum #italy #war #vintage #memes #picoftheday #ig #europe #photo #explore #ancient#germany #historymemes #usa #beautiful #travelgram #follow #historic #france #music #military #italia #castle #historylovers #a #medieval #life #education #like #facts #landscape #storia #world #old #city #historyfacts #archaeology #upsc #america #wwii #Podcasthost #Aftermath #aftermathpodcast #podcast #binge #bingepodcast #podcasttips newpodcastalert #slander #Hudson #aftermath #history #updates #storiesyouforgotabout #WW1 #WW2 #attack #terrorattack #nostalgia #Queen #mercury #FreddyMercury #truecrime #truecrimecommunity #truecrimepodcast #crime #murder #podcast #truecrimeaddict #serialkiller #serialkillers #truecrimejunkie #horror #unsolved #murderino #podcastersofinstagram #truecrimeobsessed #mystery #ssdgm #truecrimefan #killer #truecrimememes #unsolvedmysteries #creepy #paranormal #podcasts #history #tedbundy #criminal #scary #podcasting #coldcase #murdermystery #bookstagram #death #buzzfeedunsolved #crimescene #truecrimepodcasts #missingperson #missing #halloween #crimejunkie #news #myfavoritemurder #spooky #supernatural #truecrimestories #homicide #ryanbergara #shanemadej #murderer #podcaster #truecrimebooks #memes #spotify #podernfamily #boogara #shaniac #jeffreydahmer #police #s #justice #forgotten history #The Aftermath #Alamo #thealamo #NewPodcastAlert #Live Aid #liveaid --- Send in a voice message: https://podcasters.spotify.com/pod/show/daniel-hudson9/message

The Possibility Club podcast: at the One Young World Summit 2023   Special Episode 2: LEADERSHIP!   The One Young World Summit 2023 in Belfast was a significant gathering of young leaders from over 190 countries, representing a diverse array of professions and backgrounds. This annual event is renowned for its focus on accelerating social impact and empowering young leaders to address pressing global challenges.   For more detailed information about the Summit, you can visit the official One Young World website here. ----------    Featuring interviews or speeches from:   Crystal Asige: Crystal Asige is a Nominated Senator in Kenya and a renowned singer. Despite losing her eyesight due to glaucoma, she has made significant strides in both music and politics. Asige advocates for the rights of the youth and persons with disabilities. She was nominated to the Senate by the Orange Democratic Movement in 2022. Asige is known for her music career, including an independent album released in November 2023. For more about Crystal Asige, visit Kenyans.co.ke​ Daniel Zapata Castro: Daniel is a celebrated peace-builder from Colombia and a coordinating ambassador for One Young World, focusing on social entrepreneurship in his region. More details can be found on One Young World. Bob Geldof: Bob Geldof is an Irish singer-songwriter and political activist, best known as the lead singer of The Boomtown Rats. He co-wrote and organized the charity song "Do They Know It's Christmas?" and the Live Aid and Live 8 concerts for famine relief in Africa. Geldof is an advocate for social justice and poverty alleviation in Africa, serving as an adviser to the ONE Campaign. He was granted an honorary knighthood for his charitable efforts. For more on Bob Geldof's life and work, visit Wikipedia. Natalie Ainsworth: Natalie represents AstraZeneca and is involved in fostering positive change. Her professional background and contributions can be explored on LinkedIn. Geraldine Dichamp and Steve Edney: From Pernod Ricard (and Expression for Growth), they represent Pernod Ricard and focus on responsible alcohol consumption and corporate dialogue with future consumers. Geraldine's profile is available on LinkedIn. Steffi Malina Kabre: A first-time attendee and One Young World Ambassador, Steffi works with the UN World Food Programme, focusing on women's health in Burkina Faso. Her professional details can be found on LinkedIn. Madina Abacar: Madina is a finance professional and influential blogger from Mozambique, known for her foundation supporting young women's professional careers. More about her journey is available at Lionesses of Africa. Anxhela Bruci: An Albanian woman trafficked as a child, Anxhela now focuses on helping others exploited by modern slavery. Her LinkedIn profile provides more insights: LinkedIn.     ------   This episode was recorded in October 2023 Interviewer: Richard Freeman for always possible Editor: CJ Thorpe-Tracey for Lo Fi Arts   For more visit www.alwayspossible.co.uk

I knew Bob socially as a kid growing up in Dun Laoghaire. I photographed the launch of the Boomtown Rats' first album and interviewed Geldof for the first time in 1989. I also interviewed Paula Yates while they were married. Bob has hated me since this interview in 2000. Maybe he has every right to, given this line of questioning. You decide. 

MSP GLOBAL, bought to you by the creators of CloudFest, is an opportunity to join the top leaders in the MSP space to gain the insights and make the connections you'll need to thrive in this constantly changing industry.  Soeren talks about some of the headline speakers that will be taking to the stage including Sanna Marin, Former Prime Minister & Head of Government of Finland. It isn't every day that we get to hear about the youngest Prime Minister of Finland making her mark, especially in such a male-dominated sphere. Soeren passionately emphasised how vital such progress is for the MSP industry and how we could all benefit from hearing her insights. This young Prime Minister's journey, where 14 out of her 17 cabinet members were women, is truly inspiring.      Soeren highlighted the inclusion of Philip Wisler, former Vice Chancellor of Germany, on the same day's itinerary. As someone deeply involved in the tech realm and invested in numerous cybersecurity companies, his grounded understanding of the tech landscape promises invaluable insights.    Our banter took a light-hearted turn when Christian cheekily remarked about having two politicians on stage and the jazz hands that would ensue. But the day's excitement doesn't end there. We also delved into the realm of motorsport, which is the backdrop for this event, and trust me, the names dropped are bound to make any motor enthusiast's heart race. From the Former Head of Motorsport at Mercedes-Benz, Norbert Haug (who signed Lewis Hamilton!), to Martin Tomczyk, a significant figure in German motorsport, the day promises a blend of adrenaline and inspiration.    And then, the crescendo – Sir Bob Geldof. For those of us who remember Live Aid, Geldof's influence on the music industry is undeniable. It's exciting to anticipate what pearls of wisdom and tales of his journey he might share with us.    As we drew towards the end of our chat, Soeren introduced a topic that resonates deeply with everyone in the MSP Global community: the whistleblower of the Wirecard scandal. The cascading effects of this scandal touched numerous lives, either directly or indirectly. With the recent introduction of the new EU whistleblower law, MSPs have a role in educating their customers, making this discussion crucially relevant.    Christian summed it up perfectly. The Wirecard scandal might have been a blemish, but it's an opportunity for learning and growth. And yes, for MSPs, it's also a chance to bridge the gap between requirements and solutions, ensuring compliance with the new regulations around whistleblowing.    Now, onto the cherry on top! We're hosting a special prize draw for all our listeners. You have until COB Friday 6th October to enter this draw. We've got some spectacular treats in store, from VIP tickets worth €999 each to exhilarating rides with professional racing car drivers valued at €499 each. Enter the draw through the sign-up form linked in the episode, and you might just be one of our lucky winners. Make sure to mark your calendars – we'll be notifying the winners on Friday 13th October at 10:00.  Join us at the MSP Global Event by registering HERE    Sign up to enter the prize draw by clicking HERE    Connect with me on LinkedIn and see what I'm up to by clicking HERE  To join our amazing Facebook Group of over 300 MSPs where we are helping you Scale Up with Confidence, then click HERE    Until next time, look after yourself and I'll catch up with you soon! 

Beaky's boys leave the beer halls of Hungary, a pre-canonisation Geldof does some ungainly flailing, Ben and Tracey rework a former chart-topper, Neneh's bro gifts a guitar line to Avicii, Westlife are morphed into chipmunk soul, and a mic-chucker serves up "hot tamale!"YouTube playlist // Spotify playlist // extra tracks & bonus bitsTo join in with the voting, please submit your 1st, 2nd and 3rd favourites, plus your "most bad and hated" selection, to:The Patreon Supporters Club // Twitter/X: @whichdecadetops // Threads: @whichdecadetops // Facebook // whichdecadeistops@gmail.comThe voting deadline for this episode is 6pm UK time, Tuesday August 22nd 2023. Hosted on Acast. See acast.com/privacy for more information.

Welcome to an audio-led edition of Unmade.Today's edition features an interview with Disrupt Radio's chief commercial and innovation officer, Rob Shwetz. We left the interview with almost as many questions as we went in, but perhaps with a better sense of what Australia's newest radio network does not want to talk about.Tim Burrowes writes:I find business fascinating. I adore startup stories. And I'm a media nerd. So I should be absolutely in love with the story of Disrupt Radio, which combines all three.The network launched last month, online, and with DAB+ licences in Sydney, Melbourne and Brisbane.But the more I find out, the more sceptical I become. For a radio network using public airwaves, there's a lot of undisclosed information about its ownership.Listening to today's interview with Rob Shwetz, chief commercial and innovation officer at Disrupt Radio, may leave you with almost as many questions as you had before you started. However, the conversation should help you understand why I'm puzzled by so much of the Disrupt Radio launch.Unless you work in the media industry, I wouldn't blame you if you have missed the story of Disrupt Radio so far. I certainly wouldn't be expecting many listeners to have yet had the awareness to tune in. There's been some publicity, but I haven't seen any paid ads looking to attract an audience, although the company says it has done some outdoor.The best known presenters are Enterprise Breakfast host Libbi Gorr and Startup Nation host Jules Lund. Thinkerbell's Adam Ferrier is a weekly co-host on Gorr's show, while another ad industry stalwart Siimon Reynolds presents The Business Lounge.Among the curious things about Disrupt Radio is that the management won't say who its financial backers are. In the interview, Shwetz claims not to know, despite having worked alongside Roberts on the launch for the past five years.Given that there's a staff of about 20, that suggests an annual cost base of at least $2m, and probably more.I suppose it's in keeping with Disrupt Radio's communications strategy, which Schwetz describes in the interview as “PR by stealth”.Similarly, Shwetz says he has no idea what the marketing budget is for the station during this current financial year already under way. To be clear, marketing is one of his responsibilities.Schwetz's previous background has included director of client strategy at Fairfax Media's client content arm, Made. And he also spent five years as group strategy director of Mediacom in Sydney. Earlier in his career, he lists six years as strategy director for brand, media and creative at Publicis.Yes, it's a fast-moving startup (albeit one five years in the planning), but he is the person in charge of marketing. Most CMOs would know by now what their budget for FY24 is.There are other things which are a puzzle. Did wealthy (and busy) former rock star Bob Geldof really travel over from the UK and spend a week in Melbourne co-presenting the breakfast show with Libbi Gorr just out of his love of the radio medium? That feels a little unlikely, despite Shwetz's insistence that it's the case. “There's nothing more than him coming and loving the medium”.Similarly, one of the hitherto less commented-upon presences on the daily lineup is UK polemicist Rod Liddle, who interviews entrepreneurs for a daily show called Global Disruptors (or perhaps Disrupters; they spell it both ways on the Disrupt website).Liddle is a great get. It's strange they've done so little to promote this. Liddle is a massive name in UK media. He was a hugely controversial (and successful) editor of BBC Radio 4's flagship Today program, and currently writes for News Corp's daily tabloid The Sun and broadsheet The Sunday Times, along with influential right wing weekly The Spectator. He writes beautifully. Yet they haven't mentioned him. It would be like Andrew Bolt popping up on a hospital radio station in the UK and nobody thinking that seemed comment-worthy.Could it be that there are UK investors involved in the station? Maybe even Geldof, most prominent globally for his role in creating Live Aid, but he's also been an investor in media ventures. Shwetz says not.Shwetz declines in the interview to name any investors. Incidentally, since recording the podcast, I've emailed Disrupt Radio to ask that question directly.Perhaps sports radio minnow Sports Entertainment Network, run by Craig Hutchinson, has a stake. The DAB+ licences came from SEN, Shwetz said during the interview, and staff work from their offices. “It's quite a close commercial and working relationship with SEN”.Shwetz also declines in the interview to share how listening numbers have been via streaming so far, although he claims they have exceeded expectations.He makes an ambitious statement about the network's aims for audience, saying the company aims to hit a weekly cumulative reach of 250,000 to 300,000. That would be about the same as ABC Radio National.Not that Shwetz would commit to signing up to the ratings system, claiming that they haven't had time to think about it. Remember, this is a startup five years in the making.I wonder what level of data they will provide to early sponsors, who include Telstra and GWM.To be clear, this interview was not a case of catching the wrong person unawares. When the PRs for Disrupt Radio proposed Shwetz for the interview, rather than Benjamin Roberts who we had been asking to talk to for months, we questioned whether he'd be qualified. We sent through examples of four podcasts I'd previously recorded with other start ups and media bosses to give a sense of the topics I ask about, in case they were not regular listeners.They replied: “We've put Rob up for this because he's actually more suited to your audience, as he is head of marketing, advertising and media relations. He's worked alongside Ben to develop and launch the company over the past 5 years which was how the station was founded.”With Roberts off the table, we decided to go ahead with the Shwetz interview.This may be a slightly frustrating read, because you may have got to this point feeling like you know less than you did at the beginning. Give it a listen and decide for yourself.In all our podcasts, I finish by asking our guest what their supporters say about them, and what their detractors say. Shwetz's reply was: “The critics are saying they're going to give us six months.”Fair enough.For the record, I'd still love to talk to Benjamin Roberts.Audio production was courtesy of Abe's Audio, the people to talk to about voiceovers, sound design and podcast production.Message us: letters@unmade.media This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.unmade.media/subscribe

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Mirando el cartel del Live Aid de 1985 tardas menos nombrando a los ausentes que a los presentes. No estuvo ni Prince, ni Springsteen ni Michael Jackson. Casi todos los demás acudieron a la llamada de Bob Geldof, que un año antes un reportaje de la BBC sobre la hambruna en Etiopía cambió su vida para siempre. Bob decidió hacer algo y acabó montando uno de los eventos más gigantes y arriesgados de la música. Un festival con dos sedes en dos países diferentes y con todos los grandes nombres de los últimos 20 años. En esos conciertos actuaron Paul McCartney, Queen, U2, Madonna, Led Zeppelin, los Who, Dire Straits, Bob Dylan, Neil Young, los Beach Boy y la lista sigue y sigue.En el Live Aid sucedieron mil cosas. Hubo fallos técnicos que dejaron sin sonido el micro de Paul McCartney durante Let It Be, también hubo reuniones imposibles como Led Zeppelin, Black Sabbath o los Beach Boys. También hubo duetos enormes, colaboraciones imposibles y mucha estrella dando conciertos de andar por casa.También hubo momentos eternos, la mayoría de ellos tuvieron lugar en Wembley. El más recordado lo protagonizó Queen que dio un pase de 25 minutos mágicos e inolvidables que sirvieron para recordar al mundo la altura de Freddie Mercury como cantante. Otro momento tuvo a Bono de U2 de protagonista, cuando rescató del público a un chica que estaba siendo aplastada y se puso a bailar con ella. También brilló David Bowie cantando Heroes y Elton John con la actuación más larga de la cita.En el Live Aid sucedieron muchas cosas y se recaudó mucho dinero. Luego hubo polémicas y críticas por el uso que se hizo de todos esos millones y por las formas de Geldof, pero ante todo quedaron algunas actuaciones eternas y la sensación de que la música y los músicos tenían fuerza para cambiar las cosas.

This is a fun re-post from 2021, with me remembering teenage encounters with Mr Geldof in Dun Laoghaire and showing just how cool I was as a kid - not! It's one of my 'Singles' podcasts because it lasts roughly the same time as, say, a single such as I Don't Like Mondays. I hope it makes you smile. No, Bob, I don't mean you! 

For transcriptions and more detailed shownotes, please go to:  https://swordschool.com/podcast/swordbeards-and-violence-with-dr-mark-geldof/ To support the show, come join the Patrons at  https://www.patreon.com/theswordguy Dr. Mark Geldof specialises in all kinds of historical violence. He has a DPhil in history from the University of Oxford on Change and Continuity in English Elite Conceptions of Violence, 1450-1560 and an M.A. entitled The Heart, the Foot, the Eye to Accord: Procedural Writing and Three Middle English Manuscripts of Martial Instruction. He got into swords through the SCA, and he explains how the knowledge he gained through whacking people with sticks has influenced his work. We talk about the three English sword texts from the 15th century, and how Mark wrote a 122 page master's thesis with a 22 page bibliography on 400 lines of text. He has plenty of advice for the amateur historian on avoiding pitfalls and making sure that you are studying the best sources. We also talk about why what seems like excessive violence is actually necessary or expected, and how humans can keep going even after they've been stabbed in the heart or skewered on a spear, so if you're going to kill someone, you've got to keep going until they are definitely dead. There are lots of useful links for this episode. Firstly, we refer to the episodes with Paul Wagner and Mike Prendergast that you might want to listen back to. And here are the links from Mark: - Link to the Patreon: https://patreon.com/dr_violence - Link to the MA thesis download: https://harvest.usask.ca/handle/10388/ETD-2011-08-77?show=full (note that these transcriptions are not perfect, in this ed. But they are better than what's been around most often) - Link to the doctoral thesis for those interested: https://ora.ox.ac.uk/objects/uuid:6d6be72b-b6ea-460f-b222-beb0547465eb - The most current edition of Titus A xxv: https://bl.iro.bl.uk/concern/articles/614dcee4-907c-4ab8-879d-5143b0e5c673?locale=en - Gentileschi Judith and her Maidservant 1: https://discover.hubpages.com/art/Judith-and-her-Maidservant---My-Take - Judith and Maidservant 2: https://en.wikipedia.org/wiki/Artemisia_Gentileschi#/media/File:Artemisia_Gentileschi_Judith_Maidservant_DIA.jpg - Judith slaying Holofernes: https://en.wikipedia.org/wiki/Judith_Slaying_Holofernes_%28Artemisia_Gentileschi,_Naples%29#/media/File:Artemisia_Gentileschi_-_Judith_Beheading_Holofernes_-_WGA8563.jpg  - See the shownotes on Swordschool.com for the draft of the paper on the Additional ms that's in submission right now. 

The guys go deep on history of the UK, Cool Britannia, and that time the Queen of England scheduled elective surgery to avoid a certain front man. SHOW NOTES: Songs used in this episode: "Death Cab for Cutie" by The Bonzo Dog Doo Dah Band https://en.wikipedia.org/wiki/Elizabeth_II https://en.wikipedia.org/wiki/Knight https://www.iheart.com/content/2022-09-08-5-of-the-best-and-most-controversial-rock-songs-about-queen-elizabeth-ii/ https://ultimateclassicrock.com/queen-elizabeth-ii-rock-connections/ https://www.thegazette.co.uk/awards-and-accreditation/content/103372 https://ultimateclassicrock.com/rock-stars-knighted/ https://www.billboard.com/lists/musicians-knighted-queen-elizabeth-ii-honors/ Beatles newsreel footage: https://youtu.be/GAoBNvg0DZU 1986 LA Times article on Geldof's knighting: https://www.latimes.com/archives/la-xpm-1986-06-10-mn-10030-story.html https://faroutmagazine.co.uk/mick-jagger-rolling-stones-knighthood-queen-elizabeth-refusal/ https://en.wikipedia.org/wiki/Cool_Britannia https://en.wikipedia.org/wiki/Bonzo_Dog_Doo-Dah_Band 2002 ABC News piece on Jagger Knighthood: https://abcnews.go.com/WNT/story?id=130290&page=1 https://www.theguardian.com/books/2012/aug/17/mick-jagger-biography-andersen-review Excerpt from the Andersen book: https://www.dailymail.co.uk/tvshowbiz/article-2174622/Did-Rolling-Stones-Mick-Jagger-affair-Princess-Margaret.html

Welcome to this week's pod in which various white-hot topics are brought in for questioning, among them … … Whatever happened to Dando Shaft? … Alastair Sim, Terry-Thomas and flowsy saxophones in The Belles of St Trinian's … Does it matter if music-making acts are fictitious or that rappers are artificial and produced by computer graphics and AI? … how many people were in Keith Tippett's Centipede (the clue's in the name)? … Titus Groan and Demon Fuzz … is there anything the lily-livered music business is prepared to defend? … puddings delivered by Deliveroo … Jann Wenner and the caviar spoons … the ‘greening' of Reading Festival … and what kind of sane world allows pop music at hotel breakfasts?----------Grab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30 day money-back guarantee!----------Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world, with full visuals, and ad-free!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Welcome to this week's pod in which various white-hot topics are brought in for questioning, among them … … Whatever happened to Dando Shaft? … Alastair Sim, Terry-Thomas and flowsy saxophones in The Belles of St Trinian's … Does it matter if music-making acts are fictitious or that rappers are artificial and produced by computer graphics and AI? … how many people were in Keith Tippett's Centipede (the clue's in the name)? … Titus Groan and Demon Fuzz … is there anything the lily-livered music business is prepared to defend? … puddings delivered by Deliveroo … Jann Wenner and the caviar spoons … the ‘greening' of Reading Festival … and what kind of sane world allows pop music at hotel breakfasts?----------Grab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30 day money-back guarantee!----------Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world, with full visuals, and ad-free!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Welcome to this week's pod in which various white-hot topics are brought in for questioning, among them … … Whatever happened to Dando Shaft? … Alastair Sim, Terry-Thomas and flowsy saxophones in The Belles of St Trinian's … Does it matter if music-making acts are fictitious or that rappers are artificial and produced by computer graphics and AI? … how many people were in Keith Tippett's Centipede (the clue's in the name)? … Titus Groan and Demon Fuzz … is there anything the lily-livered music business is prepared to defend? … puddings delivered by Deliveroo … Jann Wenner and the caviar spoons … the ‘greening' of Reading Festival … and what kind of sane world allows pop music at hotel breakfasts?----------Grab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30 day money-back guarantee!----------Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world, with full visuals, and ad-free!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Johnny Turnbull Blockheads, Geldof, Dave Stewart, and many more  In this episode I chat with the wonderful Johnny Turnbull. Johnny plays a few tunes and a few instruments as well, great fun!   Born in Newcastle-upon-Tyne, England on 27th August 1950 Motto: I am always in the right place at the right time doing the right thing. In Johnny's own words Some of the bands I have enjoyed working with are: Skip Bifferty, The Chosen Few, Loving Awareness, Glencoe, Nick Lowe, Dave Stewart and the Spiritual Cowboys, Eurythmics, Talk Talk, London Beat, Paul Young, Bob Geldof, World Party, Kaos Band, but most of all 'The Blockheads'. I have also sung and played on film soundtracks since 1960's, most famous film being 'Get Carter' starring Michael Caine. Pastimes and hobbies:- Yodelling / Skodelling / Whistling. Also whilst you are here... why not visit www.sandraturnbull.co.uk?John Turnbull (musician) To support the podcast and get access to features about guitar playing and song writing visit https://www.patreon.com/vichyland and also news for all the creative music that we do at Bluescamp UK and France visit www.bluescampuk.co.uk For details of the Ikaro music charity visit www.ikaromusic.com Big thanks to Josh Ferrara for the music 

John Heilemann talks with Bob Crawford, bassist for The Avett Brothers and creator of Concerts of Change: The Soundtrack of Human Rights, a new audio docu-series on SiriusXM. Through conversations with artists including U2's Bono, Bob Geldof, and Joan Baez, historian Douglas Brinkley, and civil rights icon Andrew Young, Crawford explores the surge in humanitarian and political activism by musicians -- particularly focused on Africa -- in the seventies and eighties. Heilemann and Crawford discuss the rise of star-studded benefit shows from George Harrison's Concert for Bangladesh to Live Aid; the genesis and behind-the-scenes stories of the chart-topping charity singles "Do They Know It's Christmas?" and "We Are The World"; the singular influence of Geldof in launching Band Aid and Live Aid; the role played by Steven Van Zandt's "Sun City" in ending apartheid in South Africa; and how Bono institutionalized his activist impulses to help combat poverty and AIDS in Africa. They also reflect on Crawford's career with The Avett Brothers, and how his daughter Hallie's battle with cancer changed him and his band. See acast.com/privacy for privacy and opt-out information.

In this amazing round up of the God and the Devil story arc we are joined by its creative tea; writer/creator Matt Wagner, penciler/inker Jay Geldof and penciler/inker John K. Snyder III. In this rousing discussion we cover it all! From their start at a San Diego Wendys to Eppy's final hurrah. A truly inspiring and entertaining chat with these comic luminaries! For more Jay Geldof: Insta: https://www.instagram.com/jaygeldhof/ Grab Jay's new book: https://www.waynealanharold.com/shop/p/jay-geldhofs-rollover-vol-1?fbclid=IwAR2cuWjyffLydCD6VQIZdVMHRx1W_rfXCHxhzPb9Dg3tRsmTOQitJZA_nP0 For more John K Snyder III: Insta: https://www.instagram.com/johnksnyder3/ Web: https://www.johnksnyder.com/ Also, if you leave us a 5 star review on Apple Podcasts we'll get you in line for our epic one of a kind Grendel Zine with art from The Pander Bros, John K. Snyder, Joe Matt and tons more!! Leave a review and follow us on instagram @GrendelCast and then email me a photo of your review and your shipping address! It's amazing! Email me at Eli@CosmicLionProductions.com For our YouTube Video Playlist CLICK HERE!!! Eli Schwab https://cosmiclionproductions.com @CosmicLion on Instagram Ben Granoff @BenGranoff on Instagram https://bengranoff.gumroad.com/ Much love to Matt Wagner who is now on instagram @MattWagnerComics And check Brennan Wagners killer new website out!!  https://brennanwagnerart.com/ Spotify! https://open.spotify.com/show/1jzmBWoPHse5b2oNVbMwOu?si=OFofifuxTyKjeITOmHWxQA  

Der Song stammt aus dem Jahr 1986 und wurde auf Bob Geldofs ersten Soloalbum „Deep in the heart of nowhere“ veröffentlicht. Geldof, der kürzlich 70 Jahre alt wurde, beschreibt darin die Schönheit der Welt, aber auch ihre Verletzlichkeit. Mit „This is the World Calling" konnte Geldof nicht an den Erfolg seiner 1975 gegründeten New-Wave-Band „The Boomtown Rats“ – jeder kennt sicher den Ohrwurm „I'dont like Mondays“ - anknüpfen. Und natürlich auch nicht an den seiner Live-Aid-Konzerte, mit denen er Mitte der 80er Jahre viele Millionen Spenden für Afrika sammelte. Für Udo Dahmen, künstlerischer Leiter der Popakademie in Mannheim, ist der Song trotzdem beachtenswert.

President, Taoiseach, Tanaiste, Geldof and more besides all on Late Lunch today courtesy of that man of many voices the wonderful Oliver Callan. She's one of us - yes Charlene Mathieson feels right at home in Termonfeckin. Chelsea Farrell is looking for a man with the help of Mammy and Paul Carroll. Meath artist and sculptor John Fitzgerald opens an exhibition of his new work that's been a while in the making. Andrea McArdle thanked all in sundry for their support for the Louth/Meath branch of Down Syndrome Ireland and Gerry believes the Rats Banana Republic is as relevant today as ever... See acast.com/privacy for privacy and opt-out information.

In this ep Ivan details how to bring on labor, tooth decay & lawsuits. Emma, meanwhile, solves that pesky "world peace" issue with a cheeky strum. Geldof, call me. 

Jön a globális minimumadó, de meddig tudja magát kihúzni Magyarország belőle? - Weinhardt Attila, a portfolio.hu vezető elemzője. ARANYKÖPÉS: Bob Geldof. ÉSZJÁTÉK: vasút, Tibetben, 3000 méteren, ami 160-nal megy? Igen, ez épül. Ki lehet jelenteni: elindult a negyedik hullám, mi pedig gatyát letolva várjuk.

For fans of continuity, here's yet another week where fitness is strictly off the menu. Instead, we're big on culture and brain learnin' of all kinds! From modern pop gossip about Ben Affleck creeping into the DMs of celebs and civilians alike to Stephen's admiration – nay adoration! – of one Adolf Hitler by way of popular public speech patterns through the ages. Also in this week's episode, Adam's unified Geldof's Law theory and conversation on the greatest Irish person of all time (spoiler: it isn't Stephen's Austrian crush).

This is an edited section from a longer podcast I made last year. I am separating this section and making it a stand-alone podcast simply because literally thousands of people have listen to, and watched on YouTube my recent podcasts based on a 1993 interview I did with Paula. Here, yes, I put Geldof, whom I knew, to whatever degree - mostly socially - since we were teenagers, under pressure in relation to Paula, and songs on his latest album at the time, Sex, Age and Death.' He later complained to an editor that I was "a bit rough on" him and we haven't spoken since. This podcast is not for the weak of heart! 

In my eBook Bob Geldof: The Joe Jackson Interviews Plus, Bob - whom I have known, socially, since we were kids - reacts angrily against the questions I posed in defence of Paula Yates, who had died. He said I didn't really know anything about her or about their relationship. Did I? You decide. Here, in the first half-hour podcast of three, is Paula uncensored, soul searching and having lots of fun talking about owning Napolean 's dick, her book Village People, feminism, the role of a mother, being tortured by tabloids since she was 14, lusting after Daniel Day-Lewis, her children and a certain Mr Geldof. If you are tight-assed it might be best not to listen, there are no holds barred.  

In this episode of the Crack House Chronicles, we discuss Brenda Ann Spencer who is America's first female school shooter. On January 29, 1979, 16-year-old Brenda killed two people and wounded nine students when she fired on San Diego's Grover Cleveland Elementary School with a . 22-caliber rifle from her family's house across the street. https://crackhousechronicles.com/ Check out our MERCH! https://www.teepublic.com/user/crackhousechronicles Sponsors: https://betterhelp.com/chc If you use this link or or Promo Code CHC, BetterHELP will give you 10% off your first months bill. Sources: https://en.wikipedia.org/wiki/Cleveland_Elementary_School_shooting_(San_Diego) https://murderpedia.org/female.S/s/spencer-brenda.htm https://soapboxie.com/government/I-Dont-Like-Mondays-Tell-Me-Why-The-Story-of-a-School-Shooting  

The model, activist, and Wild At Heart's longest serving ambassador reminisces with Nikki about their trip to Puerto Rico for Pixie's first trip abroad to rescue dogs. She also talks about cruelty-free products, veganism and the impact Busta, her long coat chihuahua made on her life.

Model. Singer. Tabloid proclaimed wild child. Pixie Geldof gets candid about her personal style. What was it like growing up in the public eye during a time when the paparazzi were social media? How does her parents' style influence the way she dresses? And what was she thinking when she wore stripper heels to the British Fashion Awards? Pixie takes us through her take on event dressing and how she decided what to wear to a Royal wedding (a last minute borrowed Celine number, of course!), why she wore a pretty Moschino dress to the Met Gala when the theme was punk and the story behind that iconic pixie haircut. See all the looks Pixie talks about on Instagram @whatwereyouthinkingpodcast and check out our Twitter and TikTok @WWYT_podcast See omnystudio.com/listener for privacy information.

In another GHQ magazine exclusive, famed Boomtown Rats front man Bob Geldof is interviewed by Alan McGee (no introduction needed here!) discussing everything from punk, glam-rock and music (and its failings). Music has always been the epicenter of Geldof's life, and it was also discussed during the interview how Alan felt Sir Bob could've found a life as a writer. Other subjects discussed are relevant bands, social media and how easy it is to be famous with little or no effort. Is there a perfect time for (another) social revolution? Instead, let's discuss the conversations between himself and Prince Charles. It's well known that Bob Geldof was frontman for the late '70s to mid '80s Irish punk rock band the Boomtown Rats. He also conceived and co-wrote Band Aid's tune “Do They Know It's Christmas?” with his friend, musician Midge Ure of Ultravox, which became the 1984 Christmas number one in the UK and the best-selling British pop single until that time. Wikipedia reported that Geldof was granted an honorary knighthood (KBE) by Elizabeth II in 1986 for his charity work in Africa; although it is an honorary award as Geldof is an Irish citizen he is often referred to as ‘Sir Bob'. He is a recipient of the Man of Peace title which recognises individuals who have made “an outstanding contribution to international social justice and peace”, among numerous other awards

Please note that this is Part 2, of a three-part podcast. Part 1 is available on this website, Part 3 will follow in a few weeks. The following is the description from Part 1, it applies to all three parts. 'This episode on The Joe Jackson Interviews series differs from most of my other podcats. For one thing, it is based on my eBook, Bob Geldof: The Joe Jackson Interviews Plus. The ‘Plus' in the title refers to the fact that the eBook contains the uncensored versions of the two major interviews we did, first in 1989, then in 2001, and a fragment of memoir. Growing up in Dun Laoghaire I knew Geldof, albeit from a distance that was largely defined by the fact that he came from the so-called right side of the tracks and I came from the other side. Even so, our paths crossed on countless occasions in local teenage meeting places such as Murray's Record Centre, Bamboo Café, at parties. We also had a mutual friend called Peter Finnegan. And later again Bob and I met in the dole office. I have fond memories of us talking about bands like The Animals and Bob saying he wanted to be a Rockstar. I wanted to be a writer. By 1977 he had become a Rockstar I was a photographer for Irish rock magazine Hot Press. I photograph Geldof on stage in Dalymount park and at the launch of the first album by The Boomtown Rats. All of this is probably why towards the end the second part of this 2001 interview – it will follow in another podcast - Bob says he is uncomfortable being interviewed by me because I know too much about him, although that comment may have more to do with the instinctual insights into his psyche which I gleaned during this interview. Afterwards, he phoned my editor and said that I had been a “bit too hard on” him, to which the editor, replied, “Joe was only being as hard on you as you were on interviewees when you worked  for this magazine!” But it would appear that Geldof doesn't agree with my contention that by pushing him as hard as I did it led to, arguably, the most mercilessly honest interview he had given and or has given since. Nor has Bob spoken to me since this interview, professionally or, on a personal level. Did I push him too hard? You decide. The interview coincided with the release of his album, Sex, Age and Death. The typescript of the original article – never published in full in any magazine – can be seen at joejacksoninterviewer.com. The eBook is available wherever you buy your eBooks.

Elis James, Mike Bubbins and Steff Garrero head to the bar to talk about Marcus Dupree and Mike rants about money… You can get in touch with the team on social media https://twitter.com/distantpod https://facebook.com/distantpod https://instagram.com/distantpod You can find the clips from the Episode on our playlist https://www.youtube.com/thesociallydistantsportsbarClipsSteff: George North for Lions v Israel Folau https://www.youtube.com/watch?v=WTaPONca-3oMike: 10 cent beer night https://youtu.be/LzWVDyqTolIElis: A 20min video about Eddie Hall doing a 500kg deadlifthttps://www.youtube.com/watch?v=mnZ4ftlifikDocumentary choice from Mike: 30 for 30. The Best That Never Was https://www.youtube.com/watch?v=BAwBqlGqGgEClipsMike: NHL Press Conferences https://youtu.be/f7O6mpfkea4Elis: Gary Sobers hits six sixes at St Helen's https://www.youtube.com/watch?v=8u7A0MvB9egSteff: Real Zaragoza v Ajax 1987 ECWC semi https://m.youtube.com/watch?v=wK-NqVduvP8 BooksSteff: What I talk about when I talk about running by Haruki Murukami https://amzn.to/3jkdLaR Elis: I am the Secret Footballer by Anon https://amzn.to/2CvJbKE Mike: No Spin. The autobiography of Shane Warne https://amzn.to/2CuHxc4

  From the introduction to this podcast. Joe Jackson July 18th, 2020.   For one thing, it is based on my eBook, Bob Geldof: The Joe Jackson Interviews Plus. The ‘Plus' in the title refers to the fact that the eBook contains the uncensored versions of the two major interviews we did, first in 1989, then in 2001, and a fragment of memoir. Growing up in Dun Laoghaire I knew Geldof, albeit from a distance that was largely defined by the fact that he came from the so-called right side of the tracks and I came from the other side. Even so, our paths crossed on countless occasions in local teenage meeting places such as Murray's Record Centre, Bamboo Café, at parties. We also had a mutual friend called Peter Finnegan. And later again Bob and I met in the dole office. I have fond memories of us talking about bands like The Animals and Bob saying he wanted to be a Rockstar. I wanted to be a writer. By 1977 he had become a Rockstar I was a photographer for Irish rock magazine Hot Press. I photograph Geldof on stage in Dalymount park and at the launch of the first album by The Boomtown Rats. All of this is probably why towards the end the second part of this 2001 interview – it will follow in another podcast - Bob says he is uncomfortable being interviewed by me because I know too much about him, although that comment may have more to do with the instinctual insights into his psyche which I gleaned during this interview. Afterwards, he phoned my editor and said that I had been a “bit too hard on” him, to which the editor, replied, “Joe was only being as hard on you as you were on interviewees when you worked  for this magazine!” But it would appear that Geldof doesn't agree with my contention that by pushing him as hard as I did it led to, arguably, the most mercilessly honest interview he had given and or has given since. Nor has Bob spoken to me since this interview, professionally or, on a personal level. Did I push him too hard? You decide. The interview coincided with the release of his album, Sex, Age and Death. The typescript of the original article – never published in full in any magazine – can be seen at joejacksoninterviewer.com. The eBook is available wherever you buy your eBooks.    

This week we discover - - who is the most boring man to have existed in music? - who stashed $40,000 in a jail cell? - And if you didn’t have enough already, we give you some more reasons to dislike Bob Geldof. - We also find out how Joe got on in his chart challenge. You really do need this in your life

https://mp3radio.fm/live/rock-roll-world-day/ On July 13, 1985, at Wembley Stadium in London, Prince Charles and Princess Diana officially open Live Aid, a worldwide rock concert organized to raise money for the relief of famine-stricken Africans. Live Aid was the first internationally minded charity concert. Live Aid was the brainchild of Bob Geldof, the singer of an Irish rock group called the Boomtown Rats. In 1984, Geldof traveled to Ethiopia after hearing news reports of a horrific famine that had killed hundreds of thousands of Ethiopians and threatened to kill millions more. After returning to London, he called Britain's and Ireland's top pop artists together to record a single to benefit Ethiopian famine relief. ‘Do They Know It's Christmas?' was written by Geldof and Ultravox singer Midge Ure and performed by ‘Band Aid,' an ensemble that featured Culture Club, Duran Duran, Phil Collins, U2, Wham!, and others. It was the best-selling single in Britain to that date and raised more than $10 million. The Live Aid Concert was a series of rock concerts. Billed as the ‘global jukebox', the event was held simultaneously at Wembley Stadium in London, England, United Kingdom (attended by 72,000 people) and John F. Kennedy Stadium in Philadelphia, Pennsylvania, United States (attended by about 100,000 people). On the same day, concerts inspired by the initiative happened in other countries, such as Australia and Germany. It was one of the largest-scale satellite link-ups and television broadcasts of all time: an estimated global audience of 1.9 billion, across 150 nations, watched the live broadcast. Throughout the concerts, viewers were urged to donate money to the Live Aid cause. Three hundred phone lines were manned by the BBC, so that members of the public could make donations using their credit cards. The phone number and an address that viewers could send cheques to were repeated every twenty minutes. The next day, news reports stated that between L40 and L50 million had been raised. Now, it is estimated that around L150m has been raised for famine relief as a direct result of the concerts. Although a professed admirer of Geldof's generosity and concern, Fox News Channel television host Bill O'Reilly has been critical of the Live Aid producer's oversight of the money raised for starving Ethiopian people, claiming (in June 2005) that much of the funds were siphoned off by Mengistu Haile Mariam and his army (which included the Tigrayan People's Liberation Front). This coalition battled, at the time against Derg. O'Reilly believes that charity organizations, operating in aid-receiving countries, should control donations, rather than possibly corrupt governments. Source: http://www.history.com/this-day-in-history/live-aid-concert http://en.wikipedia.org/wiki/Live_Aid http://www.history.com/this-day-in-history/live-aid-concert

https://mp3radio.fm/live/rock-roll-world-day/ On July 13, 1985, at Wembley Stadium in London, Prince Charles and Princess Diana officially open Live Aid, a worldwide rock concert organized to raise money for the relief of famine-stricken Africans. Live Aid was the first internationally minded charity concert. Live Aid was the brainchild of Bob Geldof, the singer of an Irish rock group called the Boomtown Rats. In 1984, Geldof traveled to Ethiopia after hearing news reports of a horrific famine that had killed hundreds of thousands of Ethiopians and threatened to kill millions more. After returning to London, he called Britain’s and Ireland’s top pop artists together to record a single to benefit Ethiopian famine relief. ‘Do They Know It’s Christmas?’ was written by Geldof and Ultravox singer Midge Ure and performed by ‘Band Aid,’ an ensemble that featured Culture Club, Duran Duran, Phil Collins, U2, Wham!, and others. It was the best-selling single in Britain to that date and raised more than $10 million. The Live Aid Concert was a series of rock concerts. Billed as the ‘global jukebox’, the event was held simultaneously at Wembley Stadium in London, England, United Kingdom (attended by 72,000 people) and John F. Kennedy Stadium in Philadelphia, Pennsylvania, United States (attended by about 100,000 people). On the same day, concerts inspired by the initiative happened in other countries, such as Australia and Germany. It was one of the largest-scale satellite link-ups and television broadcasts of all time: an estimated global audience of 1.9 billion, across 150 nations, watched the live broadcast. Throughout the concerts, viewers were urged to donate money to the Live Aid cause. Three hundred phone lines were manned by the BBC, so that members of the public could make donations using their credit cards. The phone number and an address that viewers could send cheques to were repeated every twenty minutes. The next day, news reports stated that between L40 and L50 million had been raised. Now, it is estimated that around L150m has been raised for famine relief as a direct result of the concerts. Although a professed admirer of Geldof’s generosity and concern, Fox News Channel television host Bill O’Reilly has been critical of the Live Aid producer’s oversight of the money raised for starving Ethiopian people, claiming (in June 2005) that much of the funds were siphoned off by Mengistu Haile Mariam and his army (which included the Tigrayan People’s Liberation Front). This coalition battled, at the time against Derg. O’Reilly believes that charity organizations, operating in aid-receiving countries, should control donations, rather than possibly corrupt governments. Source: http://www.history.com/this-day-in-history/live-aid-concert http://en.wikipedia.org/wiki/Live_Aid http://www.history.com/this-day-in-history/live-aid-concert

https://mp3radio.fm/live/rock-roll-world-day/ On July 13, 1985, at Wembley Stadium in London, Prince Charles and Princess Diana officially open Live Aid, a worldwide rock concert organized to raise money for the relief of famine-stricken Africans. Live Aid was the first internationally minded charity concert. Live Aid was the brainchild of Bob Geldof, the singer of an Irish rock group called the Boomtown Rats. In 1984, Geldof traveled to Ethiopia after hearing news reports of a horrific famine that had killed hundreds of thousands of Ethiopians and threatened to kill millions more. After returning to London, he called Britain’s and Ireland’s top pop artists together to record a single to benefit Ethiopian famine relief. ‘Do They Know It’s Christmas?’ was written by Geldof and Ultravox singer Midge Ure and performed by ‘Band Aid,’ an ensemble that featured Culture Club, Duran Duran, Phil Collins, U2, Wham!, and others. It was the best-selling single in Britain to that date and raised more than $10 million. The Live Aid Concert was a series of rock concerts. Billed as the ‘global jukebox’, the event was held simultaneously at Wembley Stadium in London, England, United Kingdom (attended by 72,000 people) and John F. Kennedy Stadium in Philadelphia, Pennsylvania, United States (attended by about 100,000 people). On the same day, concerts inspired by the initiative happened in other countries, such as Australia and Germany. It was one of the largest-scale satellite link-ups and television broadcasts of all time: an estimated global audience of 1.9 billion, across 150 nations, watched the live broadcast. Throughout the concerts, viewers were urged to donate money to the Live Aid cause. Three hundred phone lines were manned by the BBC, so that members of the public could make donations using their credit cards. The phone number and an address that viewers could send cheques to were repeated every twenty minutes. The next day, news reports stated that between L40 and L50 million had been raised. Now, it is estimated that around L150m has been raised for famine relief as a direct result of the concerts. Although a professed admirer of Geldof’s generosity and concern, Fox News Channel television host Bill O’Reilly has been critical of the Live Aid producer’s oversight of the money raised for starving Ethiopian people, claiming (in June 2005) that much of the funds were siphoned off by Mengistu Haile Mariam and his army (which included the Tigrayan People’s Liberation Front). This coalition battled, at the time against Derg. O’Reilly believes that charity organizations, operating in aid-receiving countries, should control donations, rather than possibly corrupt governments. Source: http://www.history.com/this-day-in-history/live-aid-concert http://en.wikipedia.org/wiki/Live_Aid http://www.history.com/this-day-in-history/live-aid-concert

durée : 00:08:32 - Le monde d'Elodie - par : Elodie SUIGO - Tous les jours, une personnalité s'invite dans le monde d'Élodie Suigo. Aujourd'hui, l’auteur-compositeur-interprète, comédien et militant politique irlandais Bob Geldof pour le nouvel album de son groupe punk The Boomtown Rats : "Citizens of Boomtown".

Govert Geldof wennet yn Tsjom en is 'civiel ingenieur' en skriuwer. Hy hat him ferdjippe yn de kompleksiteit fan de maatskippij. Neffens him kinne bestjoerders wat leare fan it wurk yn de praktyk. Syn lêste boek hjit 'Halvering van de waanzin'. Yn de podcast 'Ferhalen fan it flakke lân' praat Bart Kingma mei Govert Geldof oer yngewikkelde maatskiplike prosessen en nije paden.

This week on the show, Bob Geldof phoned into the station to tell us about his career and what he's got coming up. Geldof reminisces over a few things that not many people would have heard about Live Aid, Live 8 and how unpleasant it was to grow up in Ireland during The Troubles. It's refreshing to remember that before celebrities went viral singing 'imagine' during a pandemic - they used to raise hundreds of millions of dollars to end poverty and famine. Video Version Youtube: https://youtu.be/wH-ooRYycQA Recorded from the Budgy Smuggler Booth

TGR Episode 137 (S17E5) Tonight’s segments – Making a 70’s cop show intro with a restomod Jensen Interceptor, a track day special Lotus T125, knocking down buildings for reasons, and star in a reasonably priced car Bob Geldof. Episodes are finally on Motor Trend! – https://www.motortrendondemand.com/topgear The GKN FFF-100 is the Interceptor you’ve never heard of – https://www.autoweek.com/car-life/a1707431/ultimate-jensen-interceptor/ The Jensen Fast 6 race – https://www.youtube.com/watch?v=jCXGNTvIL3g Prowler with a 2JZ – https://engineswapdepot.com/?p=12981 Prowler with a Hellcat V8 – https://www.thedrive.com/news/23865/this-hellcat-swapped-1999-plymouth-prowler-rights-a-historic-wrong Top 15 car names – https://www.motortrend.com/news/cool-car-names/ The whole Interceptor segment – https://www.topgear.com/videos/jeremy-clarkson/jensen-interceptor-series-17-episode-5 Champagne and Bullshit – https://www.thedrive.com/opinion/6346/champagne-and-bullshit-the-costly-failure-of-the-terrifying-lotus-t125 Evija – https://www.caranddriver.com/lotus/evija Some stuff to read about Geldof – https://www.poughkeepsiejournal.com./story/entertainment/2020/04/14/bob-geldof-boomtown-rats-live-aid-citizens-of-boomtown/2971072001/ Go buy used military equipment – https://www.govplanet.com/ Facebook – https://www.facebook.com/topgearrearview/ Music – In Heaven by DeCreek, licensed under a Creative Commons Attribution License

Bob Geldof is a brilliant songwriter, a talented musician, a fierce political activist, and he has one of the best Beatles stories we've ever heard.On this week's 'Beatles Revolution,' Bob recalls his first Beatles encounter and how it inspired him in the decades to come. Subscribe so you don't miss an episode of 'Ken Dashow's Beatles Revolution.'

Bob Geldof is a brilliant songwriter, a talented musician, a fierce political activist, and he has one of the best Beatles stories we've ever heard.On this week's 'Beatles Revolution,' Bob recalls his first Beatles encounter and how it inspired him in the decades to come. Subscribe so you don't miss an episode of 'Ken Dashow's Beatles Revolution.'

durée : 00:54:36 - Popopop - par : Antoine de Caunes - Antoine de Caunes, accompagné de Charline Roux reçoit les rockfarmers des Landes : The Inspector Cluzo à l'occasion de la sortie de leur nouvel album : "Brothers in ideals". En fin d'émission, Bob Geldof à l'occasion de la reformation des Boomtown Rats.

durée : 00:54:36 - Popopop - par : Antoine de Caunes - Antoine de Caunes, accompagné de Charline Roux reçoit les rockfarmers des Landes : The Inspector Cluzo à l'occasion de la sortie de leur nouvel album : "Brothers in ideals". En fin d'émission, Bob Geldof à l'occasion de la reformation des Boomtown Rats.

Irish new wave rockers The Boomtown Rats will return in 2020 with their first new album in 36 years. Entitled Citizens of Boomtown, the 10-track effort is due out on March 13th via BMG. The album features the lineup of Bob Geldof on vocals, Pete Briquette on bass, Simon Crowe on drums, and Garry Roberts on guitar. Briquette also served as producer. The first single, “Trash Glam, Baby”, will be released on January 10th. Update: Listen to the song here. To coincide with the album's release, The Boomtown Rats will embark on a UK tour next spring. Additionally, Faber Music will publish a new book by Geldof entitled, Tales of Boomtown Glory, compiling the band's lyrics, new stories penned by Geldof, and his archival notebooks. If all that weren't enough, a new documentary film from Billy McGrath is also on the way. In a statement, Geldof explained the genesis of the band's new album: “So why a new record? “Because that's what bands do. They make records. Songwriters write songs. There's so much to respond to in this new and different febrile atmosphere that we live in. People forget we took our name from Woody Guthrie, the great musical activist. I think The Boomtown Rats have always shown that rock'n'roll is a form of musical activism. The music has intent and purpose even if that is just the sound, about boy/girl, nothing particularly at all, everything in general, or pointed polemical…. whatever.” See the album's tracklist and band's upcoming tour dates below. You can find concert tickets here. Citizens of Boomtown Tracklist: 01. Trash Glam, Baby 02. Sweet Thing 03. Monster Monkeys 04. She Said No 05. Passing Through 06. Here's A Postcard 07. K.I.S.S. 08. Rock ‘n' Roll Yé Yé 09. Get A Grip 10. The Boomtown Rats

In our first episode, McSavage chats with the iconic singer songwriter Bob Geldof. As many know, Geldof rose to fame as the lead singer of the Boomtown Rats, but is also known for his activist work. Geldof is best known for his efforts to organise the 1985 Live Aid concert to help raise awareness for poor living conditions in Africa. During this episode, McSavage and Geldof discuss their school days, eating hash, and Geldof's time as a busking musician. Stay tuned for this candid conversation. Follow us on Twitter at @HonestyPod or on Instagram @honesty.pod to stay up to date on all things Ridiculous Honesty. Support our Podcast at Patreon by following this link. By following, subscribers have access to special rewards such as Q&A's with McSavage, bonus content, and more!

Musician Bob Geldof talks to Professor of History Roy Foster about his love of Yeats, and the poets influences on the life of a journeyman, rock star and activist who started out in a seaside suburb of Dublin. Note: bad language comes with the territory. This was the inaugural Annual Doyle Collection Interview, recorded in June 2018.

Ya vimos la semana pasada que el punk fue un grito en la noche mantenido con la secuela de la crisis, bueno pues, los que más gritaron en ella fueron los Sex Pistols Malcon McLaren era un listillo empresario y productor con una tienda de moda en King’s Road. Un día descubrió a un trio de músicos formado por Steve Jones (guitarra), Glen Matlock (bajo) y Paul Cook (batería). Les buscó un cantante y encontró a John Lydon, al que rebautizó como Johnny Rotten (algo así como Juanito el podrido). En plena ascensión punk, Malcon consiguió que EMI les diera 40.000 libras por ficharlos, la cantidad más alta pagada en la historia por unos desconocidos. Entonces sucedió lo impensable: al programa Today de la BBC, presentado por Bill Grundy, tenía que asistir Queen. Cuando ellos lo cancelaron por un imprevisto, EMI decidió aprovechar el hueco para promocionar a su nuevo grupo. Los Sex Pistols fueron a la BBC y… la televisión tardó solo un minuto y medio en cortar la emisión. Dijeron tantos tacos y groserías que el escándalo fue mayúsculo. EMI liquidó el contrato con 50.000 libras de indemnización. La nueva compañía de los Sex Pistols fue AandM Records. El 12 de marzo de 1977 firmaron el contrato en un tenderete instalado frente al Palacio de Buchingham porque el nuevo single del grupo iba a ser “God saves the Queen”. La canción no era precisamente un himno por los veinticinco años de reinado de Su Majestad, celebrado entonces. La reacción de los artistas de la compañía, como Rick Wakeman o Peter Frampton, fue protestar y amenazar a la empresa por compartir sello con los Pistols. La discográfica temió perder a sus estrellas. Poco después los miembros del grupo dieron una paliza a un DJ que no quiso poner su disco en la radio. Al final, la compañía rescindió el contrato con otras 75.000 libras de indemnización. El grupo era rico con solo dos singles. Con la entrada de Sid Vicious al bajo, los Sex adquirieron ya toda su fama. A Matlock lo echaron por decir que le gustaban los Beatles. Finalmente fue Virgin la compañía que editó “God saves the Queen” y el controvertido LP Never mind the bollocks, here’s the Sex Pistols. Las tiendas de discos se negaron a vender el álbum, las emisoras no lo radiaron. El título ya era obsceno de entrada (Nos importe huevo, somos los Sex Pistols”. Tuvo que venderse dentro de una bolsa negra. La policía inglesa envió agentes tienda por tienda poniendo tiras adhesivas negras sobre la palabra bollocks. Se multó a las tiendas que desafiaron al sistema y lo exhibieron en sus escaparates. Y, pese a todo, el single vendió 250.000 copias y el LP llegó al número 2 de las listas de éxitos. Los Sex Pistols estaban en lo más alto, desafiando al sistema y sirviéndose de él a la vez. Sus escándalos eran constantes (un grupo neonazi acuchilló a Rotten, ya como guinda del pastel). Y de pronto, en plena gira americana, viéndose caminar sobre alfombras rojas y tratados como estrellas, viajando en limusinas o durmiendo en suites, se separaron. Simple y rápido. Su vida se resumió en el documental “La gran estafa del Rock and roll”. Lo que siguió fue otra historia. Rotten formó una nueva banda, Public Image Ltd., y Sid Vicious fue acusado un año después de haber matado a su novia Nancy. Salió en libertad provisional y murió de una sobredosis de heroína el 2 de febrero de 1979. Una vida de cine. Y si… también fue llevada al cine. El Punk no sobrevivió, pero muchos de los artistas nacidos bajo su influencia si lo hicieron, pero evolucionando rápidamente hacia otros estilos. Los Boomtown Rats, con Bob Geldof al frente tuvieron un gran éxito con I don’t like Mondays. Geldof, unos años más tarde de este éxito organizó el macro festival Live Aid (en español, Ayuda en Directo) fueron dos conciertos realizados el 13 de julio de 1985 de forma simultánea en el Estadio Wembley de Londres y en el John F. Kennedy Stadium de Filadelfia, con el motivo de recaudar fondos en beneficio de los países de África Oriental, en concreto Etiopía y Somalia. Pocos meses antes, músicos estadounidenses habían editado el famoso "We Are The World", pero eso es otra historia, vamos a escuchar a las ratas de Boontown: I don’t like Mondays. Otro grupo que evolucionó tras haber simpatizado con el punk fue The Stranglers, formado en 1974 en el Reino Unido aunque su relación con punk está basada más en sus actitudes que en la música. Realmente, esta gente ha explorado multitud de estilos. En diciembre de 1976 una discográfica les ofreció 40.000 libras esterlinas por un contrato en exclusiva. Aceptaron claro, y en febrero de 1977 grababan su primer single, que llegó al número 4 de las listas de éxitos británicas. Un par de meses después apareció el álbum Rattus Norvegicus, que tuvo una buena aceptación por el público. En sus letras se metían con todo: con el punk convencional y con el modo de hacer y de decir las cosas en aquel tiempo. Pero se pasaban bastante. En una ocasión publicaron unas durísimas palabras dirigidas a las mujeres y al feminismo y fueron acusados de misoginia, con razón, desde luego. El grupo, editó en septiembre de 1977 su segundo álbum, No More Heroes, que llegó al segundo puesto de las listas de éxitos, mientras que el single homónimo entró en el Top 10. En el transcurso de sólo dos años Stranglers habían conquistado un papel relevante en la escena británica, por encima de los demás grupos punk. Sus actuaciones en vivo eran duras, agresivas, descaradas, mientras que sus discos mostraban cada vez un mayor refinamiento, o sea, nada de Punk The Jam fue un grupo inglés de finales de los años 70 y principios de los años 80. Fue uno de los grupos más populares de aquella época. Llegaron a colocar 18 sencillos en el Top 40 de las listas del Reino Unido, desde su debut discográfico en el 77 hasta su última canción en 1982. Comenzaron su andadura en el 72 de forma amateur en Woking, (Surrey), lugar de origen de los componentes del grupo. A finales de 1976 se dieron a conocer en los Clubs de Londres, y grabaron sus primeros discos en plena explosión punk. Ficharon por Polydor por muy poco dinero (unas 6.000 libras), lo que no les impidió ser un grupo de gran éxito. Su primer número 1 fue el sencillo Going Underground, editado el 14 de marzo de 1980, que llegó al lugar número 1 en la primera semana, algo que antes solamente habían conseguido Elvis Presley, Beatles, y Slade. La popularidad del trío fue especialmente importante en el Reino Unido, rivalizando con nuestros otros conocidos, The Clash. Fuera de sus fronteras también tuvieron bastante éxito en países del centro y norte de Europa e incluso finalmente en Japón. En cambio, a pesar de intentarlo con algunas giras, no conquistaron el mercado americano, quizá por el muy marcado carácter inglés de las letras y del estilo de la banda, en un momento en que a pesar de existir el género new wave en América, la moda y gustos musicales en los EE.UU. se movían en otras direcciones. Este es su éxito Going Underground Declan Patrick MacManus, más conocido por su nombre artístico Elvis Costello nació en Londres, el 25 de agosto de 1954. Se inició en la escena pub rock londinense a mitad de los 70 desde donde vio llegar como observador privilegiado la new wave y el punk, movimientos con los que se asoció. El pub rock viene a ser otro de los precursores de la escena punk rock de Gran Bretaña En 1975 McManus llevaba una aparente vida convencional, casado y con hijo, y empleado en diferentes trabajos administrativos. No obstante, componía y movía sus maquetas hasta que la independiente Stiff Records le contrató; Jack Riviera, director del sello, le propuso nombre artístico más sugerente, combinando el nombre de Elvis Presley y su apellido materno: Elvis Costello ya era una realidad. El revolucionario año 1977 marcó la carrera de Costello: a su fichaje por Stiff a inicios de año, le sigue la edición de su primer sencillo Less than zero en abril, y de "Alison" en marzo, y en verano su LP My aim is true. La portada con un Costello con Fender Jazzmaster en ristre, enormes gafas de pasta, piernas en cuña embutidas en pantalón pitillo, referencias estéticas al punk y a Buddy Holly y pose desafiante era TODA una declaración de intenciones. My aim is true. La banda que acompañó la grabación fueron los americanos Clover, pero ese mismo verano, Costello reclutó a lo que sería su banda estable durante mucho tiempo, The Attractions, formada por Steve Nieve al piano, Bruce Thomas al bajo y Pete Thomas a la batería. En los dos años siguientes publicó con nuevo sello otra colección de singles con un estilo igual de urgente e intenso que en sus comienzos, pero más crudo y directo, a lo mejor influenciado por la escena punk del momento. Elvis Costello es un músico prolífico, ha publicado numerosos trabajos con un éxito considerable, pero no es un artista cómodo; el 26 de julio de 1977, Costello fue arrestado por escandalizar frente al hotel Hilton de Londres durante la convención anual de los directivos de la compañía discográfica CBS, la misma que más tarde lo pondría bajo contrato para el territorio americano. Su insolencia tenía un objetivo publicitario evidente. En otra ocasión, estando en EE.UU., fue invitado a participar en el prestigioso programa televisivo Saturday Night Live: se presentó con los Attractions y cantó una desenfrenada versión de ‘Radio radio’, una canción que ataca al poder de este medio de comunicación. En fin… En julio del 2018 Elvis Costello canceló los seis últimos conciertos de la gira que le llevaba a recorrer Europa tras someterse a una delicada operación para tratar un cáncer agresivo que se le había detectado hace tiempo. Afortunadamente, el asunto no fue a mayores y en octubre de ese mismo año ya estaba otra vez en la carretera, con nuevo disco y nuevo grupo. Elvis Costello y The Imposters en “Don’t look NoW”. Bueno amigos, dejamos por hoy esta interesante narración de unos hechos y una música que nos alegraron la vida durante mucho tiempo. Y que lo seguirán haciendo durante mucho tiempo más. Hasta aquí el programa de hoy que esperamos haya sido de vuestro agrado. Nos oímos la próxima semana con más historias, más músicos y más música. Hasta entonces, ¡¡¡BUENAS VIBRACIONES.!!!

Ya vimos la semana pasada que el punk fue un grito en la noche mantenido con la secuela de la crisis, bueno pues, los que más gritaron en ella fueron los Sex Pistols Malcon McLaren era un listillo empresario y productor con una tienda de moda en King’s Road. Un día descubrió a un trio de músicos formado por Steve Jones (guitarra), Glen Matlock (bajo) y Paul Cook (batería). Les buscó un cantante y encontró a John Lydon, al que rebautizó como Johnny Rotten (algo así como Juanito el podrido). En plena ascensión punk, Malcon consiguió que EMI les diera 40.000 libras por ficharlos, la cantidad más alta pagada en la historia por unos desconocidos. Entonces sucedió lo impensable: al programa Today de la BBC, presentado por Bill Grundy, tenía que asistir Queen. Cuando ellos lo cancelaron por un imprevisto, EMI decidió aprovechar el hueco para promocionar a su nuevo grupo. Los Sex Pistols fueron a la BBC y… la televisión tardó solo un minuto y medio en cortar la emisión. Dijeron tantos tacos y groserías que el escándalo fue mayúsculo. EMI liquidó el contrato con 50.000 libras de indemnización. La nueva compañía de los Sex Pistols fue AandM Records. El 12 de marzo de 1977 firmaron el contrato en un tenderete instalado frente al Palacio de Buchingham porque el nuevo single del grupo iba a ser “God saves the Queen”. La canción no era precisamente un himno por los veinticinco años de reinado de Su Majestad, celebrado entonces. La reacción de los artistas de la compañía, como Rick Wakeman o Peter Frampton, fue protestar y amenazar a la empresa por compartir sello con los Pistols. La discográfica temió perder a sus estrellas. Poco después los miembros del grupo dieron una paliza a un DJ que no quiso poner su disco en la radio. Al final, la compañía rescindió el contrato con otras 75.000 libras de indemnización. El grupo era rico con solo dos singles. Con la entrada de Sid Vicious al bajo, los Sex adquirieron ya toda su fama. A Matlock lo echaron por decir que le gustaban los Beatles. Finalmente fue Virgin la compañía que editó “God saves the Queen” y el controvertido LP Never mind the bollocks, here’s the Sex Pistols. Las tiendas de discos se negaron a vender el álbum, las emisoras no lo radiaron. El título ya era obsceno de entrada (Nos importe huevo, somos los Sex Pistols”. Tuvo que venderse dentro de una bolsa negra. La policía inglesa envió agentes tienda por tienda poniendo tiras adhesivas negras sobre la palabra bollocks. Se multó a las tiendas que desafiaron al sistema y lo exhibieron en sus escaparates. Y, pese a todo, el single vendió 250.000 copias y el LP llegó al número 2 de las listas de éxitos. Los Sex Pistols estaban en lo más alto, desafiando al sistema y sirviéndose de él a la vez. Sus escándalos eran constantes (un grupo neonazi acuchilló a Rotten, ya como guinda del pastel). Y de pronto, en plena gira americana, viéndose caminar sobre alfombras rojas y tratados como estrellas, viajando en limusinas o durmiendo en suites, se separaron. Simple y rápido. Su vida se resumió en el documental “La gran estafa del Rock and roll”. Lo que siguió fue otra historia. Rotten formó una nueva banda, Public Image Ltd., y Sid Vicious fue acusado un año después de haber matado a su novia Nancy. Salió en libertad provisional y murió de una sobredosis de heroína el 2 de febrero de 1979. Una vida de cine. Y si… también fue llevada al cine. El Punk no sobrevivió, pero muchos de los artistas nacidos bajo su influencia si lo hicieron, pero evolucionando rápidamente hacia otros estilos. Los Boomtown Rats, con Bob Geldof al frente tuvieron un gran éxito con I don’t like Mondays. Geldof, unos años más tarde de este éxito organizó el macro festival Live Aid (en español, Ayuda en Directo) fueron dos conciertos realizados el 13 de julio de 1985 de forma simultánea en el Estadio Wembley de Londres y en el John F. Kennedy Stadium de Filadelfia, con el motivo de recaudar fondos en beneficio de los países de África Oriental, en concreto Etiopía y Somalia. Pocos meses antes, músicos estadounidenses habían editado el famoso "We Are The World", pero eso es otra historia, vamos a escuchar a las ratas de Boontown: I don’t like Mondays. Otro grupo que evolucionó tras haber simpatizado con el punk fue The Stranglers, formado en 1974 en el Reino Unido aunque su relación con punk está basada más en sus actitudes que en la música. Realmente, esta gente ha explorado multitud de estilos. En diciembre de 1976 una discográfica les ofreció 40.000 libras esterlinas por un contrato en exclusiva. Aceptaron claro, y en febrero de 1977 grababan su primer single, que llegó al número 4 de las listas de éxitos británicas. Un par de meses después apareció el álbum Rattus Norvegicus, que tuvo una buena aceptación por el público. En sus letras se metían con todo: con el punk convencional y con el modo de hacer y de decir las cosas en aquel tiempo. Pero se pasaban bastante. En una ocasión publicaron unas durísimas palabras dirigidas a las mujeres y al feminismo y fueron acusados de misoginia, con razón, desde luego. El grupo, editó en septiembre de 1977 su segundo álbum, No More Heroes, que llegó al segundo puesto de las listas de éxitos, mientras que el single homónimo entró en el Top 10. En el transcurso de sólo dos años Stranglers habían conquistado un papel relevante en la escena británica, por encima de los demás grupos punk. Sus actuaciones en vivo eran duras, agresivas, descaradas, mientras que sus discos mostraban cada vez un mayor refinamiento, o sea, nada de Punk The Jam fue un grupo inglés de finales de los años 70 y principios de los años 80. Fue uno de los grupos más populares de aquella época. Llegaron a colocar 18 sencillos en el Top 40 de las listas del Reino Unido, desde su debut discográfico en el 77 hasta su última canción en 1982. Comenzaron su andadura en el 72 de forma amateur en Woking, (Surrey), lugar de origen de los componentes del grupo. A finales de 1976 se dieron a conocer en los Clubs de Londres, y grabaron sus primeros discos en plena explosión punk. Ficharon por Polydor por muy poco dinero (unas 6.000 libras), lo que no les impidió ser un grupo de gran éxito. Su primer número 1 fue el sencillo Going Underground, editado el 14 de marzo de 1980, que llegó al lugar número 1 en la primera semana, algo que antes solamente habían conseguido Elvis Presley, Beatles, y Slade. La popularidad del trío fue especialmente importante en el Reino Unido, rivalizando con nuestros otros conocidos, The Clash. Fuera de sus fronteras también tuvieron bastante éxito en países del centro y norte de Europa e incluso finalmente en Japón. En cambio, a pesar de intentarlo con algunas giras, no conquistaron el mercado americano, quizá por el muy marcado carácter inglés de las letras y del estilo de la banda, en un momento en que a pesar de existir el género new wave en América, la moda y gustos musicales en los EE.UU. se movían en otras direcciones. Este es su éxito Going Underground Declan Patrick MacManus, más conocido por su nombre artístico Elvis Costello nació en Londres, el 25 de agosto de 1954. Se inició en la escena pub rock londinense a mitad de los 70 desde donde vio llegar como observador privilegiado la new wave y el punk, movimientos con los que se asoció. El pub rock viene a ser otro de los precursores de la escena punk rock de Gran Bretaña En 1975 McManus llevaba una aparente vida convencional, casado y con hijo, y empleado en diferentes trabajos administrativos. No obstante, componía y movía sus maquetas hasta que la independiente Stiff Records le contrató; Jack Riviera, director del sello, le propuso nombre artístico más sugerente, combinando el nombre de Elvis Presley y su apellido materno: Elvis Costello ya era una realidad. El revolucionario año 1977 marcó la carrera de Costello: a su fichaje por Stiff a inicios de año, le sigue la edición de su primer sencillo Less than zero en abril, y de "Alison" en marzo, y en verano su LP My aim is true. La portada con un Costello con Fender Jazzmaster en ristre, enormes gafas de pasta, piernas en cuña embutidas en pantalón pitillo, referencias estéticas al punk y a Buddy Holly y pose desafiante era TODA una declaración de intenciones. My aim is true. La banda que acompañó la grabación fueron los americanos Clover, pero ese mismo verano, Costello reclutó a lo que sería su banda estable durante mucho tiempo, The Attractions, formada por Steve Nieve al piano, Bruce Thomas al bajo y Pete Thomas a la batería. En los dos años siguientes publicó con nuevo sello otra colección de singles con un estilo igual de urgente e intenso que en sus comienzos, pero más crudo y directo, a lo mejor influenciado por la escena punk del momento. Elvis Costello es un músico prolífico, ha publicado numerosos trabajos con un éxito considerable, pero no es un artista cómodo; el 26 de julio de 1977, Costello fue arrestado por escandalizar frente al hotel Hilton de Londres durante la convención anual de los directivos de la compañía discográfica CBS, la misma que más tarde lo pondría bajo contrato para el territorio americano. Su insolencia tenía un objetivo publicitario evidente. En otra ocasión, estando en EE.UU., fue invitado a participar en el prestigioso programa televisivo Saturday Night Live: se presentó con los Attractions y cantó una desenfrenada versión de ‘Radio radio’, una canción que ataca al poder de este medio de comunicación. En fin… En julio del 2018 Elvis Costello canceló los seis últimos conciertos de la gira que le llevaba a recorrer Europa tras someterse a una delicada operación para tratar un cáncer agresivo que se le había detectado hace tiempo. Afortunadamente, el asunto no fue a mayores y en octubre de ese mismo año ya estaba otra vez en la carretera, con nuevo disco y nuevo grupo. Elvis Costello y The Imposters en “Don’t look NoW”. Bueno amigos, dejamos por hoy esta interesante narración de unos hechos y una música que nos alegraron la vida durante mucho tiempo. Y que lo seguirán haciendo durante mucho tiempo más. Hasta aquí el programa de hoy que esperamos haya sido de vuestro agrado. Nos oímos la próxima semana con más historias, más músicos y más música. Hasta entonces, ¡¡¡BUENAS VIBRACIONES.!!!

Anders & Måns läser lyssnarfrågor och tänker högt. Skicka in din fråga till programmet: safunkardet@sverigesradio.se

Thanks to the #Unleash19 conference in Paris, we were able to join a Q&A with Sir Bob Geldof.  With a long career of driving change through music and performance, Geldof has become an icon in the entertainment industry.  In this Q&A, we hear his views on music, the world, and what drives change.

Episode 5 of Through The Trap Door with The Malthusian Trap, join us as we answer questions sent in from a selection of our hard core listeners. This weeks Culture Test Corner sees Morrissey, Bono & Geldof go head to head. Other topics discussed are The Joker, Robotic AI, No Forests on Earth and our Kelly. Join the mailing list at www.malthusiantrap.co.ukFollow us on social:https://www.facebook.com/malthusiantraphttps://www.twitter.com/malthusiantraphttps://www.instagram.com/malthusiantraphttps://www.youtube.com/channel/UCFEy71jHW4BFG2j1Eb3xB2QSupport the show (https://www.patreon.com/rss/MalthusianTrap?auth=I9FnJNPlcLl1AI3n8w0i0u2kOhu84Ky7)

The model and activist joins Jo to talk about the mysteries of the universe.

When iconic Aussie rocker Micheal Hutchence and British TV star Paula Yates passed away in the late 90's early 00's, they left behind a tragic legacy and a daughter.. Heavenly Hiraani Tiger Lily Hutchence. With just days until she turns 23, the same age as her parents when they first met, we take a peek inside the surprising life of a woman who has faced so much tragedy but hasn't let it stop her from making her mark on the world. CREDITS Host/Producer: Claire Murphy Executive Producer: Elle Beattie Audio Producer: Ian Camilleri Thanks to our special guest Mamamia reporter Chelsea McLaughlin  The Quicky is the easiest and most enjoyable way to get across the news every day. And it's delivered straight to your ears in a daily podcast so you can listen whenever you want, wherever you are...at the gym, on the train, in the playground or at night while you're making dinner. The Quicky. Getting you up to speed. Daily. Want The Quicky in your ears every day?  Subscribe at mamamia.com.au/the-quicky or in your favourite podcast app. Love the show? Send us an email thequicky@mamamia.com.au or call the podphone 02 8999 9386. See omnystudio.com/listener for privacy information.

This is The Spoon, where we go full Geldof...eventually.  Music By  Nick Gilder  Spoon Feeding  Choc Zero  Nick Gilder  Bare Snacks  Crunchsters - Beyond Bacon  The Men Of The Spoon Robbie RistChris Jackson Thom Bowers The Spoon on FacebookSubscribe via iTunesEmail: the_spoon_radio@yahoo.com

Alien dictator Pony Golden hosts a concert of Earth pop to celebrate his rule. Kane tries to sabotage the show, but it is hard to rebel against an alien who also happens to be a huge fan. Just when Kane wonders what the point of it all is, she meets an old friend from Earth who helps her to remember why she keeps going. No One Receiving is written and directed by Maggie MacDonald. No One Receiving is a Brainchild Podcast, produced by Max Cotter and Aleda DeRoche. Original music composed by Stew Crookes. https://noonereceiving.com/ http://brainchild.io/

Tis the season and TMI ring the bells with a tribute to classic Christmas TV Specials!  Jeff, Jim, and Mike all give their top 3 picks in a very special holiday episode.  Someone call 911, by the end of this one our jaded hearts will swell to the size of one of the Hulk's gonads! #grinch, #grinchwhostolechristmas, #charliebrownchristmas, #emmetottersjugbandchristmas, #rankinbass, #starwarsholidayspecial, #muppets, #santa, #christmas, #frosty

In de vierde aflevering van De Grote Vriendelijke Podcast vertelt Wilma Geldof over haar (jongeren)roman 'Het meisje met de vlechtjes' (Luitingh-Sijthoff, 15+), gebaseerd op het waargebeurde verhaal van Nederlands jongste verzetsmeisje, Freddie Oversteegen. Kinderboekrecensenten Jaap Friso (JaapLeest) en Bas Maliepaard (Trouw) praten met Geldof over het gewapende verzet, het fictionaliseren van een waargebeurde geschiedenis en het schemergebied tussen goed en fout.Verwijzingen in deze afleveringIn het gesprek wordt gerefereerd aan de vorige oorlogsroman van Wilma Geldof: 'Elke dag een druppel gif' (The House of Books, 15+), bekroond met de Thea Beckmanprijs 2015. Het interview van Bas Maliepaard met Geldof over het NSB-verleden van haar vader uit weekblad Margriet is hier terug te lezen. De volledige aflevering over vrouwen in het gewapend verzet van het televisieprogramma Andere Tijden (NTR), waaruit we een geluidsfragment lieten horen, is hier terug te zien. Een overzicht van de grote internationale media-aandacht voor het overlijden van Freddie Oversteegen is hier te vinden. Meer informatie over Wilma Geldof vind je op www.wilmageldof.nl.Besproken boekenBas en Jaap bespreken in deze aflevering de volgende boeken: 'De schelmenstreken van Reinaert de Vos' van Koos Meinderts (Hoogland & Van Klaveren, 8+, tekeningen: diverse illustratoren), 'Liefde is niet voor lafaards' van Ulf Stark (Querido, 8+, tekeningen: Ida Björs, vertaling: Edward van de Vendel) en 'Lepelsnijder' van Marjolijn Hof (Querido, 10+, tekeningen: Annette Fienieg).

Bristol! Manchester! London! Join us live this September: monkeytennispod.com // We swerve into the 00s this week as we continue our peek at Alan's Comic Relief contributions featuring an irate Peter Kay, a handy Paddy McGuinness and a disturbed Simon Pegg. Also: We pit Bono, Sting and Geldof against one another, and discuss limp charity audiences, Alan's secret sister, where Philomena meets Partridge and Kay vs. Coogan worldwide, as well as asking: How handy is Michael?

We swerve into the 00s this week as we continue our peek at Alan's Comic Relief contributions featuring an irate Peter Kay, a handy Paddy McGuinness and a disturbed Simon Pegg. Also: We pit Bono, Sting and Geldof against one another, and discuss limp charity audiences, Alan's secret sister, where Philomena meets Partridge and Kay vs. Coogan worldwide, as well as asking: How handy is Michael?

In 2005 vind tien Band Aid-konserte wêreldwyd plaas ten behoewer van armoedeverligting. Die meesterbrein daaragter is Bob Geldof, en die idee het 20 jaar voor die 2005 konsertreeks vlam gevat. Ettienne Ludick kyk na die die geskiedenis van Band Aid, en Geldof se denkwyse oor hulp aan ander.

For those who don't know, I am incredibly accident-prone. I've never had any sort of grace. In fact, it's a miracle I've never broken any bones. But one thing I do end up with are a lot of cuts and scrapes, and we end up keeping quite a large supply of the topic of today's episode in the house at all times From the ubiquitous First-Aid kit staple, to an 80s supergroup, to Penny Lane and her friends in the movie "Almost Famous," the episode is a little all over the place, but don't worry, I'll try to “stick” to the topic as much as possible. I'm your host, Emily Prokop, and this is The Story Behind the Band-Aid. Check out Heather Welch's Sunshine Summit, where I will be a guest March 13th, and the summit runs from March 9-16. Join The Story Behind Discussion Group on Facebook! Learn about Podcast Share at PodcastShare.net or by following @PodcastShare on Twitter. Want to find out about The Story Behind book coming soon? Visit http://thestorybehindpodcast.com/book-updates! Follow The Story Behind: Twitter | Facebook | Instagram | Pinterest | Website This episode was brought to you by The Story Behind Executive Producers who support the show through the Patreon Page at patreon.com/thestorybehind: Stargate Pioneer from GonnaGeek.com, Mat from the One Word, Go! Show, Sam Dunn, Diane and Denise from History Goes Bump, Dan Brenic from Netflix N' Swill, Jarrod Dunham from TheHistoryphile.net, Heather Welch from Sunshine and PowerCuts, Jason Bryant from Mat Talk Online, Gerald and Andy from Two Peas on a Podcast, Bandrew Scott from The Bandrew Says Podcast and Podcastage YouTube Channel, Adam from Everyone Has a Podcast. and Barry G, Nick and Justin from Epic Film Guys, Jeremy Collins from Podcasts We Listen To, and the North Omaha History Podcast and Dave Jackson from the School of Podcasting. If you're interested in freshening up your own show or starting a podcast, visit EPodcastProductions.com and use the promo code STORYBEHIND for $25 off a Strategy Session. Hope to talk to you soon! Click here to support this podcast on Patreon. Proud supporter of #PodernFamily, #HumanitiesPodcasts & #LadyPodSquad on Twitter. Media: Music for Makers Band-Aid Commercial Band Aid: The Song That Rocked The World Almost Famous Sources: A History of BAND-AID® Brand Innovation - Band-Aid.com Congratulations, Earle Dickson, Inventor of the BAND-AID® Brand Adhesive Bandage! - Kilmer House Band-Aid - MoMA Learning Without The Boy Scouts, Band-aids Might Not Have Stuck Around - Scouting Magazine Get Stuck on Band-Aid History - Smithsonian Mag The Story of the Black Band-Aid - The Atlantic The History of the Band-Aid - ThoughtCo.com The Making of Band Aid: Secrets and Stories From the Star-Studded Session - Rolling Stone Music, Tax & The Prime Minister: How Live Aid Changed The UK And The World - Forbes.com

News and analysis from Sky News Radio #Myanmar #Geldof #Iran #Nazanin #acid

Arguably one of the best rock musicians in recent times, Michael Hutchence died a tragic death at the young age of 37. The lead singer of INXS was a tormented soul who loved too much and felt pain too deeply. Today we honor him with a Last Ovation.  

Francois Fillon has emerged as the centre-right contender for the 2017 french presidency. Who is Fillon and what are his views? His broadly Thatcherite views will give Marine la Pen plenty of points of discussion in the the lead up to the election, says Lara Marlowe. Israel always has a vested interest in the outcome of the U.S. presidential election. This time around it would seem they got their preferred outcome with Trump having stated during his campaign that he intends to move the American embassy from Tel Aviv to Jerusalem. Will the seemingly pro-Israel Trump become a powerful ally or indifferent after victory? Our London editor Denis Staunton reports from Tel Aviv. Since his death Fidel Castro's record has been praised and criticised in equal measure. What is Castro's lasting legacy in Cuba and latin America as whole? Journalist and author of 'The Cubans: Voices for change' Lynn Geldof recalls the 1980s in Cuba, a time when the impoverished country saw economic growth and some the positive effects of the socialist regime.

Juliet and Terence look back at the last seven days: Jo Cox; Geldof on the Thames; goals, chairs and flares at Euro 2016; the wobbly rise of Netflix; plus four great tracks of music.

In Episode #285, Sir Bob Geldof, a businessman, political activist, songwriter, musician, author, and former lead singer of the Boomtown Rats, sat down with John Authers of The Financial Times following the 69th CFA Institute Annual Conference to talk about Geldof’s journey from rock star to private equity investor. Amid the topics discussed: What’s the case for investing in Africa? Why aren’t more investors harnessing the continent’s prospects? What about concerns about corruption? And, where in Ethiopia is 8 Miles LLP, the London-based private-equity firm he chairs, finding investment opportunities?  

In this Saint Patrick's Day celebration, listen to Jillian and Hailey talk about the Geldof family and fumble with the phone system. Then go eat dumplings. Playlist Opening: "(I Don't Want to Go to) Chelsea"/Elvis Costello & the Attractions Set 1: "I'm Gonna Be (500 Miles)"/The Proclaimers "The Unicorn"/The Irish Rovers "Irish Blood, English Heart"/Morrissey "The Irish Heart Beat (ft. Don Henley)"/Jerry Lee Lewis "Patty Melts"/Candypants Set 2: "Diamond Smiles"/Boomtown Rats "C'est la Vie"/B*Witched "Peking Saint"/Cat Power "My Darling Irish Girl"/Sean Connery "Bad Penny"/Rory Gallagher "If I Should Fall from Grace with God"/The Pogues Set 3: "Ireland"/Tori Amos "Speed of Darkness"/Flogging Molly "Jonah"/Wussy "Travelin' Band"/Creedence Clearwater Revival "Quiet"/Smashing Pumpkins "Linger"/The Cranberries "Foreigner's God"/Hozier Set 4: "Brown Eyed Girl"/Van Morrison "All Saints"/David Bowie "The Scotsman"/Bryan Bowers "Old Lady"/Sinead O'Connor "When Irish Eyes Are Smiling"/Frank Zappa "Death to My Hometown"/Bruce Springsteen "Sunday Bloody Sunday"/U2 Closing: "Molly Malone"/The Dubliners

This week we talk serial killers, Alex shatters his privilege with a horse cock and we conceive our holiday charity tracks

In episode 226 of Janey Godley's podcast, this week we are joined by Shirley Doig as Janey is on holiday in Ballater and Ashley is back in Glasgow. The women discuss, Bob Geldof, Broadway hotel and Tom Urie. Janey and Shirley talk about their lodge at Ballater and let us know what they have been up to this week. Janey tells us how she painted some autumnal art and auctioned it off for Glasgow food bank Loaves and Fishes and raised £150.    You can get your Janey Godley’s Podcast merchandise at Redbubble Check out our podcast advert on Vimeo If you would like to support our podcast then please do so by clicking onto OurDonate Page and donate via PayPal or like our page on: Facebook For more information on how you can help Matthew McVarish visit The Road to Change website. Get your copy of Molly Wobbly’s Tit factory, live cast recording here. Check out The saga of Tim and Freya You can check out all our videos on YouTube Order “Handstands in the Dark” Paper Back or in EBook Please rate us or leave a comment on PodOmatic, ITunes You can find all the info regarding Janey’s live shows by just clicking Gigs!

FIFTY episodes!Yes, I know it says 24 up there but if you count For A' That and the couple of little specials, this one makes fifty.That being the case I'd like to say thanks to all the guests, the people who have helped to promote it, the people who tune in every week and those who put it on FB and tweet it and whatever the latest new-fangled thing is. The help is much appreciated.Also thanks to those of you who have donated a little to help us out with the costs that come up from time to time. If you'd like to help out with that then the button is up on the right of my blog page (link below).Anyway, for this 50th episode I was joined by Stuart Braithwaite who is the guitarist from the band Mogwai, who I am sure most of you have heard of. We talked about what convinced Stuart of the need for independence, that little song they wrote regarding Thatcher, and much more. Stuart talked about his discomfort with the mud-slinging and negativity in the debate.Did The Proclaimers open things up for Scottish mainstream musicians to sing in their own accents?Have the Yes campaign been too nicey nicey so far? Would getting a bit more aggressive help?I also took the opportunity to vent a little about Bono and Geldof and we discussed how scary the lurch towards UKIP is.Finally we got on to what artists and musicians and so on can contribute to the debate.Hope you enjoy…LINKShttps://twitter.com/plasmatronhttps://twitter.com/mgreenwellhttps://twitter.com/mogwaibandhttp://mogwai.sandbag.uk.com/lesrevenants/http://michaelgreenwell.wordpress.com

Cla passes his driving test, Hoge fails to notice the recorder has stopped working and Dave proposes a Hoge 'n' Smith excursion. Also plans for a charity single, that's sure to be bigger than anything Geldof has managed, are announced. Check out www.sand2snowadventures.com for details on how to donate to Self Help Africa and check us out on twitter @hogensmith and Facebook on www.facebook.com/hogensmith where you'll also find details of the Limerick2Mongolia charity cycle which we are supporting.

Kulturinnslag

Derek Pringle's poetry corner, turkish baths, Geldof's goat children, Sergio Crease the Scope Hero and the dislike of bendiness. Also; the strange case of the clone of Ian Hislop... or is it a surgically enhanced Robert Maxwell?

2. Teil. Mosche Bastardo führt Abu Henryk weiter durch sein Little Camp David. Der Ort, an dem es immer wieder Verhandlungen zwischen Arabern und Israelis, also auch zwischen Moslems und Juden gab. In dieser Folge unterhalten sie sich über Polemik, den Unterschied zwischen guten und Gutmenschen und über Bono, Geldof und Grönemeyer.