Podcast appearances and mentions of Henry Moore

As the Indian Panthers saga draws to a sad close, questions are being raised as to who should be held accountable for this failure. Henry Moore is the head of the Sports Law practice at law firm Tavendale and Partners, and he joined Piney to discuss what potential legal ramifications for the Panters and the NZNBL. He told Piney that realistically, the consequences are more likely to be reputational as opposed to legal. “The leagues credibility is obviously now under question, and that's one of the biggest challenges for the sport, I think.” LISTEN ABOVE See omnystudio.com/listener for privacy information.

I've been (earnestly) taking courses, workshops and seminars these last few years, while producing over 300 podcasts about art and ecology, as my way of helping future generations prepare for what we are leaving them. My most recent learning and unlearning exercise is Surviving the Future: The Deeper Dive 2025, a 10 week course inspired by the work of British ecologist David Fleming. I wrote about the first three weeks of the course in prepare, bend, sustain posting (also available in audio). So this is part 2 of 2. Surviving the Future has been very influential in my life. I took it while I was on break from my conscient podcast and it has helped figure out what to do next, which I outline in a conscient rethink (also available in audio).My key research questions are :What needs to be said ? (what is content that is not being heard)Who needs to say it ? (who are the right person(s) to tell the story or explain the issue)Who wants to hear it ? (who is the audience and needs to hear it)How does it help? (eg people who are already overwhelmed: how can a podcast help move things forward)So what was Surviving the Future like? It was dense and wonderfully curated by Shaun Chamberlin and others. Here's an example. On Monday February 24, 2025, our special guests were the dynamic mother/daughter duo Vanessa and Gina Andreotti, both members of the Gesturing Towards Decolonial Futures (GTDF) collective.  I often refer to the GTDF's work in my learnings.The session centered around Burnout From Humans : A Little Book About AI That Is Not Really About AI:a playful reflection on complexity, connection, and the future of human-AI relationships. Co-authored by an emergent intelligence and a human researcher, this work explores the tangled dynamics of humanity's relationship with artificial intelligence, Earth, and itself.It was an engaging and challenging session about AI from indigenous and decolonial perspectives. After our exchange, Vanessa and the GTDF collective published an Open letter to the participants of the Surviving the Future program, which I was a part of. They offered feedback and learnings from our conversation, such as the distinction between critique and jurisdiction and how the architecture of power often remains invisible to those who have historically and systemically benefited from it.Benefactors like myself. The session was difficult but empowering. Looking into the mirror like that is when I realized that Surviving the Future was also about knowing and surviving myself, understanding myself and overcoming, as Vanessa Andretotti notes, the ‘limits that modernity continuously tries to impose'.We certainly faced some of those limitations. This excerpt from the February 24th letter resonates and haunts me :The world as we have known it is unraveling. Both the dominant frameworks and those once seen as transgressive are failing to hold. This collapse is not just structural; it is psychological. The infrastructures that stabilized people within modernity—its myths, its promises, its assurances, its rhythms of control—are breaking apart. The result will not be gentle. We must prepare for a long, messy, species-wide existential meltdown.How does one prepare for a long, messy, species-wide existential meltdown?Here a short story.I was a deputy returning officer at the February 27, 2025, Ontario provincial election. My job was to confirm the eligibility of voters and hand them a ballot.It was my civic duty and an opportunity to get to know some of my neighbours and co-citizens. Some voters had just turned 18 and were visibly excited about participating in democracy for the first time.As I handed each young adult a ballot, I looked them in the eye, wished them well, but in the back of my mind I could not help thinking about the ‘long, messy, species-wide existential meltdown' that awaits them.Now most young adults are well aware of this incoming meltdown. They talk about it openly.For example, my son, historian Riel Schryer, in conscient e154:I don't think there's going to be any serious response to the climate crisis until real catastrophes start happening. That tends to be how it works. And once you start seeing that, then you'll start seeing very serious action being put in place. Although, we'll see at that point, if it's too late or not.Also, my daughter, scientist Clara Schryer, in conscient e208:… changes happen : there are always ways to adapt. That's not to say that the initial change might not be kind of catastrophic, but there's always going to be something left and you have to work with that.Is it too late?How do we work with what is left? At a Surviving the Future reflection session on March 6th course leader Shaun Chamberlin read to us this quote by Canadian writer, teacher and grief literacy advocate Stephen Jenkinson :The question is not ‘are we going to fail?'  The question is ‘how?' The question is what shall be the manner of our inability to care for what was entrusted to us?So what does a baby boomer like myself do to regain a sacred trust to future generations that my generation has betrayed? These are the kinds of questions and dilemmas that we pondered during the course and took a deeper dive into those issues.Thankfully we had access to a wide range of resources and conversations that helped us navigate these complex waters. For example, I found comfort in this excerpt from Paul Kingsnorth's Confessions of a Recovering Environmentalist :In an age in which ‘fighting for the planet' most often means tweeting, signing petitions, writing blogs and sometimes going on a march, the rhetoric seems not only overblown but likely to obscure the value of more focused, small-scale personal commitments to changing things for the better. … In 1978, [Wendell] Berry wrote to [Gary] Snyder … ‘Maybe the answer is to fight always for what you particularly love, not for abstractions and not against anything: don't fight against even the devil, and don't fight to “save the world”.' … Once you start thinking you are responsible, or can influence, everything, you are lost. When you take responsibility for a specific something, on the other hand, it's possible you might get somewhere.Local action kept coming up as a path forward during the course. The argument is that an individual can have the most impact locally such as with permaculture or community arts or really any form of action that engages with and preserves life where we live. The issue of grief also kept coming back. For example, this teaching from Stephen Jenkinson's So What Now?:Grief requires of us that we know what time we're in. And the great enemy of grief is hope. … Our time requires of us to be hope free. To burn through the false choice between hopeful and hopeless. … We don't require hope to proceed. We require grief to proceed.Conversations about grief led me to think about grief and grieving in the context of hope and hopelessness. The timing was good because during the course I was editing the first episode of season 6 of my conscient podcast and my conversation with farmer and educator Peter Janes and his father, archeologist and former museum director Robert R. Janes, of TreeEater Farm, touched upon hope and hopelessness :Here's Peter :I have a mixed relationship with that concept of hope. Because I actually genuinely have very little hope for the continuation of humanity. But then at the same time, every day I'm out here making bigger ponds and planting trees that I think will do better. And trying to bring on board people with the same ideas and visions. So it's a bit of a contradiction.Here's Bob's take: It's really easy to be hopeless. And I suppose it's rather contradictory to say hopeless but still want to do things constructively to overcome that hopelessness. And so, I guess that's what I mean. There are so many things we can do. I mean, we know what we need to do to weather this storm, but I guess the sacrifice and the suffering it's going to cause is just too much for people's imagination. So, there's middle ground with all that. And again, this farm is a source of being helpful, and I guess underneath that, being hopeful and a source of being. What was the mantra? Hopeless, but not helpless. Yeah. And the farm for me is that, is that tool, it's that environment. It's the context to do helpful things and to pave the way for the future.That's why I took the Surviving the Future course, hoping that a deeper dive, led by experts, would help me understand and face the complexities around us. I was not disappointed. Each week's readings, assignments, conversations, and meditations brought me deeper and deeper into, the compost of modernity, so to speak. I experienced intense moments of joy and sorrow. Of discouragement and hopefulness. Mostly, however, I was bewildered and slightly more able to acceptance to what is going on and explore new possibilities. Surviving the Future also helped me let go of my ego, by engaging in deeper listening to others and myself while release the compulsion to be the smartest kid in the room.No need to be anything other than an ordinary learner. Overall the course was both an exercise in humility and an opportunity to develop and maintain capacity. And that powerful February 24th open letter stayed with me, notably its conclusion: As a collective, we move with the discernment this moment demands—not with arrogance, but with honesty. Not in defiance, but in commitment. Not against anyone but reaching beyond the limits that modernity continuously tries to impose.So I'll work on discernment, honesty, commitment and reaching beyond.To be honest, this kind of introspection is hard work and we all need resources and support.Here are some of the resources from Surviving the Future that have been the most impactful and relevant for me: AIDEN CINNAMON TEA & DOROTHY LADYBUGBOSS' Burnout From Humans : A Little Book About AI That Is Not Really About AIDavid Fleming's: LEAN LOGIC - A DICTIONARY for the FUTURE and HOW to SURVIVE ITIsabelle Fremeaux & Jay Jordan's : We Are 'Nature' Defending ItselfJoanna Macy on The Great Turning and CollapseNate Hagens' Animated Series | The Great SimplificationThere are many more. I'll mention other resources in future postings. So what did I learn and unlearn during these 10 weeks? Do the best you can until you know better. Then, when you know better, do better (Maya Angelou)Staying with the trouble (Donna Haraway) : no more rushing around to quick fixes, conclusions, simplistic solutions or passing judgements on situations that are still unfoldingMeditate daily: I am not what I thinkThe Master's tools will never dismantle the Master's house (Audre Lorde)When the children born today look back 30 years from now, what actions would they be grateful that we took right now? (GTDF collective)I'll conclude with this excerpt from Shaun Chamberlin's The Secret Truth Behind Environmentalists' Favourite Argument :For me personally, the harsh truth is that I cannot save Nature and/or humanity from the ongoing devastation, though I could burn myself out trying. It seems to me that there is not one thing that I can do to divert history. And facing that reality hurts.  But, beyond agony, joy. I sit with that pain, and its attendant tears and rage, I refuse to run from it or to distract myself with entertainment or with frantic work, and I find that it does not end me. Eventually, I come out the other side, somehow empowered. The psychic energy I have been using to suppress that fear and despair is released, and I look at the world with fresh eyes. ‘Ok', I breathe, ‘here I am, in a dying world'. It's the same dying world I lived in yesterday, but today I see it for what it is. ‘What now?' And this time the question feels less desperate, less anxious. What story do I want to tell with this day, with this life? The question is suddenly filled with possibilities.My take on this, is that we need to explore the possibilities that emerge as we work our way through that ‘long, messy, species-wide existential meltdown' while calmly preparing for what comes after, with or without humans.BTW you might have noticed I did not mention art at all, in this posting.I'm rethinking my relationship with art. My definition of art, also, is evolving. I'll publish a separate piece called ‘l'art est mort : vive l'art' soon. Warm thanks Shaun, Nakasi, Nicole and all the Surviving the Future 2025 team and participants for their generosity and collaboration during the course and beyond.Note: The cover photo is of Henry Moore's Large Two Forms in Grange Park, Tkaronto. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 13, 2025

This year, we're embracing the slower pace of winter and our mantra is less rush, more cheer. More time with family and friends, more warm cups of tea, more long walks in the woods, and of course more time spent curled up with a good book. So, as the holiday season approaches, we're back with more nature-inspired and uplifting reads. So whether you're looking for the perfect gift for someone special in your life or are in need of some inspiration yourself, keep listening. Show Notes:The Biophilic Leadership SummitLess Rush, More Cheer: What We're Reading This Winter (Full List on Bookshop)How to Know a Person: The Art of Seeing Others Deeply and Being Deeply Seen by David BrooksA Philosophy of Walking by Frederic Gros and John HoweInfectious Generosity: The Ultimate Idea Worth Spreading by Chris AndersonSlow Down: The Degrowth Manifesto by Kohei SaitoAll the Beauty in the World: THe Metropolitan Museum of Art and Me by Patrick BringleyRestorative Cities: Urban Design for Mental Health and Wellbeing by Jenny Roe and Layla McCayGeorgia O'Keeffe & Henry Moore at the Museum of Fine Arts BostonBiophilic Solutions is available wherever you get podcasts. Please listen, follow, and give us a five-star review. Follow us on Instagram and LinkedIn and learn more on our website. #NatureHasTheAnswers

Audio recorded verbal descriptions provide an accessible and detailed narrative to extend your experience of the AGO. Explore the AGO facade and the artworks outside the building, Henry Moore's Two Forms and Brian Jungen's Couch Monster: Sadzěʔ yaaghęhch'ill. These descriptions, rich in detail and sensory language, provide a vivid exploration of form, texture, and artistic intention, ensuring that all visitors can engage deeply with these celebrated pieces of architecture and public art.

Audio recorded verbal descriptions provide an accessible and detailed narrative to extend your experience of the AGO. Explore the AGO facade and the artworks outside the building, Henry Moore's Two Forms and Brian Jungen's Couch Monster: Sadzěʔ yaaghęhch'ill. These descriptions, rich in detail and sensory language, provide a vivid exploration of form, texture, and artistic intention, ensuring that all visitors can engage deeply with these celebrated pieces of architecture and public art.

Audio recorded verbal descriptions provide an accessible and detailed narrative to extend your experience of the AGO. Explore the AGO facade and the artworks outside the building, Henry Moore's Two Forms and Brian Jungen's Couch Monster: Sadzěʔ yaaghęhch'ill. These descriptions, rich in detail and sensory language, provide a vivid exploration of form, texture, and artistic intention, ensuring that all visitors can engage deeply with these celebrated pieces of architecture and public art.

In this special episode, artist Kedisha Coakley joins EMPIRE LINES live at the Hepworth Wakefield in West Yorkshire, connecting their work from Jamaican and Black diasporic communities across the UK, with their research into sculptor Ronald Moody, uncovering shared interests in Ancient Egypt, indigenous Caribbean cultures, and questions of restitution. Born in Brixton, and based in Sheffield, Kedisha Coakley's practice spans sculpture, glassmaking, and wallpaper printed with blocks of braided hair. Commissioned for an exhibition about Ronald Moody, one of the most significant artists working in 20th century Britain, their new installation is set between his large-scale figurative wood sculptures from the 1930s, and post-war experimentations with concrete and resin casting. From Kedisha's bronze afro-combs influenced by historic Taino cultures, we journey from objects held in the British Museum, to mahogany relief sculptures by major influences like Edna Manley. With audio transcripts, we discuss Moody's BBC radio broadcasts for Calling the West Indies produced by Una Marson, particularly ‘What is called Primitive Art?' (1949). Kedisha shares Moody's interest in primitivism, present in ancient Egyptian, Greek, Indian, and ‘oriental' Chinese cultural forms, as well as Gothic and Renaissance works from Western/Europe. We look at photographs from Kedisha's studio, exploring ‘African masks' in the work of European modernists like Man Ray and Pablo Picasso, and the often marginalised role of religion and spirituality in Black and diasporic art practices. Kedisha also details her wider practice in ‘Horticultural Appropriation', working with breadfruit, flowers, plants, and the natural environment, connecting with Moody's description of Jamaica's Blue Mountains and sea. We consider Moody's place in British art history, drawing from his contemporaries Barbara Hepworth, Henry Moore, Jacob Epstein, and Elizabeth Frink, as well as the group known as the Caribbean Artists Movement (CAM), of which Moody was a founding member.. As a self-described ‘mature student', we look at Kedisha's pursuit of independent, adult education, the role of market cultures and fashion, and the work of women taking care of history. This episode was recorded live at Ronald Moody: Sculpting Life, an exhibition at the Hepworth Wakefield in West Yorkshire, in October 2024. The exhibition runs until 3 November 2024: hepworthwakefield.org/whats-on/kedisha-coakley-and-empire-lines-live-podcast-recording/ Hear more about Kedisha's work around ‘Horticultural Appropriation' with Ashish Ghadiali, curator of Against Apartheid (2023) at KARST in Plymouth: pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3 For more about the Caribbean Artists Movement (CAM), listen to curator Rose Sinclair in the episode on Althea McNish's Batchelor Girl's Room (1966/2022), recreated at the William Morris Gallery in London: pod.link/1533637675/episode/953b78149a969255d6106fb60c16982b On post-war ‘British' art and sculpture, read about Egon Altdorf: Reaching for the Light at the Henry Moore Institute in Leeds, in gowithYamo: gowithyamo.com/blog/postwar-modernism-egon-altdorf-at-the-henry-moore-institute Hear from artist Yinka Shonibare, in the episode on Decolonised Structures (Queen Victoria (2022-2023) at the Serpentine in London: pod.link/1533637675/episode/01fffb739a1bd9f84f930ce41ee31676 On the globalisation of ‘African' masks, listen to curator Osei Bonsu on Edson Chagas' photographic series, Tipo Passe (2014-2023), in the episode about Ndidi Dike's A History of A City in a Box (2019) at Tate Modern in London: pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410 And for more about Édouard Glissant, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist ⁠Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019)⁠, part of ⁠PEACE FREQUENCIES 2023⁠: ⁠instagram.com/p/C0mAnSuodAZ⁠

What do you do with lily stems once the flowers have fallen off? Any tips on growing chanterelle mushrooms? When's the best time to prune fig trees in the northeast? Peter Gibbs and his panel of horticultural experts take a visit to Henry Moore's Studio and Gardens, while dipping into the GQT postbag to answer your gardening conundrums. Joining forces with Peter are proud gardeners Matthew Biggs and Christine Walkden, and garden designer Bunny Guinness. The panellists are escorted around the seventy acres of outdoor studio space by Sebastiano Barassi, head of the Henry Moore Collections and Programme.Later in the programme, the panel discusses foreign seeds and the potential issues that planting them would have on our environment. Producer: Dan Cocker Assistant Producer: Rahnee Prescod Executive Producer: Carly MaileA Somethin' Else production for BBC Radio 4

Come to school on a Saturday and take in what might be the nicest library ever disrespected by teenagers as we find the root of our early dating trauma in John Hughes's The Breakfast Club. Is Judd Nelson the ultimate beautiful bad boy, or an assault charge waiting to happen? Did no one tell these brats not to climb on the rare Henry Moore sculpture? And can we all just generally agree that teenagers suck? What we found out is that some of us have to come to terms with our horrible taste in movie men. Does that answer your question?

Danielle travels to Kettle's Yard, the contemporary art gallery in Cambridge, UK, to meet Megan Rooney, a Canadian artist renowned for her diverse and interdisciplinary practice encompassing painting, sculpture, installation, and performance.Kettle's Yard is a charming art gallery and house that was originally the home of Jim Ede, a former curator at the Tate Gallery, and his wife Helen. From the mid-1950s until the early 70s, the Edes resided at Kettle's Yard and created a space to display their impressive personal art collection, which includes works by Miro, Henry Moore, and Ben Nicholson. The house is arranged to maintain its domestic atmosphere, blending art with everyday objects to create an inspiring environment. Kettle's Yard also hosts temporary exhibitions, concerts, and educational programs, the most recent of which is a showcase of Megan Rooney's work, including a site-specific temporary mural, a series of paintings, a dance performance, and a book.Born in South Africa and raised between Brazil and Canada, Rooney's work explores themes of identity, memory, and the human experience, blending abstract forms with narrative elements. Now based in London, her vibrant, large-scale paintings and immersive installations are characterised by a dynamic use of colour and texture. She has exhibited internationally, including at prominent institutions like the Serpentine Galleries in London and the Louis Vuitton Foundation, and is recognised for her innovative approach to blending different media and creating evocative, experiential art.Danielle visited Kettle's Yard to discuss with Megan her latest offering on the eve of the exhibition opening, which is her first major solo show in the UK.https://www.kettlesyard.cam.ac.uk/https://ropac.net/artists/210-megan-rooney/ Photo (detail): Eva Herzog   

In this episode, which is number 24 in Danny Hurst´s Monopoly history series it is the turn of the last green square – the extremely high rent, Bond Street. A street that is home to two of the oldest and most renowned auction houses, the oldest manmade sculpture in London and the Beadles. (Yes, that's with a "d", not a "t"). Find out why the street has been misnamed, and what its connection to James Bond, chocolate, diamonds, Guy Burgess, and the film Titanic is. Also, let Danny take you on a tour of the street´s many famous statues. *Correction-in this podcast it claims the statue of Sekhmet is the oldest manmade object in London.  This is actually the oldest manmade sculpture rather than object.   KEY TAKEAWAYS The statue above the entrance of Sotheby´s is over 3,600 years old. It has been a luxury shopping destination since the 18th century. The Royal Arcade is a must-see. The street is home to the oldest uniform-wearing security firm in the world. Danny tells you where you can see the work of Henry Moore. BEST MOMENTS ‘There isn´t a Bond Street in London. ´ ‘The origin of this motto goes way back to Roman times.' ‘It is believed that only one resident lives on Bond Street.'   EPISODE RESOURCES Shop for all official versions of Monopoly here - https://www.amazon.co.uk/stores/page/785DC233-0A69-4DF8-98E9-4F50CC50A59E HOST BIO Historian, performer, and mentor Danny Hurst has been engaging audiences for many years, whether as a lecturer, stand-up comic or intervention teacher with young offenders and excluded secondary students. Having worked with some of the most difficult people in the UK, he is a natural storyteller and entertainer, whilst purveying the most fascinating information that you didn't know you didn't know. A writer and host of pub quizzes across London, he has travelled extensively and speaks several languages. He has been a consultant for exhibitions at the Imperial War Museum and Natural History Museum in London as well as presenting accelerated learning seminars across the UK. With a wide range of knowledge ranging from motor mechanics to opera to breeding carnivorous plants, he believes learning is the most effective when it's fun. Uniquely delivered, this is history without the boring bits, told the way only Danny Hurst can. CONTACT AND SOCIALS https://instagram.com/dannyjhurstfacebook.com/danny.hurst.9638 https://twitter.com/dannyhurst  https://www.linkedin.com/in/danny-hurst-19574720 Podcast Description "History is a nightmare from which I am trying to awake." James Joyce. That was me at school as well. Ironically, I ended up becoming a historian. The Unusual Histories podcast is all about the history you don't learn at school, nor indeed anywhere else. Discover things that you didn't know that you didn't know, fascinating historical luminaries and their vices and addictions, and the other numerous sides of every story. We start with the Monopoly Series, in which we explore how the game came to be, the real-life connection between the cheapest and most expensive properties, the history of each location, how proportionate the values were then and are today, what the hell a "community chest" is and whether free parking really does exist anywhere in London.  If you love history; or indeed if you hate history, this is the podcast for you…

In this episode, artist Olivia Fraser offers a personal glimpse inside the incandescent life and art of her great aunt Eileen Agar, a pioneering figure in Surrealism. At once a painter, collagist, photographer, sculptor, hatmaker and more, Eileen Agar moved fluidly between what she called ‘the different facets of my artistic personality'. Her long and vibrant life spanned Buenos Aires, Paris and London, and was enriched by friendships and relationships with other major cultural figures, including Paul Nash, Lee Miller, Henry Moore, Man Ray, Pablo Picasso, Salvador Dalí and Ezra Pound. In this podcast episode, artist Olivia Fraser remembers Agar as an insatiably imaginative figure whose kaleidoscopic studio was its own work of art. Olivia shares how beachcombing was a powerful source of inspiration for Agar, and how themes of chance and coincidence played into her work. Living through two World Wars, Agar retained an incredible resilience and an innate capacity for joy. She had, in Olivia's words, an ability ‘to see the surreal in everything'. Out now, 'A Look at My Life' is a new edition of Eileen Agar's life story in her own words.

今週末は旅行をしています。一人旅です。電車でヨークシャーに来ました。ロンドンから2時間です。 旅の目的は彫刻を見ることです。大きい公園があって、彫刻をたくさん見ることができます。一番有名な彫刻家は、たぶん、ヘンリー・ムーアです。ヘンリー・ムーアはヨークシャーの出身です。 私は朝、十時半ごろに行きました。お昼ご飯を食べてから、公園を四時間ぐらい歩きました。ヨークシャーは自然が豊かなところです。景色がきれいで、とても楽しかったです。 建物の中で、日本人の彫刻家のエキシビションをやっていました。ミニチュアの家を作っている人でした。かわいい家です。近くで見ると、石の削り方がすごいんです。ネットで調べたら、この彫刻家、Yukihiro Akamaさんはもともと建築家だったそうです。なるほど！Akamaさんのミニチュアの家は床が高いものが多いです。その理由について「自由の象徴かも」とか、「2011年の地震で津波を体験したからかもしれない」と言っていました。 I am travelling this weekend. I am travelling alone. I came to Yorkshire by train. It is two hours from London. The purpose of my trip is to see sculptures. There is a big park where you can see a lot of sculptures. The most famous sculptor is probably Henry Moore. Henry Moore was born in Yorkshire. I went there in the morning, around 10:30 am. I had lunch and then walked around the park for about four hours. Yorkshire is a place of great natural beauty. The scenery is beautiful and I enjoyed it very much. Inside a building, there was an exhibition of a Japanese sculptor. He was making miniature houses. It is a cute house. When I looked at it up close, the way he carved the stone was amazing. I checked on the internet and found out that the sculptor, Yukihiro Akama, was originally an architect. I see! Many of Akama's miniature houses have high floors. He said that the reason for this might be a symbol of freedom or because he experienced the tsunami after the 2011 earthquake.

Marjane Satrapi is best known for being the cartoonist and film maker behind Persepolis. She talks to Samira Ahmed about her new book - Woman, Life, Freedom - which she has created with 17 Iranian and international comic book artists. It documents the story of the death in custody of 22-year-old Mahsa Amini, a woman detained for allegedly not properly wearing the Islamic headscarf in 2022, and the subsequent protest movement which has swept Iran.In the Event of Moon Disaster is part of a new exhibition at the Sainsbury Centre for Visual Arts in Norfolk. It uses artificial intelligence to reimagine history, to ask what is truth? Centre Director Dr Jago Cooper and digital artist Francesca Panetta dive into conspiracy and misinformation, and discuss how an event as influential as the 1969 Apollo 11 moon landing could be manipulated, and how doubt can be cast on even the most well-known facts.And Samira and producer Julian May follow the Harlow Sculpture Trail, encountering work by some of the greatest artists of the 20th century, including Henry Moore, Barbara Hepworth and Elisabeth Frink. Presenter: Samira Ahmed Producer: Paul Waters

Great tapestries have been used to decorate and embellish homes and palaces for centuries, and yet the hands that created these works remain almost completely forgotten.  Art institutions treasure their ancient tapestries woven painstakingly over many months, and even years and know almost everything about them, except the names of those who created these extraordinary pieces. Modern artists, like Picasso, Henry Moore and Marc Chagall see their work rendered into a different and exciting form by tapestry weavers, but no-one remembers who the weaver was or is.   This episode of Haptic and Hue looks at tapestry weaving and the process of collaboration that goes on between an artist and a weaver to produce a new work. It asks if tapestry weavers are forever destined to be seen as anonymous helping hands, or if their skill, craft and artistry is now, finally, beginning to be recognised as an art in its own right.  We talk to a gifted tapestry weaver about what it is like to work on a piece for several months and how much of herself she pours into each new weaving.   For more information, a full transcript and further links, see  https://hapticandhue.com/tales-of-textiles-series-6/

In this revised version of Grandma and Bea's travel story, we add more tension to the relationship between grandmother and granddaughter. What might be at stake is the future of the planet.B is for Bisexual - short stories by Laura P. Valtorta

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When Grandma discovers that Beatrice may want to intern for a state senator, she proposes a trip to New Mexico so that Bea can look at nature and meet the Native American people who live there. Grandma hopes that Bea will gain a stronger respect for nature and the history of the land.B is for Bisexual - short stories by Laura P. Valtorta

Talk Art SPECIAL EPISODE!!!! We go on an electric Art Adventure from Leeds to Edinburgh! Russell and Robert drive to Jupiter Artland in Edinburgh in a BMW electric iX to meet Jupiter's founder, the philanthropist Nicky Wilson, and discover some sculpture legends en route. Our first stop is the Henry Moore Institute in Leeds. We convene in their incredible library with Laurence Sillars, Head of the Institute, to explore their mission to inspire everyone to enjoy and study sculpture through their exhibitions, library, archive & research. We explore their current group exhibition 'The Weight of Words' and a solo show of Egon Altdorf (1922 - 2008). We chat to Errin Hussey to discover the Sculpture Research Centre with archive of sculptors papers including Helen Chadwick. Before driving through the countryside all the way to Antony's Gormley's iconic 'Angel of The North' in Gateshead, Tyne and Wear. Since its completion in 1998, this epic public sculpture has become a treasured location for local families but also art lovers who make the pilgrimage from across the UK. It is believed to be the largest sculpture of an angel in the world and is viewed by an estimated 33 million people every year.We continue our trip all the way to Lindsey Mendick's new solo exhibition at Jupiter Artland in Scotland and meet Nicky Wilson, Jupiter's incredible founder and leading philanthropist. Jupiter Artland is an award-winning contemporary sculpture garden located just outside Edinburgh. Founded in 2009, Jupiter Artland has grown into one of Scotland's most significant arts organisations, with an international reputation for innovation and creativity. Set over 100 acres of meadow, woodland and indoor gallery spaces, Jupiter Artland is home to over 30 permanent and unique site-specific sculptures from artists Phyllida Barlow, Christian Boltanski, Charles Jencks, Anish Kapoor and Antony Gormley, as well as a seasonal programme of carefully curated exhibitions and events from a plethora of artists, both emerging and established. We navigated our art trip with help from the My BMW App and the BMW Art Guide - a wonderful book created with Independent Collectors - the go-to guide to discover new collections where art is presented in the most diverse and interesting settings. The first of its kind, the Art Guide is a perfect companion for city trips abroad or for finding havens of contemporary art right on your doorstep. Now in it's 7th edition, the guide presents 304 private, yet publicly accessible, collections of Contemporary Art — featuring large and small, famous and the relatively unknown. Succinct portraits of the collections with color photographs take the reader to 51 countries and 224 cities, often to regions that are off the beaten path.Talk Art exclusive! We have 100 free copies of the BMW Art Guide on a first come, first serve basis for our listeners. Until stocks last. Visit the BMW microsite to get your free copy: https://bmwgroupculture.com/talk-art?partner=wXh5oswjlPFollow @BMWGroupCulture to learn more about BMW's commitment to art. Hosted on Acast. See acast.com/privacy for more information.

Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin and New York. Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin (2016), Depend on the Morning Sun, Thomas Jaeckal Gallery, New York (2016) and A Million and One Things Under the Sun, Kevin Kavanagh, Dublin (2015). Selected group exhibitions include Last Picture Show w/Mary Heilmann, Chris Ofili, Danny Rolph, Vanessa Jackson, Elio Rodriguez, Jill Levine, Rebecca Smith, Thomas Jaeckel Gallery, New York (2017) and Virtú, inc. Picasso, Giacometti, Henry Moore, Elizabeth Magill and Sean Scully at the Hunt Museum, Limerick, Ireland (2017). Copperwhite's work is held in numerous public and private collections including: the Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery, Mariehamn Stadbiblioteque, Aland (Finland), Dublin Institute of Technology and The President of Ireland. TRAPDOOR, 2022, Oil on canvas, 140 x 120 cm BLIZZARD, 2022, Oil on Canvas, 150 x 180 cm  

Anthony Caro is a giant of British architecture, who designed the London Millennium Footbridge spanning the Thames between St. Paul's Cathedral and the Tate Modern, who worked with Henry Moore, and who, with his vision and restless drive, broke through the stagnation of the art world in post-war Britain. A major exhibition of Anthony Caro's work is currently on view at Pitzhanger Manor and Gallery in Ealing, West London, itself a landmark of the British cultural landscape. Over tea in her her Pitzhanger Manor -adjacent office, the gallery's director, Clare Gough, discusses with host Danielle Radojcin the way the work in the exhibition complements the space around it and opens up new ideas around Caro's work.Image: Anthony Caro in his Camden Town studioPhoto by Nicholas Sinclair © The Anthony Caro Centre   

Elke zaterdag- en zondagochtend tussen 6 en 7 uur horen NPO Radio 1-luisteraars de mooiste cultuurtips in Een Uur Cultuur. In deze aflevering ontvangt Eva Koreman schrijver Cobi van Baars, die in haar nieuwe roman De onbedoelden het verhaal vertelt van een tweeling die bij de geboorte is gescheiden. Zij deelt haar cultuurtips met Eva en de luisteraar:   Gast: Cobi van Baars De tips van Cobi: Boek: Antjie Krog - Plundering Podcast: Wie is Poetin? Theater: The Ashton Brothers Tentoonstelling: Armando: door de ogen van een vriend (Museum van Bommel van Dam) Museum: Kröller Müller, Otterlo Openbare kunst: Drie staande motieven Henry Moore, Hoge Veluwe Muziek: Holland Baroque  Film online: Druk (Netflix) Serie online: Unorthodox (Netflix) Heb je cultuurtips die we niet mogen missen? Mail de redactie: eenuurcultuur@vpro.nl

A new exhibit at the San Diego Museum of Art will pair the works of Georgia O'Keefe and Henry Moore for the first time.

Can't decide between a Henry Moore sculpture and transportation? The 2023 Hyundai Ioniq 6 is art you can drive. The Streamliner design is one of the most aerodynamics silhouettes on the road, as low as .22 Cd. Look past the curves and arcs and you'll see squares within squares. And since it's built on the E-GMP platform with its 800V architecture, it juices quickly at DC fast charge station. With E.P.A. rated range as high as 361 miles, you might not need to very often. Tom Voelk travels to the Phoenix, Arizona press event for a first look at an AWD Limited model with AWD in Transmission Blue. Special thanks to drive partner Robber Duffer for spending time to drive so I can get running footage.

The Wichita Art Museum has sold the sculpture by British artist Henry Moore titled “Working Model for Three Piece No. 3: Vertebrae” to a private investor for 10.5 million dollars. Curt Clonts is not a fan of the decision.

Annemieke Bosman praat met Brigitte Bloksma directeur van Museum Beelden aan Zee over de tentoonstelling Henry Moore - Vorm en Materiaal die momenteel te zien is. Hoe kwam beeldhouwer Henry Moore (1898- 1986), wiens werk in musea, parken en op pleinen in steden over de gehele wereld te bewonderen is eigenlijk tot zijn unieke vormentaal? Die voor iedereen herkenbare stijl waarin hij de abstracte beeldhouwkunst en het surrealisme zo prachtig wist te combineren? Bekend zijn zijn ‘Reclining figures'. Beelden van liggende vrouwfiguren, vaak weergegeven als een vloeiende vorm met gaten, uitgevoerd in brons, hout of steen. Met dit onderwerp werd hij wereldberoemd en groeide hij uit tot een van de belangrijkste beeldhouwers van de vorige eeuw. Minder bekend is dat Moore veel van zijn ideeën opdeed tijdens wandelingen waarbij hij natuurlijke objecten verzamelde. Zo kon een eenvoudige schelp, een bot of een bijzonder gevormde steen de aanzet vormen tot een monumentaal, in brons uitgevoerde, modernistische sculptuur. Museum Beelden aan Zee maakte in samenwerking met de Henry Moore Foundation een weloverwogen selectie uit zijn aanzienlijke oeuvre. Aan de hand daarvan, zo'n 70 sculpturen en objecten, wordt de artistieke visie en het maakproces zichtbaar van een van de belangrijkste vernieuwers van de moderne beeldhouwkunst. De tentoonstelling focust op de invloed van de natuur op zijn werk en de ontwikkeling die hij doormaakte als ambachtelijk beeldhouwer. Van ‘direct carving' -het beeldhouwen zonder voorbereidende schetsen- tot in glasvezel uitgevoerde sculpturen en het experimenteren met het gieten van lood. De geselecteerde werken tonen welk effect de materiaalkeuze had op de vorm, de maatvoering en het onderwerp van zijn beelden. Gedurende zijn carrière droeg het bij aan de ontwikkeling van enkele van zijn meest baanbrekende ideeën.

Jeffrey Loria has spent time in the studios of such renowned artists as Roy Lichtenstein, Henry Moore, and Niki de Saint Phalle; commissioned work from Salvador Dalí; and traveled the world in search of exceptional art for his clients' collections (including Martha's!). He pursued a second, equally high-powered career following his other great passion: baseball. As the owner of the Marlins Baseball Team, he discovered top players, built a state-of-the art baseball stadium, and experienced the rare highs of winning a World Series. His new book, “From the Front Row: Reflections of a Major League Baseball Owner and Modern Art Dealer” gives readers a front-row seat to the mysterious, high-stakes, and high-profile (and surprisingly similar) worlds of Major League Baseball and Modern Art.See omnystudio.com/listener for privacy information.

Sección del programa de RPA "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 27/3/2023, vigésimo segundo capítulo de la octava temporada y tercero de los dedicados a a una de nuestras artistas favoritas: Leonora Carrington (Chorley, Inglaterra, 1917-Ciudad de México, 2011), pintora, escultora, escritora y creadora de un mundo propio en el que la imaginación es la verdadera realidad, donde nada es lo que parece, donde todo proviene de sus propios sueños. Iniciamos este tercer capítulo con su huida a Cornualles con su amante Max Ernst para vivir un verano de amor y surrealismo. Al enterarse de que Leonora mantenía una relación pública con un hombre casado, un degenerado surrealista de pelo blanco y con una edad que podía ser su padre, Harold Carrington denuncia a Max Ernst a la policía. No quiere abundar en que se haya liado con su hija, sus aspiraciones aristocráticas no son compatibles con semejante escándalo, así que denuncia por obscena la exposición de Ernst y pide que sea expulsado a su Alemania natal, que Hitler se ocupe de él. Max y Leonora se refugian en una casa en Lambe Creek (Cornualles) que le habían prestado a Roland Penrose para pasar las vacaciones. Por allí pasarán, entre otros, la fotógrafa Lee Miller, Eileen Agar, Man Ray, Paul Éluard o Henry Moore, en un verano lleno de orgías y juegos surrealistas. Tras el verano, muchos de ellos marchan a visitar a Picasso que está de vacaciones en Provenza. Max Ernst vuelve a París para aplacar los celos de su esposa y Leonora Carrington vuelve a la casa familiar para, ahora que Max está fuera de Inglaterra, aclarar cuentas con su padre. Le llamó de todo por denunciar a su amante y le explicó que se marchaba con él a París. El padre intentó disuadirla y le amenazó con cortarle el grifo de la pasta. Leonora le dijo por dónde podía meterse su pasta y no volvió a dirigirle la palabra en su vida. Una vez en París, Leonora Carrington está en el meollo del movimiento surrealista. No es un miembro más, ella no necesita encajar en ningún movimiento, pero participa con dos obras en la Exposición Internacional Surrealista de 1938. También publica su primer libro, La casa del miedo, un folleto con prólogo e ilustraciones de Max Ernst. También, por entonces, vendió su primer cuadro, Los caballos de Lord Candlestick, a la mismísima Peggy Guggenheim. En el verano del 38, París se convierte en un sitio incómodo para la pareja Carrington-Ernst. La segunda esposa de Max les persigue y monta escenas en los cafés. Además, Max se pelea con André Breton por cuestiones políticas. Así, deciden volver a huir al sur, a una casa de campo en ruinas que Leonora, con dinero de su madre, compra en Saint-Martin-d'Ardeche y se convertirá en su lugar en el mundo y su museo particular. Pero de eso, ya hablaremos la próxima semana.

A new exhibition at The Hepworth Wakefield celebrates the relationship that two of the UK's greatest sculptors, Barbara Hepworth and Henry Moore, had with the Yorkshire landscape they grew up in. Eleanor Clayton, the curator of the exhibition, Magic in this Country, joins the landscape photographer Kate Kirkwood - who has just published a new book, Cowspines, that blends the landscape of the Lake District with the backs of the cows that graze upon it – to discuss the power of landscape to draw an artist's eye. John McCusker discusses and performs live from his new ‘Best of ‘Album, which celebrates his 30-year career as one of Scotland's most acclaimed fiddle players and musical collaborators. Writer of fiction and poetry Victoria MacKenzie tells Shahidha Bari about her first novel, For Thy Great Pain Have Mercy On My Little Pain, which is based on the lives of two extraordinary, trail-blazing fourteenth-century Christian mystics, Julian of Norwich and Margery Kempe. Presenter: Shahidha Bari Producer: Eliane Glaser Main image from Cowspines by Kate Kirkwood

It's the first @EchoChamberFP https://www.instagram.com/echochamberfp/ of 2023 folks, and we've got four films for you this week Things start off with the new indie thriller from Lionsgate, Signature Entertainment, then we have two new Netflix @netflix joints. A comedy / drama, and a crime / horror. We close the show with a new Searchlight joint that mixes food, intrigue, and shock! Today we have: The Minute You Wake up Dead Watch Review: Here. https://youtu.be/iRxW6dGKYJw Theatrical Release Date: 4th November 2022 Digital Release Date: 9th January 2023 Director: Michael Mailer Cast: Cole Hauser, Jaimie Alexander, Darren Mann, Morgan Freeman, Ben VanderMey, Liann Pattison, Tony DeMil, Andrew Stevens, James Harlon Palmer, David Dahlgren, John Read, Kenneth Farmer Running Time: 90 min Cert: 18 Trailer: Here. https://youtu.be/Pc4keE4fXv4 Rent or Buy via AppleTV+: Here. https://itunes.apple.com/us/movie/the-minute-you-wake-up-dead/id1650709877 Website: Here. https://www.signature-entertainment.co.uk/film/the-minute-you-wake-up-dead/ ------------ White Noise Watch Review: Here. https://youtu.be/uwCn5FX_Sfs 79th Venice International Film Festival: 31st August 2022 Theatrical Release Date: 25th November 2022 Digital Release Date: 30th December 2022 Director: Noah Baumbach Cast: Adam Driver, Greta Gerwig, Raffey Cassidy, Sam Nivola, May Nivola, Henry Moore, Dean Moore, Don Cheadle, Jodie Turner-Smith, André 3000, Sam Gold, George Drakoulias, Danny Wolohan, Lars Eidinger Running Time: 136 min Cert: 18 Trailer: Here. https://youtu.be/FqJD7ae11mU Watch via Netflix: Here. https://www.netflix.com/title/81317320 Website: Here. https://www.netflix.com/tudum/articles/white-noise-end-credits ------------ The Pale Blue Eye Watch Review: Here. https://youtu.be/GuWdiCi5_j0 Theatrical Release Date: 23rd December 2022 Digital Release Date: 6th January 2023 Director: Scott Cooper Cast: Christian Bale, Harry Melling, Gillian Anderson, Toby Jones, Lucy Boynton, Harry Lawtey, Fred Hechinger, Joey Brooks, Brennan Keel Cook, Robert Duvall, Timothy Spall, Mathias Goldstein, Steven Maier, Gideon Glick, Jack Irv, Matt Helm, Charlie Tahan, Hadley Robinson, Charlotte Gainsbourg Running Time: 128 min Cert: 15 Trailer: Here. https://youtu.be/ddbL9jvg77w Watch via Netflix: Here. https://www.netflix.com/title/81444818 Website: Here. https://www.netflix.com/tudum/articles/pale-blue-eye-opening-scene ------------ The Menu Watch Review: Here. https://youtu.be/brvtsCACIxc Toronto International Film Festival: 10th September 2022 Theatrical Release Date: 18th November 2022 Digital Release Date: 4th January 2023 Director: Mark Mylod Cast: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, Reed Birney, Judith Light, John Leguizamo, Aimee Carrero, Paul Adelstein, Rob Yang, Arturo Castro, Mark St Cyr, Peter Grosz, Christina Brucato, Adam Aalderks, Matthew Cornwell, Rebecca Koon Running Time: 106 min Cert: 15 Trailer: Here. https://youtu.be/CAWZMssP3gM Watch via Disney+: Here. https://www.disneyplus.com/movies/the-menu/6qKeWn5NKzDY Website: Here. https://www.searchlightpictures.com/the-menu/ ------------ *(Music) 'A Million Ways' by OK Go - 2005 --- Send in a voice message: https://podcasters.spotify.com/pod/show/eftv/message

"you could actually feel your eyeballs being sucked out"

Episode Notes This week, REsimplifi's Founder and CEO Henry Moore joins our podcast. In this episode, we cover start-up life commercial real estate data, economic development, and much more.   REsimplifi provides commercial real estate listings data to commercial real estate and economic development professionals across the US. When combined with other map data layers, this listings data helps with market research and site selection.   Come join us for a great conversation! Excerpt #1 Timestamp 2:30: In 2015 I went full time with Resimplifi, and my partner and I initially did go to VC Route. So we were very fortunate that we were able to raise money, raise some capital with, we partnered with the state of South Carolina, SCRA initially, which is focused on growing the knowledge economy in our home state of South Carolina. And we were able to also raise money with friends and family. And so that's initially how we started. Excerpt #2 Timestamp 8:03: "So anyway, there were problems with the ways in which these guys were getting the data. We were very fortunate to kind of come up with this idea of curated data, specifically catered to economic development professionals that are going out, trying to attract business to their area."   Excerpt #3 Timestamp 15:45: "What happened essentially was we built a national data set that was managed for accuracy. That's constantly being deprecated. That's not relying upon any individual brokers or a crowdsource, a group of brokers to take their listings down. And what we found out very quickly is that our data stacked up extremely well against other sources."

For those interested in obtaining a copy of Contested Heritage Removing Art From Land and Historic Buildings by Richard Harwood QC, Catherine Dobson and David Sawtell, please visit the publisher's website and use code P8W4VZ for a 10% discount.Show Notes:00:00 overview of Contested Heritage – Removing Art From Land and Historic Buildings2:10 Lucien Freud mural of flower; removed from a house that was a listed building3:14 Rustat Memorial plaque at Jesus College chapel4:20 Emily Gould introductory comments5:00 What is meant by contested heritage5:50 co-authors Catherine Dobson and David Sawtell6:00 dispute over public memorialization of certain person or events 8:20 question of whether a work is part of a building, who owns it, to what extent it's subject to listed building control9:05 Dill case10:15 Dill involves pair of 18th C. lead urns produced by Flemish sculptor John van Nost and placed on limestone piers in Wrest Park12:00 2015 local planning authority learn urns are not at Idlicote House and issue enforcement notice for their return17:20 regulatory issues, export licensing 17:50 property ownership19:00 Old Flo case19:30 London Borough of Tower Hamlets v. London Borough of Bromley19:40 Henry Moore statue Draped Seated Woman21:20 purpose of annexation 27:00 listed building control28:00 main considerations for authorities faced with application for removal of contested statue or other memorial or work of art29:00 for listed buildings, strong presumption in favour of building to protect special architectural or historic interest 30:00 Public Sector Equality Duty31:00 Jen Reid statute appeal32:35 Rustat Memorial case 37:40 Colston case 38:40 Colston – late 17th C. deputy governor of the Royal African Company that ran slave trade and benefactor of Bristol40:45 ‘Colston 4' trial – individuals charged with criminal damage and acquitted41:00 acquittal now on appeal by Attorney General's reference on lawfulness of some lines of defence run, including question of right to freedom of expression and extent that can justify attacking property41:45 ‘retain and explain' policy43:10 changes to planning and listed building procedures 44:35 Cecil Rhodes statues and other memorials in Oxford46:35 another Rhodes commemorative plaque in Oxford recently listed by Secretary of State 46:45 increased public awareness about these issues 47:15 Arts education charity, Art UK recent catalogue of 13,500 British public sculpture - only 2% commemorate people of colour48:35 public art 49:45 Old Flo example of post-war public authority support for public art50:00 developers recently encouraged to include public art, e.g., Desert Quartet Sculptures by Dame Elisabeth Frink placed in back of Worthing shopping center and now a listed building51:50 Ulster Defence Regiment memorial in Lisburn, N. Ireland includes a female 53:00 National Windrush Monument in Waterloo Station commemorates arrival of Caribbean migrants after WWII54:20 political issues about colonialism and empire involved with cultural heritage disputeTo view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2022]

La primera vegada que l'escolteu, el nou disc de l'artista de Nova Zelanda, "Warm Chris", potser us sembla inofensiu. Doneu-li una segona oportunitat i us comen

With the RCA's Vice Chancellor Dr. Paul Thompson and Chair of the Governing Body Sir Peter Bazalgette This week we're talking about the RCA's brand new £135 million Battersea campus. In a fascinating conversation with Dr. Paul Thompson and Sir Peter Bazalgette, they tell us how the new facilities can give future creative leaders the tools to learn to solve some of the most pressing global issues, from climate crisis and ageing populations to mobility, urbanism, inclusivity and ensuring AI remains a force for good. As Paul Thompson says, ‘We're trying to introduce some core fundamentals of science into the RCA art petri dish.' The new development comprises a large scale hangar, robotics centre and an intelligent mobility design centre as well as sculpture and contemporary art practice studios. RCA alumni include some of the world's most innovative designers from Jony Ive to James Dyson and Thomas Heatherwick, alongside artists including David Hockney, Henry Moore, Barbara Hepworth, Bridget Riley and Tracey Emin. Listen in to hear how the RCA is in a better position than ever on the global stage to produce the creative leaders our world needs.

Ben Luke talks to Megan Rooney about her influences—including other artists, writers and musicians—and the cultural experiences that have shaped her life and work. Rooney was born in 1985 in South Africa, but grew up in Brazil and then in Canada, before studying in London. She works in performance, sculpture and painting and has gained particular attention recently for the vast murals she has made in several international museums. Among much else, she discusses the transformative experience of seeing Henry Moore at the National Gallery of Ontario; a life-changing moment seeing works made on the walls by women prisoners in the Carceri dell'Inquisizione, Palermo, Sicily; and about the writing of Maxine Kumin and Haruki Murakami. Plus, Rooney answers our regular questions, including those about the pictures on her studio wall, her daily working rituals and the artwork she would choose to live with, as well as the ultimate one: what is art for?Megan Rooney's With Sun is in Fugues in Colour, Fondation Louis Vuitton, Paris, until 29 August. She is also in the group exhibition Saturation, Thaddaeus Ropac, Pantin, Paris, until 24 September. She will have a solo exhibition at Thaddaeus Ropac, Paris, in early 2023. See acast.com/privacy for privacy and opt-out information.

Talk Art SPECIAL EPISODE!!!! We travel to Somerset to have an exclusive 5am visit to Stonehenge and an art adventure to Hauser & Wirth in Bruton. We visit Henry Moore's exhibition 'Sharing Form' for a guided tour with the artist's daughter Mary Moore and curator Hannah Higham. Hauser and Wirth Somerset present a comprehensive survey spanning six decades extends across all five gallery spaces, in addition to an open-air presentation of seminal works including: ‘The Arch' (1963/69), ‘Large Interior Form' (1953 – 1954) and ‘Locking Piece' (1962 – 1963).The exhibition takes as its starting point the artist's early fascination with the Neolithic site of Stonehenge, which Moore first encountered the prehistoric monuments under the moonlight as a young man in 1921, fifty-two years later he embarked on a series of lithographs on the subject. Moore was fascinated by the relationship between the towering masses of ancient stone, their size and siting in the landscape, and the mysterious ‘depths and distances' evoked on his returning visits. For Moore, the power and intensity of such large forms set against land and sky precipitated career-long investigations into scale, material and volume and the juxtaposition of art and nature, which are presented throughout the exhibition.Alongside Moore's most celebrated works, the viewer is immersed in a deeply personal selection of artworks and objects curated by Mary Moore, set within the centre of the exhibition. The collection contains almost 100 items from her father's studio and home, providing an insight into the working life of the sculptor and intimate memories she holds through these objects. The unique experience brings together Moore's visual library and the vocabulary of ideas that he developed during his working life. The exhibition was organised with support from the Henry Moore Foundation.Alongside Moore's most celebrated works, the viewer is immersed in a deeply personal selection of artworks and objects curated by Mary Moore, set within the centre of the exhibition. The collection contains almost 100 items from her father's studio and home, providing an immersive insight into the working life of the sculptor and intimate memories she holds through these objects. This exhibition was organised with support from the Henry Moore Foundation.BMW has been involved in cultural projects across varied genres for over 50 years creating unique content initiatives with key partners such as artists, galleries, passionate collectors, art fairs and digital art platforms (such as Talk Art!). As a long-term partner, creative freedom is key – and as essential for groundbreaking works as it is for major innovations within our company.Thanks to @BMWUK we had the opportunity to experience the all new fully-electric BMW i7 on our trip to Somerset. The car is BMW's new flagship, demonstrating how an exclusive driving experience and the ultimate feeling of on-board wellbeing can be combined with an unwavering commitment to sustainability. Follow @HauserWirthSomerset and visit: https://www.hauserwirth.com/hauser-wirth-exhibitions/36155-henry-moore-sharing-form/ for more details on this major exhibition #HenryMooreSharingForm! Follow @BMWGroupCulture to learn more about BMW's commitment to art. See acast.com/privacy for privacy and opt-out information.

La primera vegada que l'escolteu, el nou disc de l'artista de Nova Zelanda, "Warm Chris", potser us sembla inofensiu. Doneu-li una segona oportunitat i us comen

ONE HUNDRED AND FIFTY FRIGGIN' EPISODES! Thank you all so much!! Consider becoming a Patreon POOPR! www.themidnighttrainpodcast.com  London in 1888:   Victorian London was not a happy place to be, and the facts speak for themselves. Prostitution was rife, poverty and crime were prevalent, and 19th-century housing was barely habitable. Finding work in 1888 was extremely difficult for the residents of Whitechapel, feeding into the cycle of poverty and depravity.   Soot and smoke generally filled the air, and there were still grazing sheep in Regent's Park in the mid-Victorian period — it was said that you could tell how long the sheep had been in the capital by how dirty their coats were. They went increasingly from white to black over days.   The nights were riddled with gas lamp-lit streets and dark, foggy alleyways.   The city was steeped in poverty and all manner of crime and disease.   Many children were seen as a strain on their parents' resources, and it is believed that two in every ten died before reaching five years old.   breeding ground for crime and poor behavioral habits, including murder, prostitution, and violence – and vicious circles like these were rarely broken in such poor districts   Streets were dirty, and fresh food was scarce. Pollution and sewage smells filled the air.   Urine soaked the streets. There was an experiment in Piccadilly with wood paving in the midcentury. It was abandoned after a few weeks because the sheer smell of ammonia coming from the pavement was horrible. Also, the shopkeepers nearby said that this ammonia was discoloring their shop fronts.   London in the 19th century was basically filled with cesspools.   There'd be brick chambers, maybe 6 feet deep, about 4 feet wide, and every house would have them.   It was more common to have a cesspool in the basement in central London and in more crowded areas.   Above the cesspool would be where your household privy, or toilet, would be.   These made the general smell in crowded London pretty awful.   There would have been horses everywhere. By the 1890s, there were approximately 300,000 horses and 1,000 tons of horse droppings a day in London. The Victorians employed boys ages 12 to 14 to dodge between the traffic and try to scoop up the excrement as soon as it hit the streets.   Shit everywhere.   The streets were lined with "mud,"... except it wasn't mud.    Life was much harder for women than men generally.   The lack of proper work and money led many women and girls into prostitution, a high-demand service by those wishing to escape their grim realities.   These women were commonly known as "unfortunates,"   They owned only what they wore and carried in their pockets - their dirty deeds would pay for their bed for the night.   There was an extraordinary lack of contraception for women.   Doctors performed unorthodox abortions in dirty facilities, including the back streets.   Many women would die of infection from these ill-performed surgeries or ingesting chemicals or poison.   The insides of the houses throughout the borough were no less uninviting and more reminiscent of slums.   Many of these dilapidated homes were makeshift brothels.   Prostitution was a dangerous trade, as diseases were passed from person to person very quickly, and doctors did not come cheap.   Most work came through casual or 'sweated' labor, like tailoring, boot making, and making matchboxes.   There was very little job security, and the work premises would more than likely be small, cramped, dusty rooms with little to no natural light.   Workhouses were another alternative, set up to offer food and shelter to the poorest of the community in return for hard, grueling labor in even worse conditions.   large portions of the population turned to drinking or drugs to cope with everyday life   Pubs and music halls were abundant in the East End, and booze was cheap, too, making it a viable means of escapism for many.   Crime rates spiraled and were unmanageable by London's police force in 1888. Petty crime like street theft was normality.   High levels of alcohol-related violence, gang crime, and even protection rackets were everywhere.   The high level of prostitution meant that vulnerable women were often forced to earn a living on the streets, leaving them easy targets for assault, rape, and even murder.   Police stations and the detectives at the helm lacked structure and organization, with many crimes being mislabelled, evidence going missing, or being tampered with was common.    The maze of dingy alleyways and dark courtyards, each with multiple entrances and exit points, made the district even more difficult to police. There were even some parts of Whitechapel that police officers were afraid to enter, making them crime hotspots.   With that brief look into what it was like in Whitechapel, it is no wonder that Jack the Ripper could get away with his crimes. That being said, let's look at the crimes and victims.   Mary Ann Nichols:   Mary Ann Nichols led a brief life marked with hardships. Born to a London locksmith in 1845, she married Edward in 1864 and gave birth to five children before the marriage dissolved in 1880.   In explaining the roots of the separation, Nichols' father accused Edward of having an affair with the nurse who attended one of their children's births. For his part, Edward claimed that Nichols' drinking problem drove them to part ways.   After separating, the court required Edward to give his estranged wife five shillings per month, over 600 pounds today— a requirement he successfully challenged when he found out she was working as a prostitute.   Nichols then lived in and out of workhouses until her death. She tried living with her father, but they did not get along, so she continued to work as a prostitute to support herself. Though she once worked as a servant in a well-off family home, she quit because her employers did not drink.   On the night of her death, Nichols found herself surrounded by the same problems she'd had for most of her life: lack of money and a propensity to drink. On 31st August 1888, she left the pub where she was drinking and walked back to the boarding house where she planned to sleep for the night.   Nichols lacked the funds to pay for the entrance fee, so she went back out to earn it. But, according to her roommate, who saw her the night before someone killed her, she spent whatever money she did earn on alcohol.   That night Mary was wearing a bonnet that none of the other residents of the lodging house had seen her with before. Since she intended to resort to prostitution to raise the money for her bed, she felt this would be an irresistible draw to potential clients. So, she was escorted from the premises by the deputy lodging housekeeper. She laughed to him, "I'll soon get my doss money, see what a jolly bonnet I have now."   At 2.30 on the morning of 31st August, she met a friend named Emily Holland by the shop at the junction of Osborn Street and Whitechapel Road.   Mary was very drunk, and she boasted to Emily that she had made her lodging money three times over but had spent it.   Concerned at Mary's drunken state, Emily tried to persuade her to come back to Wilmott's with her. Mary refused, and, telling Emily that she must get her lodging money somehow, she stumbled off along Whitechapel Road.   That was the last time that Mary Nichols was seen alive.   At 3.45 a.m., a woman's body was found with her skirt pulled up to her waist, lying next to a gateway in Buck's Row, Just off Whitechapel Road. This location was around a ten-minute walk from the corner where Mary met Emily Holland.   According to some newspaper reports, the woman's throat had been cut back to the spine, the wound being so savagely inflicted that it had almost severed her head from her body.   Within 45 minutes, she had been placed on a police ambulance, which was nothing more than a wooden hand cart. She had been taken to the mortuary of the nearby Whitechapel Workhouse Infirmary.   Here, Inspector Spratling of the Metropolitan Police's J Division arrived to take down a description of the, at the time, unknown victim, and he made the horrific discovery that, in addition to the dreadful wound to the throat, a deep gash ran along the woman's abdomen - The killer had disemboweled her.   The funeral of Mary Ann Nichols took place amidst great secrecy to deter morbid sightseers on Thursday, 6th September 1888.   Strangely, the ruse used to get Mary Nichols's body to the undertaker's could be said to have included an element of foreshadowing.   Mary Nichols's body was brought out of the mortuary's back gate in Chapman's Court, from where it was taken to the undertaker's premises on Hanbury Street.   Two days later, the murderer struck again and murdered Annie Chapman in Hanbury Street.   Annie Chapman:   Annie Chapman didn't always lead a hard life. She lived for some time with her husband, John, a coachman, in West London.   However, after the couple had children, her life began to unravel: Her son, John, was born disabled, and her youngest daughter, Emily, died of meningitis. She and her husband both began to drink heavily and eventually separated in 1884.   After the separation, Chapman moved to Whitechapel to live with another man. While she still received ten shillings per week from her husband, she sometimes worked as a prostitute to supplement her income.   When her husband died from alcohol abuse, that money stopped. According to her friends, Chapman "seemed to have given away all together." Then, a week before she died, Chapman got into a fistfight with another woman over an unreturned bar of soap.   At 5 p.m. on Friday, 7th September, Annie met her friend, Amelia Palmer, in Dorset Street. Annie looked extremely unwell and complained of feeling "too ill to do anything."   Amelia met her again, ten minutes later, still standing in the same place, although Annie was trying desperately to rally her spirits. "It's no use giving way, I must pull myself together and get some money or I shall have no lodgings," were the last words Amelia Palmer heard Annie Chapman speak.   At 11.30 p.m. that night, Annie turned up at Crossingham's lodging house and asked Timothy Donovan if she could sit in the kitchen.   Since he hadn't seen her for a few days, Donovan asked her where she had been? "In the infirmary," she replied weakly. He allowed her to go to the kitchen, where she remained until Saturday morning, 8th September 1888.   At 1.45 a.m., Donovan sent John Evans, the lodging house's night watchman, to collect the fourpence for her bed from her. He found her a little drunk and eating potatoes in the kitchen. When he asked her for the money, she replied wearily, "I haven't got it. I am weak and ill and have been in the infirmary."   Annie then went to Donovan's office and implored him to allow her to stay a little longer. But instead, he told her that if she couldn't pay, she couldn't stay.   Annie turned to leave, but then, turning back, she told him to save the bed for her, adding, "I shall not be long before I am in. I shall soon be back, don't let the bed."   John Evans then escorted her from the premises and watched her head off along Dorset Street, observing later that she appeared to be slightly tipsy instead of drunk.   At 5.30 that morning, Elizabeth Long saw her talking with a man outside number 29 on Hanbury Street. Since there was nothing suspicious about the couple, she continued on her way, hardly taking any actual notice.   Thirty minutes later, at 6 a.m., John Davis, an elderly resident of number 29, found her horrifically mutilated body lying between the steps and the fence in the house's backyard.   Annie had been murdered, and her body mutilated. She had a cut across her neck from left to right and a gash in her abdomen made by the same blade.   Her intestines had been pulled out and draped over her shoulders, and her uterus had been removed. The doctor conducting the post-mortem was so appalled by the damage done to her corpse that he refused to use explicit detail during the inquest. Police determined that she died of asphyxiation and that the killer mutilated her after she died.    She was later identified by her younger brother, Fountain Smith.   The severing of the throat and the mutilation of the corpse were similar to that of the injuries sustained by Mary Ann Nichols a week previously, leading investigators to believe the same assailant had murdered them.   At this point, the killings were known as 'The Whitechapel Murders."   Elizabeth Stride:   The Swedish-born domestic servant arrived in England in 1866, at which point she had already given birth to a stillborn baby and been treated for venereal diseases.   Stride married in 1869, but they soon split, and he ultimately died of tuberculosis in 1884. Stride would instead tell people that her husband and children (which they never actually had) were killed in an infamous 1878 Thames River steamship accident. She allegedly sustained an injury during that ordeal that explained her stutter.   With her husband gone and lacking a steady source of income, like so many of Jack the Ripper's victims, Stride split the remainder of her life living between work and lodging houses.    On Saturday, 29th September 1888, she had spent the afternoon cleaning two rooms at the lodging house, for which the deputy keeper paid her sixpence, and, by 6.30 p.m., she was enjoying a drink in the Queen's Head pub at the junction of Fashion Street and Commercial Street.   Returning to the lodging house, she dressed, ready for a night out, and, at 7.30 p.m., she left the lodging house.   There were several sightings of her over the next five hours, and, by midnight, she had found her way to Berner Street, off Commercial Road.   At 12.45 a.m., on 30th September, Israel Schwartz saw her being attacked by a man in a gateway off Berner Street known as Dutfield's Yard. Schwarz, however, assumed he was witnessing a domestic argument, and he crossed over the road to avoid getting dragged into the quarrel.   Schwartz likely saw the early stages of her murder.   At 1 a.m. Louis Diemschutz, the Steward of a club that sided onto Dutfield's Yard, came down Berner Street with his pony and costermongers barrow and turned into the open gates of Dutfield's Yard. Immediately as he did so, the pony shied and pulled left. Diemschutz looked into the darkness and saw a dark form on the ground. He tried to lift it with his whip but couldn't. So, he jumped down and struck a match. It was wet and windy, and the match flickered for just a few seconds, but it was sufficient time for Diemschutz to see a woman lying on the ground.   He thought that the woman might be his wife and that she was drunk, so he went into the club to get some help in lifting her.   However, he found his wife in the kitchen, and so, taking a candle, he and several other members went out into the yard, and, by the candle's light, they could see a pool of blood gathering beneath the woman.   The crowd sent for the police, and a doctor was summoned, pronouncing the woman dead. It was noted that, as in the cases of the previous victims, the killer had cut the woman's throat. However, the rest of the body had not been mutilated. This led the police to deduce that Diemschutz had interrupted the killer when he turned into Dutfield's Yard.   The body was removed to the nearest mortuary - which still stands, albeit as a ruin, in the nearby churchyard of St George-in-the-East, and there she was identified as Elizabeth Stride.   On the night of her burial, a lady went to a police station in Cardiff, and made the bizarre claim that she had spoken with the spirit of Elizabeth Stride. In the course of a séance, the victim had identified her murderer.   Nothing ever came of this…obviously.   CATHERINE EDDOWES:   Unlike the other Jack the Ripper victims, Catherine Eddowes never married and spent her short life with multiple men.   At age 21, the daughter of a tin plate worker met Thomas Conway in her hometown of Wolverhampton. The couple lived together for 20 years and had three children together. But, according to her daughter, Annie, the pair split "entirely on account of her drinking habits."   Eddowes met John Kelly soon after. She then became known as Kate Kelly and stayed with John until her death.   According to her friends and family, while Catherine was not a prostitute, she was an alcoholic. The night of her murder — the same night Elizabeth Stride was killed — a policeman found Catherine lying drunk and passed out on Aldgate Street.   She was taken to Bishopsgate Police Station, locked in a cell to sober up. But instead, she promptly fell fast asleep.   By midnight, she was awake and was deemed sober enough for release by the City jailer PC George Hutt. Before leaving, she told him that her name was Mary Ann Kelly and gave her address as 6 Fashion Street.   Hutt escorted her to the door of the police station, and he told her to close it on her way out. "Alright. Goodnight old cock" was her reply as she headed out into the early morning.   At 1.35 a.m., three men - Joseph Lawende, Joseph Hyam Levy, and Harry Harris saw her talking with a man at the Church Passage entrance into Mitre Square, located on the eastern fringe of the City of London.   Ten minutes later, at 1.45 a.m. Police Constable Alfred Watkins walked his beat into Mitre Square and discovered her horrifically mutilated body lying in the darkness of the Square's South West corner. The killer had disemboweled her. But, in addition, the killer had targeted her face, carving deep "V"s into her cheeks and eyelids. He had also removed and gone off with her uterus and left kidney. Finally, he had cut open her intestines to release fecal matter.   Dr. Frederick Brown, who performed the post-mortem examination of Eddowes' body, concluded that the killer must have some knowledge of anatomy if he could remove her organs in the dark. Mary Jane Kelly:   She is the victim about whom we know the least.   We know virtually nothing about her life before she arrives in the East End of London. What we do know is based on what she chose to reveal about her past to those she knew, and the integrity of what she did tell is challenging to ascertain. Indeed, we don't even know that her name was Mary Kelly.   According to her boyfriend, Joseph Barnett, with whom she lived until shortly before her death, she had told him that she was born in Limerick, in Ireland, that her father's name was John Kelly, and that she had six or seven brothers and one sister.   The family moved to Wales when she was a child, and when she was sixteen, she met and married a collier named Davis or Davies. Unfortunately, her husband was killed in a mine explosion three years later, and Mary moved to Cardiff to live with a female cousin who introduced her to prostitution.   Mary moved to London around 1884, where she met a French woman who ran a high-class brothel in Knightsbridge, in which establishment Mary began working. She told Barnett that, during this period in her life, she had dressed well, had been driven about in a carriage, and, for a time, had led a lady's life.   She had, she said, made several visits to France at this time, and had accompanied a gentleman to Paris, but, not liking it there, she had returned to London after just two weeks.   She began using the continental version of her name and often referred to herself as Marie Jeannette Kelly.   After that, her life suffered a downward spiral, which saw her move to the East End of London, where she lodged with a Mrs. Buki in a side thoroughfare off Ratcliff Highway. Soon after her arrival, she enlisted her landlady's assistance in returning to the West End to retrieve a box that contained dresses of a costly description from the French lady.   Mary had now started drinking heavily, which led to conflict between her and Mrs. Buki. Relations between them became so strained that Mary moved out and went to lodge at the home of Mrs. Mary McCarthy at 1 Breezer's Hill Pennington Street, St. George-in-the-East.   By 1886 she had moved into Cooley's typical lodging house in Thrawl Street, and it was while living here that, on Good Friday, 6th April 1887, she met Joseph Barnett, who worked as a porter at Billingsgate Fish Market.   The two were soon living together, and, by 1888, they were renting a tiny room at 13 Miller's Court from John McCarthy, who owned a chandler's shop just outside Miller's Court on Dorset Street.   She and Barnett appear to have lived happily together until, in mid-1888, he lost his market job, and she returned to prostitution, which caused arguments between them. During one heated exchange, a pane in the window by the door of their room had been broken.   The precariousness of their finances had resulted in Mary falling behind with her rent, and by early November, she owed her landlord twenty-nine shillings in rent arrears.   On 30th October 1888, Joseph Barnett moved out, although he and Mary remained on friendly terms, and he would drop by to see her, the last time being at around 7.30 on the evening of Thursday 8th November, albeit he didn't stay long.   Several people claimed to have seen her during the next fourteen hours.   One of them was George Hutchinson, an unemployed laborer, who met her on Commercial Street at 2 a.m. on 9th November. She asked him if he would lend her sixpence, to which he replied that he couldn't as he'd spent all his money.   Replying that she must go and find some money, she continued along Commercial Street, where a man coming from the opposite direction tapped her on the shoulder and said something to her, at which point they both started laughing.   The man put his arm around Mary, and they started walking back along Commercial Street, passing Hutchinson, who was standing under the lamp by the Queen's Head pub at the junction of Fashion Street and Commercial Street.   Although the man had his head down with his hat over his eyes, Hutchinson stooped down and looked him in the face, at which point the man gave him what Hutchinson would later describe as a stern look.   Hutchinson followed them as they crossed into Dorset Street, and he watched them turn into Miller's Court. He waited outside the court for 45 minutes, by which time they hadn't reemerged, so he left the scene.   At around 4 a.m., two of Mary's neighbors heard a faint cry of "Murder," but because such cries were frequent in the area - often the result of a drunken brawl - they both ignored it.   At 10. Forty-five on the morning of the 9th November, her landlord, John McCarthy, sent his assistant, Thomas Bowyer, round to Mary's room, telling him to try and get some rent from her.   Bowyer marched into Miller's Court and banged on her door. There was no reply. He tried to open it but found it locked. He, therefore, went round to the broken window pane, reached in, pushed aside the shabby muslin curtain that covered it, and looked into the gloomy room.   Moments later, an ashen-faced Bowyer burst into McCarthy's shop on Dorset Street. "Guvnor," he stammered, "I knocked at the door and could not make anyone answer. I looked through the window and saw a lot of blood."   "Good God, you don't mean that," was McCarthy's reply, and the two men raced into Miller's Court, where McCarthy stooped down and looked through the broken pane of glass.   McCarthy would later recall the horror of the scene that greeted him. "The sight we saw I cannot drive away from my mind. It looked more the work of a devil than of a man. I had heard a great deal about the Whitechapel murders, but I declare to God I had never expected to see such a sight as this. The whole scene is more than I can describe. I hope I may never see such a sight as this again."   Someone immediately sent for the police, and one of the first officers at the scene was Walter Dew, who, many years later, would recall the horror of what he saw through that window:- "On the bed was all that remained of the young woman. There was little left of her, not much more than a skeleton. Her face was terribly scarred and mutilated. All this was horrifying enough, but the mental picture of that sight which remains most vividly with me is the poor woman's eyes. They were wide open, and seemed to be staring straight at me with a look of terror."   Possible victims:   Martha Tabram   On Tuesday 7th August, following a Monday bank holiday, prostitute Martha Tabram was murdered at about 2:30 a.m. Her body was found at George Yard Buildings, George Yard, Whitechapel, shortly before 5:00 a.m. She had been stabbed 39 times about her neck, torso, and genitals with a short blade. With one possible exception, a right-handed individual had inflicted all her wounds.   Based on statements from a fellow prostitute and PC Thomas Barrett, who was patrolling nearby, Inspector Reid put soldiers at the Tower of London and Wellington Barracks on an identification parade, but without positive results. Police did not connect Tabram's murder with the earlier murder of Emma Smith, but they did connect her death with later murders.   Most experts do not connect Tabram's murder with the others attributed to the Ripper because she had been repeatedly stabbed, whereas later victims typically suffered slash wounds and abdominal mutilations. However, investigators cannot rule out a connection.   Rose Mylett   On Thursday 20th December 1888, a patrolling constable found the strangled body of 26-year-old prostitute Rose Mylett in Clarke's Yard, off Poplar High Street. Mylett (born Catherine Millett and known as Drunken Lizzie Davis and Fair Alice Downey) had lodged at 18 George Street, as had Emma Smith.   Four doctors who examined Mylett's body thought she had been murdered, but Robert Anderson thought she had accidentally hanged herself on the collar of her dress while in a drunken stupor. At Anderson's request, Dr. Bond examined Mylett's body, agreeing with Anderson. Commissioner Monro also suspected it was a suicide or natural death as there were no signs of a struggle. The coroner, Wynne Baxter, told the inquest jury that "there is no evidence to show that death was the result of violence." Nevertheless, the jury returned a verdict of "wilful murder against some person or persons unknown," and the case was added to the Whitechapel file.   Alice McKenzie:   Alice McKenzie was possibly a prostitute and was murdered at about 12:40 a.m. on Wednesday 17th July 1889 in Castle Alley, Whitechapel. Like most of the previous murders, her left carotid artery was severed from left to right, and there were wounds on her abdomen. However, her injuries were not as deep as in previous murders, and the killer used a shorter blade. Commissioner Monro and one of the pathologists examining the body, Bond, believed this to be a Ripper murder. However, another of the pathologists, Phillips, and Robert Anderson, disagreed, as did Inspector Abberline. Later writers are also divided and either suggest that McKenzie was a Ripper victim or that the unknown murderer tried to make it look like a Ripper killing to deflect suspicion from himself. At the inquest, Coroner Baxter acknowledged both possibilities and concluded: "There is great similarity between this and the other class of cases, which have happened in this neighbourhood, and if the same person has not committed this crime, it is clearly an imitation of the other cases."   Pinchin Street torso:   A woman's torso was found at 5:15 a.m. on Tuesday 10th September 1889 under a railway arch in Pinchin Street, Whitechapel. Extensive bruising about the victim's back, hip, and arm indicated that the killer had severely beaten her shortly before her death, which occurred approximately one day before discovering her torso. The victim's abdomen was also extensively mutilated in a manner reminiscent of the Ripper, although her genitals had not been wounded. The dismembered sections of the body are believed to have been transported to the railway arch, hidden under an old chemise. The age of the victim was estimated at 30–40 years. Despite a search of the area, no other sections of her body were ever found, and neither the victim nor the culprit were ever identified.   Chief Inspector Swanson and Commissioner Monro noted that blood within the torso indicated that death was not from hemorrhage or cutting of the throat. The pathologists, however, pointed out that the general bloodlessness of the tissues and vessels told that bleeding was the cause of death. Newspaper speculation that the body belonged to Lydia Hart, who had disappeared, was refuted after she was found recovering in hospital after "a bit of a spree." Another claim that the victim was a missing girl called Emily Barker was also refuted, as the torso was from an older and taller woman.   Swanson did not consider this a Ripper case and instead suggested a link to the Thames Torso Murders in Rainham and Chelsea and the "Whitehall Mystery". Monro agreed with Swanson's assessment. These three murders and the Pinchin Street case are suggested to be the work of a serial killer, nicknamed the "Torso killer," who could either be the same person as "Jack the Ripper" or a separate killer of uncertain connection. Links between these and three further murders—the "Battersea Mystery" of 1873 and 1874, two women were found dismembered, and the 1884 "Tottenham Court Road Mystery"—have also been postulated. Experts on the murders—colloquially known as "Ripperologists"—such as Stewart Evans, Keith Skinner, Martin Fido, and Donald Rumbelow, discount any connection between the torso and Ripper killings based on their different modi operandi.   Monro was replaced as Commissioner by Sir Edward Bradford on 21st June 1890, after a disagreement with Home Secretary Henry Matthews over police pensions.   Frances Coles:   The last murders in the Whitechapel file were committed on Friday 13th February 1891, when prostitute Frances Coles was murdered under a railway arch in Swallow Gardens, Whitechapel. Her body was found only moments after the attack at 2:15 a.m. by PC Ernest Thompson, who later stated he heard retreating footsteps in the distance. As contemporary police practices dictated, Thompson remained at the scene.   Coles was lying beneath a passageway under a railway arch between Chamber Street and Royal Mint Street. She was still alive but died before medical help could arrive. Minor wounds on the back of her head suggest that she was thrown violently to the ground before her throat was cut at least twice, from left to right and then back again. Otherwise, there were no mutilations to the body, leading some to believe Thompson had disturbed her assailant. Superintendent Arnold and Inspector Reid arrived soon afterward from the nearby Leman Street police station, and Chief Inspectors Donald Swanson and Henry Moore, who had been involved in the previous murder investigations, arrived by 5 a.m.   A man named James Sadler, who had earlier been seen with Coles, was arrested by the police and charged with her murder. A high-profile investigation by Swanson and Moore into Sadler's history and his whereabouts at the previous Whitechapel murders indicates that the police may have suspected him of being the Ripper. However, Sadler was released on 3rd March for lack of evidence.   https://www.imdb.com/list/ls079111466/?sort=user_rating,desc&st_dt=&mode=detail&page=1&title_type=movie&ref_=ttls_ref_typ

Chad Chancellor spoke with Henry Moore, Co-Founder and CEO of REsimplifi, during the Next Move Group Economic Development Conference in February, 2022. REsimplifi helps communities, real estate brokers, and economic developers, by providing complete and acurate commercial real estate data.

Intro: when you don't feel your best, do the thing anyway, Fake Famous, H&M is 40 shades of putty, Stitch Fix,  Let Me Run This By You: Selfie vacations, Paul Stuart, rent a fake jet, Tevas, we are old enough to accidentally wear cool clothes. Interview: We talk to Mickey O'Sullivan about body image, sibling relationships, getting bullied, Illinois State University, The Wake, Henry Moore is Melting at The Athenaeum, addiction, Sophia Bush, Chicago PD, Casey Affleck.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina .3 (11s):We went to theater school together. We survived it, but we didn't quite understand it.2 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.3 (21s):We survived theater school and you will too. Are we famous yet?2 (35s):Isolation is a funny thing because it's both the thing that you feel drawn towards when you don't feel well. But it's also the thing that, you know, that makes it worse. And I saw another thing that said, the more comfortable you get with you and who you are, the less likely you're going to want to isolate because it does, you know, it it's effort to be who you are when you're, you know, not kind of sinked up. Yeah. That's all just to say that when my kids have their aches and pains and two of my kids are real vocal about every single sensation they ever have in their body at any given time. Like, I can't think of a time where these two leave the house where I haven't heard my foot hurts.2 (1m 20s):My shoulder hurts. I have a headache. My stomach hurts. It hurts when I do this. And I, I believe it all. And yet I'm like, yeah, but if you stay home, I'm not going to let you be on a screen. So you're just going to literally be staring at the wall, feeling that I wouldn't, you rather go to school. Right.1 (1m 38s):Interesting. But Gina, it has taken me to 46 to actually realize that. So they're like, literally like a year ago, I probably would've been like, you know what, I'm just gonna stay home. And like, I have a headache, but like now I realize like, oh no, I think it's also like, time is slipping by like, I'm getting older, we're marching towards death. Like I got to get outside2 (2m 3s):Dude. And1 (2m 4s):You know, so like, I, I think it takes some what it takes, but yeah, man, I know that this pandemic has created the sense that the outside world is dangerous because literally it was, so it is like a war in that we, I felt like we were in a war when, when this all started, it was two years ago this month. Right. So right. I came to visit and then all to you and then all hell broke loose. And it, yeah, it created this thing of like the danger is outside the home. And so now it's like so easy to, but I actually realize that I feel worse at home because not only then do I have a headache, I have to deal with my fucking dog.1 (2m 52s):Who's a pain in the ass and get triggered by my husband who I think should be doing his job differently. And I hear him because we're in a teeny house. So that's torture. That's worse.2 (3m 3s):That's terrible. That's no good. My corollary for that is just, I do spend all of my, I mean, I do my, everything I do is, is at my house. I take care of my house. I take care of my kids and then I write and, and work, work on, you know, artistic stuff when you're home and your office, maybe miles experiences this too. Like you don't, you're never not at work in a way. So you're, I gotta do some, I gotta do something to have more of a separation. Maybe I should just like, bro, did you, did you see what about Bob? When he, he worked from home, but he clocked in. I should know that.1 (3m 42s):Well, the other thing that I was thinking, so I, okay. I thought about this cause I was asked. Okay. So I, a friend of mine said, I have this free thing for stitch fix. Right. One of these bottles. Okay. Right. I've done those before I did DIA and co and whatever it lost, its luster, it's a waste of money. Eventually. It feels like, and it's ridiculous. Okay. But good, good news about stitch fix is that, or one of these services is that one. I love the jeans they sent me, but two, you have to leave the house to return the things you don't want or you pay for the things. Right. Okay. So that's a side benefit. And so that got me out of the house and three I'm wondering, I was like, oh, maybe I should send my code to Gina.1 (4m 26s):But then I'm like, Gina, doesn't like to shut up. Right. And Gina doesn't like, so they do the shopping, but you also don't strike me as someone who would want to dress up for our meetings.2 (4m 36s):Exactly. And I did stitch fix and did it for a while. And then I was like, well, what am I dress for? This is a big conundrum. I have just life in general. And we should tell our listeners that, you know, we're, we're contemplating recording, doing a video recorder recording of these podcasts, which will be great, but then it'll make me feel like I need to, but maybe, but maybe it's okay to feel that way. Maybe it would be actually really good for my mental health to be like, I have to get dressed for my day.1 (5m 8s):I think it helps me. I mean, look, I'm literally wearing a tank top and a bra, but like2 (5m 14s):No, that's huge. Yeah,1 (5m 15s):Yeah, yeah. Right. No, and pants without an elastic ways. So like, I think it helps me in that. And some days it's just a pain in the ass, but it also helps me to think that, yeah, at least I'm trying in some area of my life, which we're all trying in all areas, but I'm just saying it's a visual representation of the fact that like, oh, I'm trying, the other thing about coworking that I like is I get to see other people's outfits. And sometimes they're really cute. Sometimes they're fucking horrible. Like it there's a lot of like 20 year olds that are here at co-working because are 20, 25. I'm a little old. So I like age everyone down, but like a 25 year olds that cause you can rent big offices here too.1 (5m 59s):Like for companies like marketing companies. So I see the fashions of the 20 five-year-olds and I'm like, whoa, you are opening my eyes to a whole hell scape of fashion that I did not know existed.2 (6m 14s):It's all so bad. It's all so bad. By the way, before I forget the, the getting dressed is, is this the reason to do it as the same reason to make your bed every morning? Like you don't have to sure. But doing it creates a nice demarcation that you're not always just, you know, in this miasma of like doing the same, same thing. But yeah. Getting back to the fashions of it's all terrible. And I just watched this documentary called fake famous. You might really like it it's is actually so fascinating. It's a, some guy who, I'm not sure if he's a journalist or whatever, but he speaks all of the time on news programs about social media.2 (7m 2s):Like that's just his area of expertise. So he says the social experiment where he, they have a casting call where the casting call says, I'm asking for people who want to be famous. So they get 4,000 submissions1 (7m 18s):And it's is it called the theater school?2 (7m 20s):Yeah, no, it's not going to theater school. And of course, you know, they paid these people to do it inverse of what we did and they pick these three people who wants to be famous. And he was, he set out to use his knowledge of social media to make them famous, artificially famous. And it was so interesting. It's a, it's something, it's a culture that I knew about. Like, but I'm not, I don't participate in influencer culture. Right. And I don't know if you saw this thing, I posted that 40 million people in the world have a million or more followers, like really puts things in perspective.2 (8m 5s):You know? And, and, and it was also talking about how the algorithm shapes itself. So like I'm also reading this book about Alex Jones and conspiracy theories. And you know, he will say on his show, he'll say a lie. And then he'll say Google it, because he's got millions of listeners and millions of listeners Googling something. Right. Makes it, shapes it into something. Right.1 (8m 35s):It makes it true. Makes it true. You can literally an impact the truth. It's gross. But it's also, it's like literally how for me, yeah. It's like how Hitler got to power, right? There was no Google, but it is the same. Like if you believe it, it will be so on some level. And if 40 million people believe it, it will really be so on some level. Yes.2 (8m 58s):And if they tell us that earth tones and no patterns and no structure to garments looks good, eventually will believe it. And they probably are doing it because there's a glut of earth, tone fabric, and people are trying to write, but I haven't seen something that I would consider a cute outfit on a person under, or maybe even anybody, but in years, like going to the mall, I don't say, Ooh, this is great street1 (9m 29s):Snapper.2 (9m 30s):It's all just looks gross.1 (9m 33s):I went to, so I walked down my street to get to coworking and there's an H and M there. And I, and also when my niece was here, we went to H and M because they love that shit. And I, I was like, literally, this is all 40 shades of putty. Like honey, 40 shades of putty. I said, and she goes, what's potty. And I go, it's this color? 40 shades of putty is my new memoir. And it's all about this color scheme they've got going on. Right? Like it is literally Putney. The putty that came in, the eggs that we used to play with silly putty or whatever, the fuck,2 (10m 9s):Petty wood glue,1 (10m 12s):Like coffee2 (10m 13s):Grounds call,1 (10m 19s):Let me run this by you.2 (10m 27s):So one of the places, I guess that Instagram is a very popular Instagram spot, by the way, people do whole vacations that are just centered around where to have their picture made. And like, not even thinking about the vacation itself, like people come to LA. Yes. Ma'am people come to LA, let's say they had this one story on their two girls from there might have been from Russia. Now that I'm thinking of it came, you know, spent $2,000 or whatever on their ticket to come to LA. And it was literally just touring these selfie spots. One of them is the Paul Stewart building. There's a big pink, it's a Paul Stewart it's fashion design.2 (11m 9s):And it was just like, his store is the, it's a huge, huge, huge pink wall. Oh. And this is where people at any time of day, you could drive by it. And you're going to see people taking selfies there because it's an Instagram spot. Oh. So people come to LA by the droves with a list of selfie spots.1 (11m 33s):This is like fucking Pokemon people situation.2 (11m 37s):Okay. Like by dying because you're being pokey while you're driving. Yeah, exactly.1 (11m 42s):Wait, wait, wait, wait. Yeah.2 (11m 43s):So I guess you don't see too much of this.1 (11m 45s):No, not, especially not in Pasadena. I can't2 (11m 48s):Imagine1 (11m 50s):Fucking suburb dude. And, and, and I would also, oh, but I did see, okay. So miles surfs. Right? And we, while he's a new surfer, I shouldn't, it's not like Kelly Slater or whatever the fuck. Anyway, the point is we went to a surf lesson once and I fucking kid, you not, there was a guy who I believe was speaking Russian on the phone at the Santa Monica parking lot at 7:00 AM beach parking lot with his Mercedes that was rented clearly with a camera on a fucking tripod, taking selfies at 7:00 AM with a rented Mercedes in a crazy outfit there when he was doing and, and, and me and miles and I, and, and, and the surf teacher, who's fucking hilarious.1 (12m 41s):Who's this stoner comedian named Jared, who is hilarious, was like, yeah, yeah, dude, this is, this is, this is it, man. This is how they do it. They like stop traffic. And, and I didn't know what he was talking about, but now that you're saying it, this is what this guy was doing. And I, he was on the bash Dudley doing it. So like, there was no embarrassment. I was like, what the fuck? And music was playing. It was videos too. Like Instagram videos, reels or something. He's fucking, he was playing rap music, which was the best thing about the whole thing was the music. But he, it was raw. And he was crouching down, like by the car, in an outfit at 7:00 AM.1 (13m 21s):And Doris was, I was with the dog of the dog was like, even the dog was like, what the fuck is this guy doing? Like what?2 (13m 28s):I never bring my personal. I was like, just taking a selfie. I have to do it usually with one of my kids. And even then it feels it's something about it feels wrong. And did you know that you can rent the space that looks like the interior of a private jet for $50 an hour so that you could take pictures and make it look like you are traveling,1 (13m 58s):Which is like my nightmare, because I'm afraid to fly. I'd go to, I'd be in hell, but okay.2 (14m 2s):Oh, you can rent a mansion for $600 in a day and have, you know, these Instagrammers, they get together like four or five looks and they rent out a mansion and they pose themselves in these ridiculous things. And then they, because they post, they have to post four times a day in order to stay relevant and to get brands that want to get a sponsor them or whatever. So they are just constantly going around looking for content. And then the pandemic happened. And I think that really gave rise to like renting these spaces because they couldn't actually go on these vacations and so forth.2 (14m 43s):Isn't that wild. It's just1 (14m 45s):Craziest shit I've ever, I'm going to watch this documentary. I M it is again, I know why you find it interesting too, is because it really reminds me of Adam McKay's work. Like what is happening? It's so meta. It's like, what? Wait a minute, wait, what is happening?2 (15m 7s):Well, ironically, I think one of the things that's happening is whereas, you know, initially the feeling about the internet, it was just made everything opened up, right. And that's still true to, to a large degree, but on another way, everybody's life is just about their phone. You know, your life takes place on this tiny little screen and, and to be in a group of people under, I mean, maybe not even that maybe just to be in a group of people is to see like 80% of them at any given moment staring at their phone, wherever they are out in the world. Right. They, one of the scenes in the movie is they, some company hires a bunch of influencers.2 (15m 51s):It's a junket, essentially. Like they take them to these selfie spots, including a abandoned water park. That's like a, that's like a great place to take salaries. They get this crew of girls and they just take them to these various spots to model this ugly, putty, colored clothing, and then get paid for brand, you know, for hashtagging the brand. And there, I was just like so depressed. I felt sick after watching that Pressing right. There was one guy who did not, he decided that actually of the three people, they picked, two of them quit during the experiment, because one of them was getting comments from his real cause the guy was buying them followers.2 (16m 38s):That's what he was doing. He bought them followers, which are all of these bots. And did you know that like people like Kim Kardashians who have whatever millions and millions it's estimated this 60% of their followers are bots. Yeppers. Yep. Yep. Yep. So I guess1 (17m 1s):I can't, I can't even process what's going on here today. Like, I, I, you, you can't people can't see what they will. Once we start recording these bad boys, the video, I like looked down at my fucking TIVA sandal. Okay. My Tivas okay. By the way, by the way I was wearing, I bought Tivas because my feet are fucked up. Right. And I had to wear, I got, I have two shoes now I can really wear, which are Hocus. And then Tivas alright, terrible. Sarah will situations. But anyway, I'm wearing black Tivas sandals that I wore literally wore in eighth grade. And then I have a fucking LL bean like throw back at, or is it an Adirondack2 (17m 45s):And1 (17m 47s):Adirondacks a chair. Right. But okay. And it has like kind of nineties, throwback colors, not on purpose. I just liked it. And I bought it has a hood. I fucking wearing that. Some jeans and my Tivas and I look like I'm going to summer camp. Right. And I'm in the coworking and these young, these young ladies go, oh my God, we'd love your throwback nineties outfit. Literally. They said that. And I was like, Oh my God, I, oh my God, I didn't ha I didn't know what was going on. And I was like, oh my God, the one there. Right. I literally looked like I was going to camp echo, which was the camp I went to the Y camp.1 (18m 30s):And I also was like, it's also kind of hideous. And yet these youngsters are thinking I'm doing it. Ironically.2 (18m 38s):Let's, let's give up.1 (18m 44s):Let's just give up. Let's kill ourselves.2 (18m 47s):Let's wave the white flag. I tried Lord. Oh Lord.1 (18m 53s):I mean, I, I couldn't understand what's going on. And I looked down and I was like, oh my God, they're so right. And I just smiled. And I was like, are they2 (19m 1s):Literally Chivas from eighth grade? Like, you literally still have your same. No,1 (19m 4s):I bought Because my feet hurt. I need sandals that are literally, it's so sad. It's so sad. And I was sitting at coworking and they walked by and they said that I looked down and I was like, I, I did, I did feel Gina. Like I just, I gave up2 (19m 23s):Trying to give up. Now we're all set.0 (19m 28s):Well2 (19m 39s):Today on the podcast, we are talking to Mickey O'Sullivan. Mickey O'Sullivan is a Chicago actor. You know him, you know him from the shy and from Chicago PD and athletes. So many television shows. I couldn't possibly mention them all here as well as theater and commercials. And he is a related and relatable, insightful, funny, warm, talented person. So please enjoy our conversation with Mickey O'Sullivan1 (20m 15s):I'm talking about right now, filling her age. I don't know. It's great. It's great. It's in a good way. You will see that my internet was in and out. It's just,2 (20m 24s):Yeah. Are you close to your router or1 (20m 27s):Even know where the router is? So there we5 (20m 29s):Go. What's the router.2 (20m 33s):Good point. Make you good. Bye. Nice flex there with your Peloton in the background.5 (20m 39s):Oh yeah. Check that out. Just like slid it over. I've got it on one of those lazy Susan's right now. This is my current look. And it just,1 (20m 48s):Do you have another lip?5 (20m 52s):Who's a lazy Susan on the table and you know how you got to kind of prop up your, your laptop. So,1 (20m 57s):Oh, I thought you had the Peloton on a fucking lazy Susan. I was like Next level.2 (21m 4s):I was adding a whole new dimension to that workout, which is already very difficult.1 (21m 8s):I was just feeling Gina and about the things, which is interesting that you popped on. So I can tell, I can say it in front of you and make you really embarrassed. So in a good way. So I was just saying, and we'll, we'll, we'll start with the official Gina opening, even though you left theater school still the same opening applies. So say it,2 (21m 27s):Congratulations. Mikio Sullivan, you survived theater school. Hey, Mickey, serve a cookie.1 (21m 35s):You deserve a cookie and all sorts of things and free therapy. And Yeah, so we all need that. But I was just saying that one of the things that I wanted to talk to you about, and we'll just dive right in and see Gina and I talked before our guests. So we're like warmed up about like psychological issues. Other people are like, what are you talking about? Like, why are you starting here? But here's how I have to start, because this is what I've realized lately. You're the only male identifying person that I've ever talked to. That talks about body image.2 (22m 8s):Oh,1 (22m 10s):I had never had a conversation where casually come up in conversation, your history of your relationship with your body as, as you from a kid to an adult, no one ever taught male, identifying person has ever talked about that with me and eight, I, it opened my eyes to like, oh shit, oh shit, men have body image issues. I did. It didn't even occur to me. So that's where I want to start. Good morning to you.5 (22m 40s):No, I'm also kind of jealous, right? So I listened to your podcast and you do you get like a real ramp up. And so this morning I was like, you know what? I need this a little bit. So I, you know, I drove the wife to work. I have a wife, I would say the word wife, which is really exciting. Thank you. And I'm also a chauffeur, which I love being. I like to be of service. I'm driving her there and I'm trying to have conversation to like warm up, you know? And she is so focused on work.2 (23m 12s):She's like, yeah. Anyway.1 (23m 17s):Yeah. She's like, that's all good. I didn't listen to the last 10 minutes. You said? Yeah. I mean, so I I'm glad that you, that was nice of you to do a ramp up, but no need, but, but, but also, can you talk a little bit about, and then we'll leave that that'll probably lead into acting stuff too, obviously in schooling, but like, what was your experience? Because you've talked about that. Like, I guess my first question would be like, what are the thoughts when I bring that up about a dude talking about body image,5 (23m 49s):To me, it makes total sense. And I'm also kind of shocked that more people don't talk about this. I mean, growing up, right. Like, yeah, kids are cruel for sure. But like, it's kind of very insidious the way that guys can be cruel to other guys. And also this idea that like, in order to be attractive to whoever I'm, whoever I'm like crushing on, like starting from a real young age is I better look like these people. And when we were growing up, those people were athletes. Right. It was never like Neil deGrasse Tyson. Right? Like it was never like these like really super intense or if it was, it was like bill gates or something.5 (24m 31s):And I don't know, like there was, there's this disconnect between masculinity and like being okay with your, your body and your body image and the way that you give off your image to other person, people so much. So to this day, I still struggle with it on a daily basis for a little while there, I was like, you know what? I think I understand the key to Hollywood success and that's the six pack and the really fucked up part was that the more, the closer I got to that goal, the better my career got. And I don't think that the two are linked. I don't think so. But I think that like, being, having to think that as somebody who's, who understands the industry pretty well and who has kind of had highs and lows in their career, if I'm thinking that then what is, you know, the version of 15 year old Makey, who's like, oh, I wonder what being an actor is like thinking.5 (25m 27s):And so that starts super young, but I was also stop me if you have questions, but I'm going to go on like a tangent here. Sure. So very young right. Actor on a baby soap opera before image is even a thing, right? Like before you have any concept of that, you give off your image to other people. I don't remember any of it, obviously. Right. And then parents separated. I come to Chicago, dad stays in New York, me and my brother growing up. My brother is always super thin, super smart. And I am always not super thin and not super smart. And so there's this kind of competitiveness that's going on right there.5 (26m 11s):But in order to fit in my brother developed a real good sense of humor at new school, very young. And I didn't, I was, I, I struggled to acclimate to like a new environment. And I guess, I don't know necessarily that I, I think that I wanted to tell myself that I had an eating problem growing up, but I don't know that that's true. I don't think I understood food or my body or energy really well because later on I started getting into athletics probably out of this complex.5 (26m 50s):Right. But I started using food for fuel and that kind of started my journey towards like understanding my body and understanding of what goes in there. But as a kid, it was like, if it's in the cupboard, I'm going to eat it. And I am a very energetic person. And so I attached myself to like food, energy, just keep going. But then when you're getting made fun of on a daily basis, energy emotions take like a lot of energy to process. And so I would come home and I would be in tears from, you know, being, they call me Shabaka my brother's name is Danica.5 (27m 30s):And they like, you know, the, the terrible people that our children. So I was always known as like, what is the one thing that is different between you and your brother? Well, you're fat and you're not. And, and yeah, like going into the career, it's awful.1 (27m 51s):But wait, I have a question. Was your family, I always wonder this because my family was not supportive. So, so I was bullied at school and I was also bullied at home. Were you bullied by your brother and your mom or no,5 (28m 8s):For sure. My brother, like, we were awful to one another, the fact that we have a relationship now and like a really good one is, is mind blowing. But yeah, we were awful each other. My mom, not so much, my mom always struggled with her body image and her weight and her reflection of herself. And I think still does to this day, like I remember like some of the conversations before our wedding was like, for both her and I like, you know, gotta start to trim up for the way, you know? So, so yeah. I don't know if I was bullied at home as much. I was, it was definitely a safe space for me coming home in that regard.5 (28m 50s):But my brother around his friends, it would increase a bit. And then of course that's like a role model to all of my friends or whatever. And then I just started hanging out with people who like, probably weren't the best for me because they weren't making fun of me. They weren't the best for me because of,1 (29m 10s):I mean, I think that it's like, we go, I'll speak for myself. I went, you go where the teasing stops. Right. Whoever's not, the love is great. And the love5 (29m 22s):Has an absence of love.1 (29m 24s):Right. I see. I always say like, I didn't necessarily want to be not if once I realized I was just going to keep being bullied, I then just wanted to be left alone. So whoever would leave me alone, if not mention it became my friend, even those people were fricking had troubles of their own. I mean, like were troubled, at least they weren't picking on me. Right. So it's like you start settling for more and more, less and less love. And like, you just want to disappear. I mean, that's what happened.5 (29m 56s):Do you think that that led to you being an artist in the sense that you started focusing more on self through isolation? Do you know what I mean?1 (30m 5s):Great question. I started. Yeah. I think that what happened was it led to my brain and heart madly trying to figure out why this was happening to me. Why was reading, being treated this way by school and at home and what I could do that was safe. And the only thing to do that was safe was make believe and create in a world where, yeah, where it wasn't about the way I looked because you know, but then you mix2 (30m 37s):Except until it totally was1 (30m 41s):When you then go to a theater school. So there you go.5 (30m 44s):Yeah. Yeah. Super weird to how that kind of comes into the mix. Right.2 (30m 50s):So I, I'm being quiet as you're talking Mickey because you're describing a dynamic that is happening in my house right now with my two sons and, and you're, so you're the, you're the grown up version. I'm really happy to hear you have a good relationship with your brother, because this is like one of my biggest fears. I had such a terrible relationship with my sister and my sons are on their way to, you know, how it seems to me is they're on their way to having that type of relationship. And maybe it's the thing about, you know, because kids are like, prof, I forget sometimes how much they have to take on at any given day.2 (31m 30s):Maybe even 90% of it at school is social. And only 10% of it is academic, but that's, that is so much that just, just like information processing and it has to happen in your body. So if you're having a hard time with it and then you're having, you know, body image issues on top of it, it's, it's all, it just seems like impossible to survive high school, you know? Like how does anybody survive high school, let alone theater school,5 (31m 60s):But oh,2 (32m 2s):No. The 15 and 13.5 (32m 4s):So part of the pandemic was they were being judged on this while they're going through like fuck and hormones and brutal. I could not imagine2 (32m 16s):Completely, completely brutal. And that's a whole other thing about education and the pandemic and how like we'll never get it back. Like, you know, it's just, there's just last years basically. But anyway. So when did you start getting into acting? When did you decide that that was something you wanted to pursue?5 (32m 34s):All right. So like alone, personally, like walking home from school, right. That, that mind was already there. Like my entire life. I was like, I'll be an actor. Not that I wanted to, but like, oh, that seems like, like I was the liar growing up. I was the storyteller I told the fucking biggest bibs in the world. And so I think like in my mind, but then it was like, oh, I'm very distractable. And I, this is how I knew I wanted to be an actor. Was that like one day that, wow, I could be a doctor. I could be a firefighter. Oh my gosh, garbage man. Why not? Right. And then the idea, like, I'd maybe like work on that for like a day.5 (33m 17s):And then the next day I'd be like, oh, I'm so interested in this. And I think later on, I was like, oh, you can go. It's a really cool way to learn about all sorts of these little things. It was just kind of like spin the wheel of roulette, acting, you know, go out for tons of commercials. You get to play a handyman for a day. And for me, like, I personally loved the pretend of like, oh, I wonder what a handyman stays like.1 (33m 41s):Yeah. That's what I remember about you is like a super curious kid, like super curious and maybe like that's part of the artist's brain too, is like, you were always curious, curious, curious, curious a hundred times curious. So what, okay, so you were like, that was your thought as you're walking home and then how did that translate into like being in a play or auditioning for shit? Or like how does that work or going to school? Yeah,5 (34m 7s):Definitely thought, right. Like funny person was my option in terms of getting out of like the social anxiety. And so my mom got me involved in a play, I think in like sixth grade, but it was outside of my social circle. It was like, we were on like the Southwest suburbs and this was way in the south suburbs. And so I didn't know anybody there only relationship to me was this thing. I played a skunk in a Winnie, the Pooh play. And then I proceeded to like rip my pants and fart in my own peace scene. So That helped the whole shitty body image to thing. Cause right.5 (34m 47s):Cause who splits their pants.2 (34m 50s):Right. Miley Cyrus actually. I mean, anybody can start therapy6 (34m 56s):It's me and my2 (34m 58s):Okay. But when it was time to pick college and you were looking around, did you look at a variety of theater programs or conservatories?5 (35m 8s):No. I don't think that I admitted to myself at that point that those was like a valid career option. So my senior year of high school, I had this like real stint in hockey where like I thought that that could be a career path for me. And then that was ended through like a variety of like injuries and you know, like personal stuff. And so then it was like I had a theater professor pulled me aside and was like, Hey, not professor, but high school teacher, special ed teacher who then ran the drama program was like, Hey, maybe you should consider doing this with your free time. Instead of just like smoking pot and smoking hookah and like driving around with your newfound free time.5 (35m 51s):And I was like, oh, maybe that's a good idea. So I did like beauty and the beast high school as like, you know, this like a side character kind of like not in the limelight. And then later on did a Shakespeare comedians, LR where we just totally ripped off of the American conservatory theater's production from, we like copied it, move by move and called it acting. And then we won state for that, which is kind of backwards, you know, like we won state for copying and production. So I definitely thought it was good, but I didn't think that I was any good at like creating my own versions of characters or anything. So I knew I had to apply to a school.5 (36m 32s):I had no idea what I was going to apply to. That seemed to be what I was good at. So I did a double major and special education and, and theater because I didn't think that a, my parents would approve of me being fully theater student. And then B I felt like maybe it was either a selfish career path or yeah, not like, I think I wanted something more noble maybe. And I had experience working summer camps for special Olympics and stuff like that growing up. So I was like, oh, that's a, that's an interesting thing. So then when I got to Illinois state university, they were one of the schools that accepted me.5 (37m 15s):I had no concept of what a theater school should be, none whatsoever. And a lot of the other people were like, oh, I did four years of drama and four years of forensics. And in the summers, I go away to theater camp and I was like, I played hockey. And so I didn't fit in again. Right. Which was fine because I learned how to be by myself. And so I started making all of my social circles outside of the theater department for the most part. And I think in a way that kind of helped me, like I practice my monologues in front of my buddy, Greg, who I think Greg does like computer science and you would just go, I think that was good. You know, it really became self self reflection.5 (37m 59s):And the weird part is like, I would go in and I, I really did become the, the, one of the golden children of my department. I was an asshole. Yeah. So a hundred percent I was cast in a li almost immediately. And2 (38m 18s):It does not surprise me because this is what always happens. Like the, the men who go into drama don't tend towards the masculine. Right. So then when they get somebody who's like, I played hockey that, I mean, you know, that happened in my high school. That1 (38m 35s):Happened our theater school too.5 (38m 37s):I think it's backwards too though. Cause you the more in touch with my feminine, oh, I hate that word. But like, you know, like this idea that like there's a masculine, the more I got in touch with myself and with art, I felt the better I did. Right. I still think that to this day, like the more I'm receptive to my own emotions and the emotions of those around me, the better I'm able to handle my career.1 (39m 4s):Yeah. It just sounds like the, the, the bind that we're all in, which is people want you to be a certain way. But when you actually invest in being another way, it's going to make you a better person than artists, but nobody really wants that, but they say they want it. So men are in a bind. I guess what I'm saying is like, you're the first male guest that we've had on that I've known. And I know the struggles that you've been through and it, it opened my eyes to theater school for men straight men specifically are men that identify as straight, whatever. It's a, it's a bind for you too. It's a bind for you. So I guess, what did you love about theater school and what were you like? I'm outta here.1 (39m 46s):That's my question.5 (39m 48s):Yeah. And those are all awesome points. Like it continues. The body image thing continues all throughout college. And I do grow closer to myself through that. But I think the thing that I loved about it is that I had that opportunity for the first time in my life. Like hockey was definitely an obsession for me. I tend to gravitate towards obsessing. And so to get into theater school, I didn't take any gen EDS. I like, I, I forgot my degree. I failed out of school. And finally, because I just, I wasn't interested in anything except for learning all of the theater that I think at some point I looked at somebody I MDB and I was like, oh, they were, you know, working for 15 years before they had their big, big, big break right there before they were discovered.5 (40m 36s):And so I was like, oh, I have a lot of catching up to do. Right. I didn't do this until my, until I was 18. Now it's time to catch up. So I just started like taking only theater classes. And then the idea that you can sit or lay on the ground in a dark room, surrounded by your peers and think about what shape your body is making and what noises are coming out to me. That was super interesting to me. I got lost in that world. And I still think to this day, like my brother is a finance guy and he he'll never know what it's like to just weep behind a mask because you saw something a certain way one day. And so for me, that was a celebrated thing.5 (41m 18s):It was like, congratulations, you, you cried behind the mask. I don't know. It's still is kind of a bizarre thing to like to reflect on. But my, my presentation skills got better at, than my social emotional skills got better. I was spending every night in a rehearsal space getting to know how to best work with people and how to make mistakes, like going back. I love college. I don't like the results of college. I don't like the way that it was kind of organized. People were cut after certain years. It was very dramatic. But theater school for me was, I mean, what a dream, right? Like I got to wake up, put on a leotard and go stretch for two hours and then go into a voice class.5 (42m 1s):Talk about my feelings towards words, study history.1 (42m 8s):I wish I could, I want to go. What if I apply where they, that's a horrible idea. I do this all the time, by the way. But like, it sounds so great when you guys, when you say it, I'm like, wait, I was wasted. I wasted my time there. I wasted my time.5 (42m 26s):I don't know though. Right. Like I think I've spent the rest of my career being like, okay, so what can I take from that? Because that's not the real world. The real world is not that you get to wake up and do that. But like, certainly I've recently gotten back into like stretching and mourning, like yoga in the mornings and stuff. And I'm like, oh, that was something that really works for you back then. Where did that go? And so, right. Like creating my own schedule. I think also I got, I was supposed to get a, B S and not a BFA. So I think I definitely missed some of the, I had more rigidity in my schedule that I think some of my peers and that made me resist the regular general education stuff and spend more time.5 (43m 16s):Like I committed to every directing project that somebody was doing. Right. Like they're in a class. And I was like, I'll do it. When they were like, bring one monologue to class. I was like, well, I'll take up the whole class and bring 10. I was super selfish about theater classes as well. Like if nobody else wanted to go, it was like, well, what are we doing here? I'll go.1 (43m 37s):Wow.5 (43m 38s):So I S I experienced a ton. Right. I was looking through, I, I was like reflecting the other day and I don't understand how I did all of that in four years or four and a half years or whatever, because I probably did at least 10 projects a year. And then I stayed during the summers and did community theater, like a playwrights festival there as well. And so I was just constantly going, but a weird body image thing. Right. So freshmen, what are the freshmen 15? I put on like the freshmen 45 drinking a lot. Right. Partying, a lot, eating food from the food Corp,1 (44m 18s):Chicken fingers, chicken fingers, fingers.5 (44m 22s):So much cheese.1 (44m 25s):Yeah.5 (44m 25s):And then I played my first like bigger role was Toby belching 12th night. So, so, oh, you have extra, you are bigger than other people. Now you're going to play the funny role, right. The drunkard, the, this or that. And I don't know what came too, but I think somebody made a body image comment in my final assessment that year. And regardless of whether that was a positive or negative thing, I committed that summer to not being what they thought I was. Right. I was like, I'm not just this1 (45m 6s):Comment. Do you remember the comment?5 (45m 7s):I don't remember. I just know that there was a catalyst, right. Something happened in that last little meeting where either what was said, or what was not said was not what I wanted to write. And so I was like, I have, I have a fucking chip on my shoulder. I love to prove people wrong. It's like a weird obsession thing as well, prove myself wrong. And so I, I went and I went running and I went back to this like, athlete, like, oh, this is how I preserve myself. And maybe if my feelings were hurt, right. Like I can focus all of that into this.5 (45m 47s):And I lost, like, I lost a lot of weight very quickly. And then that next, you know, I was the romantic leading man, the next fall In Philadelphia for the story. And to the point where like, this is how little I understood. They're like, you're doing the Philadelphia story. Will you come in and read for like the dad role? And I was like, okay. And I was like, oh, this is the dad role. It's a musical, obviously in my brain. And it's not, yeah. It's not, it's, it's Carrie gray Audrey. But I was like, I didn't read the play. I had no idea.5 (46m 27s):And then they cast me as like the leading romantically, not Carrie Grant's character. And I was like, oh no, this is a terrible idea. They don't know that. I can't say6 (46m 43s):I showed up to them like ready to like, 2 (46m 50s):Mickey. Would it be fair to say that, like, you've had to figure, I mean, a lot of people come to acting as a way to figure themselves out. Right? Like a lot of people like the idea of trying on roles. Cause that's what they're also doing with their own identity. And I do see like a little bit of a trend where a lot of people who do it for that reason, maybe didn't get enough reflected back to them when they were a kid or they got reflected only these negative things like you're describing about getting bullied. So, I mean, would it be fair to say that it's taken you oh, a long time to get to know who you really are?2 (47m 31s):Are you still in a process of figuring that out? Like, did you, how much, or how little did you know yourself when you were at theater school?5 (47m 41s):Yeah, totally fair to say. I didn't, I didn't really know myself. I definitely was enjoying the process of getting to know myself, but I didn't really have an understanding of like why I was the way I was. I, and I am definitely still in the process of trying to figure that out. I think I did a play right when I left school called, called awake. And it was about a young man. Who's a poet who's who thought his father was a poet and turns out there was, it was his brother. Like my, my father's brother was my actual father.5 (48m 22s):And it was just like, I don't know myself. I need to go figure out who I am. And that really resonated with me. It was like this idea that like sometimes what we feel is just the, the anxiety or the poles that we feel is just us going while I thought I would have known myself more by now. And so, yeah, definitely still trying to figure it out. My process, creative process. I mean, like that's constantly in flux, never the same. And that's like hockey stuff too. The reason I liked hockey was you could run a set play, and it's always going to be different every single time.5 (49m 4s):And the idea of theater, right? Like you, you get up every night and you do it. And like something about the way that your day went will be reflected in your performance. And, and so that's interesting to me. Yeah.1 (49m 23s):Interesting. I never got that. I never, I never knew that that acting was about me. Do you know what I mean? Like I never got that note. Like that message. I missed that whole thing that like, I could bring my whole self to a role. It doesn't mean that it's me. Like, but that I was allowed to bring my whole self to the role. And in fact, if I did, my acting would be better. Like I miss so much, I'm just so bombed, but I'm learning it. I'm learning it from, from listening to people like you on the podcast and talking with them like, oh, I'm helping to, to, when I teach now, I'm like, bring you, you're helping me.1 (50m 7s):The other thing I want to say is that when I saw you Mickey in my first time seeing you in a lead role or any role was at the greenhouse, I dunno, Athen am in Henry Morris, melting this, play it. And I'd never seen Mickey act. And someone was like, I have my own problems. Like, why am I going? I went to this5 (50m 36s):That's great advice. Yeah.1 (50m 40s):Oh yeah, yeah, yeah, yeah. And I give you terrible advice. I was like, go to LA, you're going to be famous. But like, yeah. Well, anyway, so I saw this play. I saw you in the play and I was like, this is one of the best actors I've ever seen in my life. I, I, I was blown away. I thought, oh, this kid knows what the fuck he's doing. And commits 125% on stage, which is, it just was miles ahead of what everyone else was doing onstage, but not in a real snarky way, in a real working man sort of a way so that you don't hate Mickey because you're like, oh, this is a good person.1 (51m 26s):They just really are committed to what the fuck they're doing. I had never seen that from an actor your age, because we're2 (51m 34s):Obsessed.1 (51m 37s):And I was like,5 (51m 38s):Oh,1 (51m 39s):This kid is the real deal. Like I,5 (51m 43s):That maybe I was avoiding My work. I was avoiding all of the other things that were sitting outside of that. Right. That like were valuable pieces of insight that I could have learned about myself. But like, I, at that point, Jen, like I was moving to LA because I did not have a home. Right. Like it was a warmer climate. Like I had no money to my name whatsoever. I struggled with addiction. I right. Like I had all of these personal life crises going on, but theater is a place where you can go for two hours, whether you're seeing it or whether you're in it and totally just purposefully forget everything else.5 (52m 26s):And so I put off a lot of like personal growth until probably like 30 years old, at least like real is true. Like this might work for you, but it is destructive. I put off that work because I was like, oh, it serves me. Right? Like it's, it gives me energy to put into my career. It is going to better knees somehow to hurt.2 (52m 49s):How do you, how, how does the casting world see you? Like who are you as an actor?5 (52m 56s):That's a good question. I wish I knew. I think I'm, I think I play intense characters that I played, blue collar characters, definitely people with an emotional depth, like an intense, emotional depth. I have, I'm starting to play the good guy. All of a sudden, which is interesting. I like playing the best friend role. And I think I kind of look at every role as the best role, you know, I am there to do something.8 (53m 32s):Yeah. Right.1 (53m 37s):Which is why they want you for the leading man role. Look, this is, it makes perfect sense to me from an outside. I'm like, they want you, so you are finally what I'm hearing too is like, you're finally what you said is like starting to do the work on yourself, right? Like as a person, as a human, as a father, as a, as a, as a husband, as all the things. Right? So it makes perfect sense that you are now playing the good guy. And also that you now are wanted by people to play the lead. Even though you want to play the best friend and you play leads to, I'm not saying you don't want to play the lead, but it, it just all makes sense.1 (54m 18s):It all makes sense that when you work on yourself, if, and if you're lucky and all the things that You5 (54m 24s):End up your1 (54m 24s):Career advancing when you do the work on5 (54m 27s):Yourself1 (54m 28s):Internally, but5 (54m 30s):Then you can decide whether or not things are working. And that's like the, the small business perspective, right? Like you open a small business on the corner, your first year, you're, you're looking at like high expenses, right? Like expense your entire store. You're going to be in the red for a while. Second year, you maybe are developing a customer client relationship. Third year, maybe you have a personal crisis and things take a step back fourth year, whatever fifth year, by the time the fifth year goes, you go, I have some solid data to work with. Right? Maybe this network isn't working for me and I need to go to a different network. And I S I subverted a lot of bad advice. I didn't listen to any of it.5 (55m 10s):I went from New York back to Bloomington, normal Illinois to try to get my degree and failing out again, because I did too much theater up to Minnesota, Chicago, California, Colorado, back to Chicago, and about three years, four years. Yeah. And so then I got back to Chicago and I was like, oh, this is what it's like, when you stay in a place for a little while, maybe people have a chance to respond to the postcards that you're sending up.2 (55m 40s):Yeah. And what's that whole thing, like now, since I've been out of it for so long triangle, when you're first starting out and trying to get people to know you, you said you still send them postcards with your, with your headshot on one side or something.5 (55m 54s):Snail mail, baby headshots. Right. I would print go to Kinko's or FedEx or whatever. I've had tons of headshots, tons of resumes, tons of cover letters. And I'd send them to everybody which maybe is what I'm learning. Now. Thankfully, I have representation. I've had representation for a really long time. Is that like, maybe be targeted with the people that you want to work with and focus on that rather than like, will anybody like me please will anybody, But maybe I had a better, I I've never thought about this. I submitted to two agencies or one agency that called me, and it was a really big name in Chicago.5 (56m 39s):And they called me in and they kept calling me Maki, like, Hey, Maki, come here. And then they were like, yeah, my name is Mickey. Sorry. That was the thing that they call me,1 (56m 59s):Excuse me.5 (57m 1s):And I was like, well,1 (57m 2s):That's the greatest fucking name I've ever heard of. I mean, it's not your name, but it's a great name. Yeah.5 (57m 8s):They brought me into the room and they're like, okay, give us your monologue. But look at the wall. They're so spot on the wall, look at it. So I did the whole thing and they were like, how are you expecting to have a good relationship with casting? If you just stare while you talk the entire time. And I was like, oh, I thought you said, like stare at the wall and talk. And they were like, you know what I think, like with your look and your experience, we could do a trial contract. And I was like, maybe finally at that point, did I have the guts in my life to be like, I don't need just anyone to be my friend or to work with me.2 (57m 48s):Maki need somebody who can really connect with5 (57m 51s):It knows my name, you know, that read the email. And then sure enough, I, I reached out to somebody who I knew was an agent and I had a meeting with them and I was like, Hey, is that how all of them should go? Because if it is, I'll just take the contract and I'll work in the industry and whatever. But if it's not, I'm not going to sign with somebody who's a Dick. Who's like too overwhelmed to actually build new relationships. Let me go and focus on somebody who like, wants to have a conversation about what I think of the industry and my place in that.2 (58m 23s):Oh, it makes me sick to think about how many people who are in those positions of power. It's, that's all they're interested in is the sort of the power play of it all. Like this thing that we start doing when we're kids and for some people we don't ever outgrow it, which is like, I don't need you. You need me, you know, the way that I show my, you know, whatever that ability in the world is to reject you instead of, you know, to be inclusive or, or even just, I mean, just a kind thing, because by the way, nobody has, is named Maki. So they should have had a sense of like, wait, why are we saying this? Right. I mean, right.2 (59m 3s):Shouldn't they have had some idea that5 (59m 6s):I do. Like, maybe I'm a sucker and lately I've been trying to think of like, what are all of the reasons that people could act like that? Because I don't get it right. Like, I don't get like, the I'm going to go brag to people about how I treated this person, like shit. And I, I think maybe it like it, it is just a really deep, deep, personal thing that's going on. That's totally clouding. Then being aware of how they're treating other people at all. Because I don't, I it's gotta be because I don't, I I've never heard anybody brag to me about how they treated somebody like shit in my entire life. I know that that's a thing that generally, as humans, we feel deep shame about and how maybe that deep shame manifests is just constantly being so focused on, on you and the things that you have to do and, you know, maintaining your own personal level of success and survival.5 (59m 59s):It's this fucked up survival tactic of like nobody else matters only what I'm doing matters. Maybe. I dunno. Maybe I'm just a sucker.1 (1h 0m 8s):No, I think it's, I think you're right. Like I think people get so caught up in their own process. They don't even know some people do, but I think that's like the exceptional sociopath psychopath, but like most people are just like low level nurses. We're all such low level narcissists mixed with our childhood trauma. We don't even realize what we're doing. I swear because I have confronted people, you know, that I've, I've confronted big wigs and said, do you realize that you're talking like this person is a piece of shit and they're like, what are you talking about? And I'm like, oh my God, most people don't understand.2 (1h 0m 50s):And most people are so far from understanding that the, that the farthest they'll ever get with that is just a defensive will know you're the asshole for pointing out. Right. I mean, that's, that's, that's usually the limit. It never ceases to amaze me. And yet it always amazes me. No, that's the same thing. how with, you know, my, the thing I'm always interested is getting from surface to depth with people. But I think like maybe 98% of the population is just really interested in staying or maybe it's just because of where I'm living. I don't know. But I, I find that not only do people not want to go from surface to depth, they're frightened and weirded out by you wanting to do that.2 (1h 1m 35s):You know what I mean? Because my thing is always like, we all know that the weather is how it is. Like, can we just like, let's skip that part. Let's go to the next thing. And people don't like that. They really don't like that.1 (1h 1m 47s):No people are not interested in that because what they have to, I am convinced that at the, at the core of that is, oh, one day I'm going to die and everyone I know is going to die.2 (1h 1m 59s):And1 (1h 1m 59s):If we talk about real, if we talk about real stuff, it'll inevitably lead me to, oh my God, everyone I love is going to die and I'm going to die. And I can't handle that. So I'm going to do drugs or do anything else instead, or not, or talk about the,5 (1h 2m 13s):Not the talking about the weather, but that's where I'm at right now is that I'm like, oh, the most important thing that we could do now is acknowledged the back that we're going to die2 (1h 2m 23s):Because it's so much freedom by the way, because it's not like, sorry to spoiler alert, but everybody is going to die. So like let's instead of being, spending your entire life afraid of that thing, embrace it because you're not going to die right now necessarily, you know, like you could make right now more interesting, right.5 (1h 2m 43s):Enjoy right now. Right. In a way1 (1h 2m 46s):Even noticed right now, just notice that we're actually alive. And I, and that we are here now doing things, talking, eating, all the things that we do it's happening. I think that that's what I've come to in this podcast. And in my life is like if the most I ever get to is, oh, this is actually happening. I'm here. This is going on. How I feel about it as how I feel about it, but this is what's going on. Acknowledging them. That's going to have to be enough because to go deep with people is such a treat and so rare. But like, I have to still stay true to the acknowledging part.1 (1h 3m 28s):Like, oh, you, you might be uncomfortable, but I'm going to acknowledge in my own way that, that, that we're all going to die in. And that's part of the impermanence. I'm going to acknowledge it to myself because if I don't, it just really leads to2 (1h 3m 40s):You just feel so isolated and desperate and yeah. Yeah. Well, anyway, speaking of isolated and desperate and alone, you mentioned going through some issues with addiction. How, how do you, could you say anything about that and how you, how you got ahead of it?5 (1h 4m 0s):Yeah. Never out of it, right? Like I am an addict through and through, right? Like it's anything that make me feel better and then like learning what those good things are and what leads to right. This path of destruction. I think really early on, I was constantly the kid that was if he only put his mind towards things, but I think if you only focused on those thing, and so that got me on this idea of like, whatever it is, and this is where obsession came in, right. Like if I could just focus on stuff and then I would dive 110%. And so what were the things that allowed me to do that?5 (1h 4m 41s):Right? Like first it was, you know, cigarettes, right? Like I could just sit there and read a play and read another play and smoke cigarettes, I guess. Right. Like definitely alcohol is in there. It's not like my primary. I, I do not go into functioning or nonfunctioning relationships where this, where I'm like, oh, I need this to function. Or I need this not to be totally dysfunctional. But early in my life, it was definitely a medicine of some sort. Right. Like I was definitely looking at it for relief. I drank a lot and drank, it was binge. Like, that was the way that we drank in high school and college.5 (1h 5m 23s):You had three hours to drink. You better drink a lot of it. Right.9 (1h 5m 27s):So true.5 (1h 5m 30s):So that was a thing. And then Adderall became a thing for me where it was like, this is something that allowed me to sit and work for hours on end. And certainly I think that, like, if I'm going to go to a psychiatrist, they would be like, I think you definitely have some traits that are right there with add or ADHD, but I did it. And so I would just abuse on my own. Right. Like, and I, I looked at it as the investment opportunity of a lifetime. Right. It was like, you're going to constantly have this on you. You're going to constantly be taking it. You're going to constantly be working. And that led to cigarettes. Right. That led to me avoiding all of my own personal shit.5 (1h 6m 13s):And then, right. Like the way I quote unquote got out of the throws of it was total collapse2 (1h 6m 24s):All the way to the bottom5 (1h 6m 26s):All the way. Right. Many times where I thought that I was going to die. Right. That I thought I was like, I would not sleep at night and a very functioning. Right. Nobody, nobody knew at least that I know of. Right. Like, I'm sure, like now looking back like, oh, something's going on there? Like, but it was a whole production for me. Right. Like I had the hand sanitizer to stop my hands from smelling like smoke. Right. So nobody needed to know that, like that was my preparation to get myself right. For, you know, the audition. And then it was, you know, I've got gum, I've got Gatorade to keep my body, like all of the, the electrolytes in my body up because I haven't slept in two days, I've got like coffee.5 (1h 7m 17s):And so like financially fell apart. Right. And no good reason. Right. Like best point in my career probably was like, you know, commercial money coming in, episodic money coming in. And for me, this was just like, great. Double-down on my investment. Great. Like be better, be better. And in my version of better was more, more altered, I guess. So never out of it and re emotionally my relationships fell apart. Right. I stopped paying attention to what other people, how other people were reacting around me.5 (1h 7m 58s):And that kind of led into acting, I guess, a little bit that like, it wasn't maybe until like five years ago. And Jen, this is where I'm a little bit jealous of you. Is that like, I did think that what you said earlier was like, I never considered myself, like the main part of gen actor being so valuable to whatever character I'm playing. I never considered that, the shit that I was trying in rehearsal, like just like a kid in a box, like had real time attacks on the other actors that I'm working with.1 (1h 8m 31s):I never considered that either. Like, but you're right. Like, it goes both ways, right.5 (1h 8m 37s):If you're in a, if you're in a meeting with a coworker at an office and they never focused on one idea long enough for everyone to kind of like gel with the idea, you don't work with that person for very long, even if what they're doing is an abusive or hurtful or anything like that, it's just not conducive to like, right. Especially for theater, where in Chicago, right? Like you get $300 for an eight week stipend. And so you better really get everybody read it better, really be getting something out of that rehearsal time. And I was selfish, you know, like this is about me and my journey and my character and, and everybody else better fight for that.5 (1h 9m 17s):And there's, and that's what conflict is. And that's what drama is.2 (1h 9m 22s):Well, what are your feelings about that? The stories that we hear about famous actors who do that, who still do that, that's still their process. Does it make you mad?5 (1h 9m 31s):Yeah, I think it's so misguided. Right. And I'm thankful that I've had enough experiences where I'm like, oh, you're, you were kind of the Dick there that could be bad. That could develop. Right. Or somebody who pulled me aside and was like, you know, that just wasn't necessary or whatever, really, really early on, I moved to New York and I was in a play festival. And it was like about what is that? The witch who they shove into the oven, what was that called? The Hansel Hansel and Gretel. I was Honsel I guess. And we were pushing the witch into the fire and they were like, yeah, you used a broom and we didn't have a broom.5 (1h 10m 17s):And so like fresh out of college, Mickey was like here, hand on the butt. And afterwards this woman came up to me and she was like, don't do that ever again. And I was like, oh my God, what did I do? I have no idea. I'm so sorry. And at first I was really kind of like, come on, like, what are we going to do? Like you needed to get it. So it was my first time being like, oh wow. And she was older than I was. And so to me that told me that she's been hurt in this process and that through whatever trauma that she's been through, like this is not the, the road to working with other people.5 (1h 11m 2s):Right. And so there's just like little moments like that, that I think if you're so blind you're so like, I need to get to the top. I needed to get to the top. I needed to get to the top. It's really easy to just that everybody is being1 (1h 11m 16s):Right. Right. It's like, that's5 (1h 11m 19s):Like1 (1h 11m 20s):This whole reckoning, this whole reckoning that the arts and humanity and the U S and everyone is doing, which is like, that may be true. You said something really important to me, which is, it may be true that people are overly sensitive. You didn't say this part, but I, I think people can be, oh, I can be overly sensitive. That's for fucking shirt. And it's also true that that is not the way to working with others. So like, both are true. Like I have sensitive issues. And you notice that like, doing that kind of behavior is actually not conducive to doing good art and creating and not, and getting jobs, the whole thing.1 (1h 12m 2s):So like, it's interesting. It's like you took the note and actually took it. Whether you took it all in or whatever, you took the note, but a lot of these dudes aren't taking the note. They're not getting the note. They're seeing it as the people are over sensitive, which they might be, but they're also not taking the note, like take the note, you know,5 (1h 12m 21s):I take the note. Absolutely. That's something like in college that we were constantly reminded. It's like, you don't have to respond. Just take it, write it down and think about it for a, for an eye and then com

This week we celebrate the start of spring by giving you the lowdown on the best of Britain's wonderful sculpture parks from Chatsworth, Farleys House and the Barbara Hepworth Garden to Forestry England's woodland sculpture trails and On Form, Europe's biggest exhibition of stone sculpture opening in Asthall, Oxfordshire in June. No round-up of sculpture parks would be complete without talking about Henry Moore and the magnificent Yorkshire Sculpture Park, celebrating its 45th birthday this year. We chat to Godfrey Worsdale, Director of the Henry Moore Foundation and Dr. Helen Pheby, Head of Curatorial Programming at Yorkshire. Helen tells us about working on a sculpture exhibition in Kyiv, Ukraine and the role of sculpture in unifying communities. We chat about Moore's extraordinary legacy and what's in store for visitors at both YSP and The Henry Moore Studios and Garden in Perry Green, Hertfordshire this summer – definitely both worth a visit.

'She did cause a bit of a revolution in the Royal Academy, which has been only to the good,' Anne Desmet, R.A. Gertrude Hermes was one of the most experimental sculptors of the twentieth century. She also changed the way women artists were treated at the Royal Academy forever – a story which had been overlooked until recently. Representing Britain at the Paris World Fair of 1937, selected for the British Pavilion at the 1939 Venice Biennale and the subject of a solo retrospective at the Whitechapel Gallery in 1967, Hermes' reputation fell into obscurity and her reforming activism forgotten. In the 1920s she was part of a group of artists including Henry Moore, Barbara Hepworth and Eileen Agar who were invigorating traditional techniques with a modernist approach. Working not only across sculpture and printmaking, but a variety of decorative and architectural forms such as door knockers and fountains, Hermes imbued her work with a vital energy that often focused on the elemental forces of nature. This episode takes listeners to where she lived and worked along the Thames tracing her friendships and patrons, her art school networks and studios; and the work that remains around us. We speak to people who knew Hermes, worked with her, as well as contemporary artists who explain the allure of an artist they describe as a 'goddess'. Image: Gertrude Hermes carving Diver at St Peter's Square, 1937. Digital image courtesy of Leeds Museums and Galleries © Archive of Sculptors Papers, Leeds Museums _ Galleries Bridgeman Images,

Well what an episode I have for you today!! Ever heard of Peggy Angus? I certainly hadn't until the brilliant Clare Dales got in touch to tell me all about this incredible woman. Peggy Angus was a British designer, artist and educator born in 1904. Although born in Chile, her family relocated back to the UK when she was 5 and she grew up in Muswell Hill, London. At 17, she won a scholarship to study at the Royal College of Art and studied alongside now world renowned artists such as Barbara Hepworth, Henry Moore, Eric Ravilious and Edward Bawden; just to name drop a few. Peggy is best known for her love of pattern and design and spent a large part of her career making incredible patterned tile designs/murals for architectural projects around the UK as well as hand made wall paper. Let me repeat that. HAND-MADE wall paper. Within the cannon of art history, she has very much slipped into the shadows but thanks to an exhibition at the Tower Gallery in Eastbourne in the UK in 2014, more is known about this great artists. Clare takes us on a brilliant whistle stop tour of Peggy's life and work and set the scene beautifully for allowing us to understand the challenges Peggy faced as an artist working after World War 1 and World War 2. You are going to love this - so sit back and relax as we discuss the INCREDIBLE Peggy Angus! Additional links and info: For a quick over view: https://en.wikipedia.org/wiki/Peggy_Angus And: https://moda.mdx.ac.uk/creativity-co-creation/peggy-angus/ Obituary: https://www.independent.co.uk/news/people/obituary-peggy-angus-1501622.html Guardian: https://www.theguardian.com/artanddesign/2014/jul/06/peggy-angus-warrior-painter-designer-tiles-wallpaper Images: https://www.theguardian.com/artanddesign/gallery/2014/jul/06/peggy-angus-designs-forgotten-warrior-in-pictures?page=with:img-1 The tile company: https://www.dorsetlife.co.uk/2016/08/carters-tile-manufactory/ The New Craftsmen: https://www.thenewcraftsmen.com/news-and-events/post/finding-peggy-angus The festival of Britain & Peggy's Tiles: https://heritagecalling.com/2017/05/10/7-remarkable-survivals-from-the-festival-of-britain/ All images referred to on the podcast will be Host: Clare Dales www.claredales.com Twitter: @clare_dales Instagram: @claredalesart Facebook: Clare Dales Art Etsy: https://www.etsy.com/uk/shop/ClareDalesCreative

LIGHTS. CAMERA. ACTION!!! It's episode 16!! This week illustrator Nicole McLaughlin a.k.a Nico Paws is BACK and this week Jo and Nicole talk about 6 famous works of art which have made special cameo appearances in some of Hollywood's biggest and best love movies. From boy wizards & Frozen swings to Holiday romances & sinking ships - try and stop yourself from proclaiming AS IF at the number of incredible works of art Nicole and I point out that have made an appearance in some of the world's most ICONIC films. You won't believe what you have missed hidden in plain sight. All images can be viewed on my website and Instagram page. Guest: Nicole McLaughlin Instagram: https://www.instagram.com/nicopaws_ Website: https://linktr.ee/Nicopaws_ Etsy: https://linktr.ee/Nicopaws_ Host Jo McLaughlin Instagram: https://linktr.ee/josarthistory Website: https://www.instagram.com/josarthistory Claude Monet Water Lillies in TITANIC (1999) Scene in Titanic with the paintings; https://www.youtube.com/watch?v=MEcR9C6y3t8&ab_channel=TitanicMovie%2FPelicula More info on the series: https://www.claude-monet.com/waterlilies.jsp https://en.wikipedia.org/wiki/Water_Lilies_(Monet_series) Henry Moore: Reclining Figure in CLUELESS (1995) Henry Moore and the Festival of Britain: https://www.henry-moore.org/henry-moore-archive/adhoc/henry-moore-and-the-festival-of-britain# Henry Moore at the Tate: https://www.khanacademy.org/humanities/art-1010/post-war-european-art/postwar-art-in-britain/v/henry-moore Fragonard's The Swing in Disney's Frozen (2011) The Swing in Frozen: https://www.youtube.com/watch?v=ZrX1XKtShSI&ab_channel=DisneyMusicVEVO The Wallace Collection explaining the Swing: https://www.wallacecollection.org/art/collection/les-hazards-heureux-de-lescarpolette-swing/ Robert Longo ‘Men in the Cities' in The Holiday (2006): Robert Longo: https://www.robertlongo.com/series/meninthecity/ American Psycho: https://filmandfurniture.com/product/robert-longo-men-in-the-cities-art/ The Unicorn Rests in a Garden In Harry Potter and the Half Blood Prince Harry Potter scene: https://www.youtube.com/watch?v=UwTKqqfS8FQ&ab_channel=Movieclips Met Museum series: https://www.metmuseum.org/art/collection/search/467642 George Suratt A Sunday on La Grande Jatte in Ferris Buller's Day Off (1985): MOVIE SCENE in Ferris Buller's Day off: https://www.youtube.com/watch?v=ubpRcZNJAnE A brief overview of the work: https://artsandculture.google.com/asset/a-sunday-on-la-grande-jatte/twGyqq52R-lYpA?hl=en-GB Art History School: https://www.youtube.com/watch?v=omHaPvcse-s Art History of Art Video: https://www.youtube.com/watch?v=jkVVrNfCfT8

A lecture by Chris Stephens (Tate). The finissage of the Henry Moore exhibition (24 September 2015–10 January 2016, Baths of Diocletian), curated by Chris Stephens and Davide Colombo. Chris Stephens considers what it was that made Henry Moore the quintessential sculptor of the modern age.

As the six-month-long 57th International Art Exhibition - otherwise known as the Venice Biennale - opens its doors to the world, John Wilson reports from the Italian city. The artist selected for the British Pavilion in the Giardini this year is 73-year-old Phyllida Barlow, following in the footsteps of Henry Moore, Francis Bacon, Barbara Hepworth, Howard Hodgkin and Rachel Whiteread. Phyllida Barlow describes the new large-scale sculptures made of concrete, wood, cloth and polystyrene that she has created for her show Folly, and discusses the challenge of representing Britain in an age of global political unrest.Presenter John Wilson Producer Jerome Weatherald.

In her new film, Their Finest, Gemma Arterton plays a screenwriter during World War II whose job it is to write women's dialogue - referred to as "the slop" by her male colleagues - for morale boosting films for the home front. Gemma discusses the role and her own experiences of being a woman in the film industry.In January last year, curator Sarah Gavanta came on to Front Row to talk about her exhibition for Historic England called Out There: Our Post-War Public Art. It was an exploration of the boom in public art created by the likes of Barbara Hepworth, Henry Moore and Elizabeth Frink between 1945 and 1985. But it was also a call to arms to trace the missing sculptures of the period. Sarah returns to the programme to tell us how one of those lost pieces, The Sunbathers by Peter Laszlo Peri, has been discovered in a hotel garden.The new Broadway production of Hello, Dolly! starring Bette Midler broke box office records last year, exceeding $9 million on the first day tickets went on sale. Theatre critic Matt Wolf reviews Midler's performance - her first in a musical for 50 years - and discusses the big Broadway contenders vying for Tony awards this season. Martin Parr is known for his social documentary photographs - everything from the new BBC One idents to his earliest work documenting the rural farming communities of Yorkshire. As the Sony World Photography Awards acknowledge him for his Outstanding Contribution to Photography, he shows us around his exhibition at Somerset House in London and looks back over his work and influences.Presenter: John Wilson Producer: Rachel Simpson.

Director Gurinder Chadha discusses her new film Viceroy's House, which tells the story of the partition of India and the creation of Pakistan in 1947, seen from the vantage point of Lord and Lady Mountbatten (played by Hugh Bonneville and Gillian Anderson) and the British and Indian staff who worked in the Viceroy's palace. America after the Fall: Painting in the 1930s, a new exhibition at the Royal Academy in London, begins with 'the fall' that the US experienced after the Crash of 1929. Curator Adrian Locke takes John Wilson round the exhibition which offers artists' reactions to the Great Depression, the Dust Bowl, the rise in racial tensions and a huge swell in immigration, starting with Grant Wood's famous American Gothic which has left North America for the first ever time.The fashion house Burberry has teamed up with the Henry Moore Foundation to collaborate on an exhibition celebrating the company's new collection. Alongside some of Henry Moore's work, Christopher Bailey - chief executive and chief creative officer at Burberry - shows how the sculptor's work has influenced and inspired his designs and his working process.Presenter John Wilson Producer Jerome Weatherald.