Podcast appearances and mentions of Kate Bush

"FUTURISMO IBIZA 028 hosted by CFBT on Ibiza Stardust Radio 04.06.2026 ”FUTURISMO IBIZA” is harmonic four-deck futuristic fusion of high-quality progressive house monthly journey 01. James Holden, Julie Thompson - Nothing (Savrun Brothers Remix) [White] 02. JUAN BUITRAGO - Forever Mover [Balance Music] 03. Hobin Rude - Crying Moon (Digital Mess Remix) [EKABEAT MUSIC] 04. Roger Martinez - Wanna Be With You (RM Healing Darkness Remix) [HIGHER STATES] 05. Mayro - Wabi [Traful] 06. Kate Bush vs Infusion - Running Up That Hill (Federico Monachesi Edit) [White] 07. Simos Tagias, Tonaco - Alnilam (Sebastian Sellares Remix) [Edge] 08. Digital Mess - Rusty Flower [Metanoia Soul] 09. EMPHI - Cosmic Arrival [Melorama Musica] 10. Das Pharaoh - Whispers in the Wind [UV] 11. Jamie Stevens - With You (Alex O'Rion Remix) [Music To Die For] 12. Matter - Empty Universe [Meanwhile] 13. Joey Beltram - Energy Flash (The Yellow Heads Re-Work) [White] OneLove, CFBT

Efter sju år i branschen nu kommer Esthers efterlängtade debutskiva Fragmentality. Lyssna på alla avsnitt i Sveriges Radios app. Esther Lennstrand hyllades av kritikerna när hennes första singel ”Follow Me Home” släpptes 2019. Sedan dess har hon liknats vid Kate Bush och turnerat med Amason, Lycke Li och Bob Hund. Nu på fredag, sju år efter första singeln, släpper den hon sitt efterlängtade debutalbum ”Fragmentality”.Hur känns det inför debuten? Vad är helt nytt med skivan? Hur behåller man sin egen röst när man arbetar med erfarna producenter?Esther gästar P1 Kultur för diskutera och lyssna på sin diskografi. Programledare Saman Bakhtiari har dessutom grävt i hennes förflutna.

The second episode of season one of The Pub Crawlers Podcast was recorded 'Down The Local' in Liverpool, as Rob Gutmann hosts Steve Graves and Adam Melia to discuss pub table etiquette, men's shoes, Kate Bush, and more... The Pub Crawlers Podcast represents a quest to find the very best authentic UK pubs, filmed on location inside some of the finest boozers across the UK and Ireland. Well, sort of. It's equally about friends having three to four pint-fuelled, quintessential pub conversations, on any subjects that damn well occur to them, in a range of outstanding boozers across the land. So, really, it's as much about what we get up to in pubs as the pubs themselves. The shows are presented by self-styled boozer connoisseur and long-time pub designer and owner, Rob Gutmann, who is on a mission to find the very best pubs in the UK and to define the essence of the ‘true' pub. Featuring a wide range of guests (mainly Rob's mates), we'll be visiting pubs the length and breadth of the country, bedding into the very best of them, and chatting about our lives lived in and around boozers. The first season of the Pub Crawlers focuses on the North of England, taking in Chester, Sheffield, Manchester, Liverpool, and even a brief foray to the north side of the Midlands in Nottingham. Plug yourself in to the ongoing conversation as it disappears down all manner of tenuously pub-related worm holes, with your new mates at TPC. And you don't need a pint to enjoy us, but it might help... Follow @pubcrawlerspod for more! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tiff Randol (aka IAMEVE) discusses her new album "Legacy" then we discuss "Little Earthquakes" from Tori Amos. Find out why "Boys for Pele" didn't make the cut. Other discussion includes following the little voices, The Cure, Mamas in Music, trauma, crying on a California highway, relationships, Ben's overall favorite Tori song, Kate Bush, and "that was a single?" Check out more from Tiff at https://www.tiffrandol.com/Check out Tori Amos at: https://toriamos.com/ Check out other episodes at RecordsRevisitedPodcast.com, Apple Podcasts, Castbox, iHeartMedia, Google Podcasts and Spotify. Additional content is found at: Facebook.com/recordsrevisitedpodcast or twitter @podcastrecords or IG at instagram.com/recordsrevisitedpodcast/ or join our Patreon at patreon.com/RecordsRevisitedPodcast

L'image la plus forte des J.O. de Paris, c'est Céline Dion. Comment aurait-il pu en être autrement ? Il n'y a et il n'y aura jamais qu'une Céline Dion. Et s'il y a eu un Colonel Parker derrière Elvis Presley, un Brian Epstein derrière les Beatles, le nom de René Angelil est encore bien plus célèbre. L'histoire de ce triomphe unique dans l'histoire du showbiz est tellement folle qu'elle commence même avant la naissance de Céline, quand René, ex-chanteur d'un groupe pop canadien s'était retrouvé sans rien et avait bifurqué vers le métier d'impresario.Le voilà en effet, tenant les rênes d'un jeune prodige de 13 ans pour le compte d'un autre agent. Il vit sa réussite mais comprend également tout ce qu'il ne faut pas faire dans un cas aussi particulier que celui d'un artiste pré adolescent.Les années passent, mais au début des années 80, René a perdu ses poulains et, à part des espoirs de tapis vert au casino, il ne lui reste pas grand-chose comme perspective quand dans son bureau, à Montréal, nous le retrouvons au téléphone avec à l'autre bout du fil, un dénommé Michel qui lui dit : je sais que vous n'avez pas écouté la cassette de ma sœur car si vous l'aviez fait, vous m'auriez déjà appelé.Ce n'est pas tous les jours qu'on entend ça, même si la ville de Montréal est remplie de mecs qui disent s'occuper du nouveau Johnny Hallyday, ou de la nouvelle Kate Bush.C'est vrai que des cassettes, on en reçoit des centaines au bureau, dit René. Celle de ma sœur n'est pas comme les autres, Monsieur Angélil, écoutez-la, c'est une chanson originale interprétée par une voix comme vous n'en n'avez jamais entendue. Et elle n'a que douze ans.Douze ans ! Voilà qui lui rappelle quelque chose. Les débuts de sa carrière d'agent avec René Simard, jeune chanteur de 11 ans à peine, Prix Frank Sinatra à Tokyo qui lui vaut de faire toutes les émissions de télé américaines et même de mener la grande vie à Paris alors que quelques temps auparavant, il ramait encore avec son groupe.Mais bon, on n'est ni dans un conte ni dans un film hollywoodien, c'est sans enthousiasme particulier que René cherche dans son courrier la fameuse cassette, se préparant à entendre une voix criarde de gamine pour laquelle des parents aimants n'ont pas assez de recul de jugement.Et ben dis donc, ils l'ont bien emballée ! René met de longues secondes à détacher les nombreuses couches, comme une précieuse découverte envoyée par des archéologues au British Museum pour y être exposée. C'est le moment de se souvenir ou de visualiser les lecteurs cassettes de ces années-là, l'ampli et les baffles en bois, un peu classe, pour le bureau d'un professionnel de la musique.Mais la voix qu'il entend n'est pas celle d'une enfant, ni d'une ado. Si ce n'est pas un canular, et cela n'en avait pas l'air au téléphone, quelques minutes plus tôt, qu'est-ce que c'est que cette histoire ? René cherche le mot d'accompagnement à la cassette, perdu dans les enveloppes, pour y trouver le numéro de téléphone de la famille de cette fameuse Céline Dion qui n'aurait que douze ans. Ainsi commence une histoire improbable de star enfant qui deviendra méga-star adulte.

Skräckfilmerna Backrooms och Obsession började båda på Youtube men gör nu succé på biograferna. Befinner vi oss i skräckfilmens guldålder? Och så möter vi författaren Amélie Nothomb, och albumdebuterande Esther! Lyssna på alla avsnitt i Sveriges Radios app. DÄRFÖR ÄR SKRÄCKFILMENS TID NUI helgen hade lågbudgetskräckfilmerna Backrooms och Obsession premiärer på bio. Vad handlar de om? Är de så bra som folk säger? Och vad är egentligen fenomenet backrooms – vi ringer upp kulturjournalisten Jack Werner för en djupdykning i internetlore.Båda filmerna är gjorda av unga regissörer som började sina karriärer på Youtube, men fått se sina idéer växa till långfilmer och locka en ung publik. Befinner vi oss i en guldålder för skräck? Filmkritiker Emma Engström gästar studion.BELGISKA LITTERATURENS GIGANT SKRIVER SIN HEMSKA SLÄKTHISTORIAEn dynasti av kvinnor som hatar varandra. Så beskriver belgiska Amélie Nothomb, en av sitt hemlands och den franskspråkiga världens mest populära författare, sin mammas släkthistoria. I sin senaste roman skildrar hon sin mors grymma uppväxt. Tant Mieux heter den – ”lika bra” på svenska.Nästa år kommer romanen på svenska. Reporter Karin Arbsjö träffade Amélie Nothomb under hennes första besök i Sverige.ESTHER ALBUMDEBUTERAR – EFTER SJU ÅR I BRANSCHENHon hyllades av kritikerna när hennes första singel ”Follow Me Home” släpptes 2019. Sedan dess har hon liknats vid Kate Bush, och turnerat med bland annat Amason, Lycke Li och Bob Hund. Nu på fredag, sju år senare, släpper den stjärnskottet Esther sitt efterlängtade debutalbum Fragmentality.Esther gästar P1 Kultur för att lyssna igenom det nya albumet, och backa tillbaka bandet.Programledare: Saman BakhtiariProducent: Sara Ek

Edinburgh's Stevie Darkness meets Viktor Devonne on the pod to talk about their journey as a disabeled transfem draglesque being in the world of Scottish cabaret!  From accessibility to Siousxie and Kate Bush to wardrobe to what mom thinks about all this, the chat is a meeting of minds 8 hours apart! This chat was recorded on May 12, 2026.  Give love to the folks… Stevie: https://www.instagram.com/steviedarkness/ More Viktor: @viktordevonne  More WEBurlesque: @weburlesque FOOTCLOTHES! Get 10% off your order with the code VIKTORDEVONNE at FOOTCLOTHES.COM @footclothesofficial

Hun er en catalansk komet, der kom ud af ingenting, og nu er ved at forandre alting. For det er årtier siden, at en kunstner har fået jorden under den globale musikscene til at skælve som fænomenet Rosalia. Og musikredaktør Simon Lund kan stadig mærke rystelserne, efter han oplevede den 33-årige superstjerne for nylig. Han har skrevet mere end 1.000 musikanmeldelser i sin tid på Politiken, men han har aldrig oplevet nogen – eller noget – som Rosalia. I dag taler vi med ham om mysteriet Rosalia, der med flamencotrin, nonneæstetik, sex, vold og bildæk er ved at overtage tronen efter ikoner som Kate Bush og Björk. Og vi spørger ham, hvorfor hun er mere end en hypet døgnflue i et poplandskab præget af algoritmer og hurtige hits. Vært: Johanne Lerhard Producer: Sille Westphal Research: Karoline Bentzen Redaktør: Line PraszSee omnystudio.com/listener for privacy information.

Horror legends and icons collide in this week's history lesson: Alien (1979) opens in U.S. theaters, turning deep space into a haunted house, while Drag Me to Hell, Stranger Things 4, Wrong Turn, and Ma reshape what cursed horror looks like on screen. Explore the practical effects, sound design, and supernatural storytelling that made May 25–31 a landmark week for modern horror cinema—and what these films teach us about crafting atmospheric dread.Inside this episode:• Alien opens in U.S. theaters — May 25, 1979Ridley Scott's sci-fi horror masterpiece turns deep space into a haunted house, giving us the Nostromo, the xenomorph, the chestburster, the facehugger, and one of horror's greatest final girls in Ellen Ripley. With its grimy industrial design, corporate paranoia, and unforgettable creature work, Alien remains one of the most influential horror films ever made.Where to watch: Streaming on HBO Max and HBO Max Amazon Channel; rent/buy on Amazon Video, Apple TV, and Fandango at Home.• Stranger Things 4, Volume 1 premieres on Netflix — May 27, 2022Hawkins gets darker, scarier, and more traumatic as Vecna drags the Netflix hit fully into supernatural horror. Haunted memories, cursed visions, floating bodies, and the pop-culture resurrection of Kate Bush helped make Stranger Things 4a massive streaming horror event.Where to watch: Streaming on Netflix.• Drag Me to Hell opens in the U.S. — May 29, 2009Sam Raimi returns to horror with a wickedly funny, gross, and vicious curse story starring Alison Lohman as a loan officer who makes one cruel choice and pays for it in demonic consequences. Drag Me to Hell proves PG-13 horror can still be wild, disgusting, scary, and unforgettable.Where to watch: Free with ads on YouTube; rent/buy on Prime Video, Apple TV, and Fandango at Home.• Wrong Turn opens in the U.S. — May 30, 2003A bad detour, a car accident, and a nightmare waiting in the woods helped turn Wrong Turn into a durable 2000s survival horror staple. This backwoods cannibal thriller taps into the primal fear of being lost, hunted, and far beyond help.Where to watch: Streaming on Prime Video and Prime Video with Ads; rent/buy on Amazon Video and Apple TV.• Deep-Cut Spotlight: Ma opens in U.S. theaters — May 31, 2019Blumhouse turns a basement hangout into a trap with a smile as Octavia Spencer gives Ma its creepy, uncomfortable power. What starts as teenage partying curdles into obsession, captivity, and social horror, making Sue Ann one of Blumhouse's strangest modern villains.Where to watch: Rent/buy on Amazon Video, Apple TV, and Fandango at Home.Plus, we celebrate horror birthdays for Peter Cushing, Helena Bonham Carter, Vincent Price, and Christopher Lee, then look at how this week's horror anniversaries all circle the same chilling idea: sometimes the scariest place is the trap you willingly walk into.

A very wise man has a 'State of Life' Test he gives himself every Monday morning. So we did it. Results… vary. Forget boy bands, man bands are back. But is anyone listening to new music, anyway? SUBSCRIBE to Mamamia and never miss a word of Out Loud. Plus get access to every story and our exercise app, MOVE. We hate to bring it up (again), but Em has something in common with Elon Musk. Also, the email sign-offs you should never, ever use. Sincerely. And, reccos (all TV this week).... Holly recommends Rivals: Season 2 on Disney Plus because it’s 'beyond earthly praise'. Clare recommends Should I Marry A Murderer? on Netflix. because she says it’s quality murder doc. Em recommends Off Campus on Amazon Prime, because it will fill the Heated Rivalry hole (in your heart). Sign up to Holly's newsletter HERE New Mamamia subscribers get $40 off — $20 off an annual membership and $20 off your TWOOBS order. Click here to subscribe. Already a subscriber? Click here for your $20 TWOOBS discount code. T&C's apply What To Listen To Next: Listen to our latest episode: Why Yesteryear Is The Ultimate Revenge Fantasy Listen: An Argy-Bargy About Childcare & The Wrong Friendship Advice Listen: The 'Normal Girlfriend' Dating Dilemma Listen: The 'Dog Year' Relationship Theory That Explains Your Ex Listen: UNPACKED: Famesick - Lena Dunham Listen: A Zero Birthday Freak Out & You've Got Something On Your Face Listen: Wait, There Are Four Styles of Friendship? Listen: A Fashion F-Up & The Ryan Reynolds Of It All Connect your subscription to Apple Podcasts Discover more Mamamia Podcasts here including the very latest episode of Parenting Out Loud, the parenting podcast for people who don't listen to... parenting podcasts. SUBSCRIBE here: Support independent women's media You can now watch our show in full length video on the Apple Podcast app - make sure your phone is up to date and we can't wait for you to see Mamamia Out Loud on Apple What to read: The 9 Email Sign-Offs You Should Stop Using in 2026, According to an Etiquette Expert Martin Short said his wife's last words helped him understand his daughter's final moments. HOLLY WAINWRIGHT: Just 13 rules for friends' dinners in 2026. The show every grown woman you know is obsessed with right now. The cast of Off Campus just told us the one scene book lovers will lose their minds over. THE END BITS: Check out our merch at MamamiaOutLoud.com GET IN TOUCH: Feedback? We’re listening. Send us an email at outloud@mamamia.com.au Share your story, feedback, or dilemma! Send us a voice message. Join our Facebook group Mamamia Outlouders to talk about the show. Follow us on Instagram @mamamiaoutloud and on Tiktok @mamamiaoutloud CREDITS: Hosts: Holly Wainwright, Clare Stephens & Emily Vernem Acting Group Executive Producer: Sasha Tannock Executive Producer: Grace Rouvray Video Producer: Josh Green Assistant Producer: Tessa Kotowicz Mamamia acknowledges the Traditional Owners of the Land on which we have recorded this podcast.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

70 ans ! J'le crois pas ! 70 ans que dans un petit théâtre de Lugano, sur les rives d'un lac suisse, un public tiré à quatre épingles assis sur des fauteuils d'un autre âge, assiste ce 24 mai 1956, à une compétition entre sept chanteurs sélectionnés par la chaîne de télévision de leur pays.Ils sont trente de plus aujourd'hui, représentant autant de pays d'une Europe et même au-delà, qui ne ressemble plus du tout à celle qu'elle était sept décennies plus tôt. 52 pays différents y ont participé au moins une fois. Ça fait un sacré un va-et-vient et pourtant cette émission est toujours là. Un truc de fou car quelle émission peut avoir derrière elle, 70 années d'archives et, comme si cela ne suffisait pas, rencontrer malgré tout encore un tel succès, constituer un tel événement dans la ville qui l'accueille, à chaque édition ?Quand vous les voyez défiler, ces archives, c'est carrément un pan d'histoire, avec les swinging golden sixties, la conquête de la Lune, le disco des années 70, les explosives années 80 mais aussi les changements de frontières en Europe la décennie suivante et l'arrivée des pays de l'Est. Et puis combien de dirigeants politiques ultra populaires, aujourd'hui oubliés alors que, lui, le Concours Eurovision est toujours là, à passionner non seulement les audiences mais surtout les jeunes.Écoutent-ils tous ce que les commentateurs de chaque pays racontent, à savoir les fameuses statistiques tirées de huit décennies de concours ? Y en a des infos qui circulent : sur ceux qui ont gagné le plus souvent, ou jamais, le plus grand nombre de lanternes rouges, ceux qui ont été éliminés le plus grand nombre de fois d'affilée, …Et puis, tiens c'est intéressant, ceux qui ont failli y aller … mais non.Car savez-vous que Abba a été recalé une première fois, en 1973 ? Comme dans beaucoup de pays, la sélection se fait lors d'une soirée télé spéciale, le quatuor déjà célèbre dans son pays, mais séparément, propose une chanson dans le même esprit que le futur Waterloo mais voilà, elle finit troisième des suffrages. Et donc pas d'Eurovision pour abba qui pourtant, y croyait, et avait bien raison quand on voit le succès public. Un miracle qu'ils soient revenus l'année suivante !Et puis il y a ceux qui ont été envisagé, à qui on a demandé mais qui ont répondu non car c'était à une époque où c'était la honte d'y aller. On ne saura jamais si cela est vrai mais il paraît que les noms de Kate Bush, Pet Shop Boys, Joe Cocker, Indochine, Dalida, Robbie Williams et même Adèle ont circulé.Et puis il y a ceux qui y sont allé sans briller, et dont on a oublié, un peu, beaucoup, la participation, comme Julio Iglesias, Olivia Newton-John, Cliff Richard, les Shadows, Lara Fabian ou Bonnie Tyler. Et enfin, il y a ceux qui, bien qu'ayant marqué le concours de leur empreinte, n'ont jamais pu se débarrasser de l'étiquette Eurovision …

Did you miss Matt and Brian giving you the history of Stranger Things and why it is such an influential show? In this best of episode, you learn: the original title of ST as well as where it comes from, the escalation of violence across seasons, the popularity of the show by the numbers, the resurgence of Kate Bush's popularity, and even the anniversary of McDonald's Chicken McNuggets!Check it out!

Forty years later, So still stands as one of the most ambitious, emotional and sonically adventurous albums of the 1980s. Released in 1986, the landmark record transformed Peter Gabriel from respected art-rock innovator into a full-fledged MTV superstar thanks to unforgettable songs like Sledgehammer, In Your Eyes, Big Time and Red Rain. This week on the Stuck in the '80s Podcast, Spearsy revisits one of the show's classic deep-dive episodes celebrating the 40th anniversary of an album that helped define sophisticated pop music in the MTV era. Originally recorded in 2010, this fan-favorite episode features commentary from Peter Gabriel superfan Bassnote, whose passion and deep knowledge of the album help uncover why So continues to resonate with music lovers decades later. From the groundbreaking music videos and experimental production techniques to the emotional vulnerability running throughout the record, the episode explores how Peter Gabriel blended art rock, world music, pop and cutting-edge studio technology into something completely unique for its time. Along the way, Spearsy and Bassnote revisit the massive impact of Sledgehammer on MTV, the emotional power of In Your Eyes and the cinematic atmosphere of tracks like Red Rain. They also discuss the album's legendary guest musicians, including Kate Bush, Youssou N'Dour and Laurie Anderson, and how the album captured both the ambition and emotional complexity of the late 1980s. The conversation also explores the larger legacy of Peter Gabriel — from his early progressive-rock work with Genesis to his role in shaping socially conscious and artistically daring pop music throughout the MTV generation. If you love classic '80s albums, audiophile production, art rock, new wave, emotionally powerful songwriting and deep dives into music history, this episode belongs in your playlist. The Stuck in the '80s Podcast has spent more than 20 years celebrating the music, movies, television and pop culture of the greatest decade ever. Support the show on Patreon for bonus episodes, exclusive livestream hangouts, merch and behind-the-scenes content from Spearsy and Brad. And don't forget: Spearsy and Brad will once again be part of The 80s Cruise, the ultimate floating celebration of '80s music and nostalgia. Use promo code STUCK when booking your cabin for special listener perks and come hang out with fellow Gen X music fans while enjoying live performances from some of the decade's biggest artists. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

"So" gehört nicht nur zu den erfolgreichsten Alben von Peter Gabriel, sondern ist auch noch ein Meisterwerk der 80er Jahre. Es erschien am 19. Mai 1986 und verkaufte sich über zehn Millionen Mal. Auch einige seiner größten Hits wie "Sledgehammer", "In Your Eyes" oder "Don't Give Up" sind auf dem Album vertreten. Nach seiner Zeit bei Genesis arbeitete Peter Gabriel 1976 an seiner Solo-Karriere. Bereits 1977 erscheint mit "Peter Gabriel" sein erstes Solo-Album. Auch die drei folgenden Alben tragen denselben Titel, was in den Plattenläden immer wieder für Verwirrung sorgte. Erst mit seinem fünften Album "So" veröffentlichte er erstmals ein Album mit einem anderen Namen. Der Titel "So" klingt zunächst eher minimalistisch. Musikalisch verbindet das Album jedoch Artrock, Soul, R'n'B, Pop, Progressive Rock und Weltmusik zu einem vielseitigen Sound. Peter Gabriel setzt dabei auf die damals noch relativ neuen Synthesizer-Klänge und nutzt moderne Studiotechnik. Für die Produktion arbeitet er mit Daniel Lanois, der zusammen mit Toningenieur Kevin Killen das Album entscheidend prägt. "Sledgehammer" wurde zum größten Hit von Peter Gabriel und war zugleich sein erster Nummer-eins-Hit in den USA. Im Juli 1986 verdrängte der Song "Invisible Touch" von Gabriels früherer Band Genesis von der Spitze der US-Charts. Musikalisch orientiert sich "Sledgehammer" an Soulmusik der 1960er Jahre. Besonders der Einfluss von Otis Redding ist deutlich zu hören, dessen Musik Gabriel auch stark geprägt hat. Bei einem Auftritt von Redding entdeckte er 1966 den Trompeter Wayne Jackson, der später die markanten Bläser auf "Sledgehammer" einspielte. "Don't Give Up" ist das legendäre Duett von Peter Gabriel und Kate Bush. Der Song wurde für viele Menschen zu einer wichtigen Quelle der Hoffnung. Elton John sagte, das Lied habe ihm geholfen, seine Alkoholprobleme zu überwinden. Auch ein bekannter US-Komiker erzählte Gabriel, der Song habe ihm in einer schwierigen Zeit das Leben gerettet. Mit "So" hat Peter Gabriel ein Album veröffentlicht, das die Musik der 80er Jahre weit über seine Entstehungszeit hinaus geprägt hat. Obwohl es mit Erscheinen dieser Meilensteine-Episode seinen 40. Geburtstag feiert, klingt es noch erstaunlich modern und aktuell. Das Album verbindet unterschiedlichste Musikrichtungen und zeigt auch immer wieder Gabriels große Begeisterung für Weltmusik. __________ Über diese Songs vom Album "So" sprechen wir im Podcast (04:30) – "Red Rain"(16:47) – "Sledgehammer"(35:56) – "Don't Give Up"(49:58) – "Mercy Street"(58:25) – "We Do What We're Told (Milgram's 37)01:08:00) – "In Your Eyes" Alle Shownotes und weiterführenden Links zur Folge "So" findet ihr hier: linkhttps://1.ard.de/peter-gabriel-so __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Jakso 274. MUSAMUSA on nyt nähnyt Iron Maidenin Burning Ambition -dokumentin – mitä mieltä olimme siitä? Keskustelua käydään myös Yle Areenaan julkaistusta Kate Bush -dokkarista.

durée : 00:54:45 - Very Good Trip - par : Michka Assayas - De Simon & Garfunkel à The Doors en passant par Vashti Bunyan et Sufjan Stevens, Michka Assayas nous offre pour Noël une playlist vintage pour célébrer la fin de l'année. - réalisation : Vincent Godard Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

"Heathcliff, it's me, I'm Cathy, I've come home, I'm so cold, Let me in-a-your window . . ." Kate Bush song aside, up next on CITIZEN FRAME we're discussing obsessive desire, people getting sexually aroused by public executions, and someone turning into a dog for reasons best left alone . . . No, it's not some sort of batshit David Cronenberg horror film -- it's the recently released "WUTHERING HEIGHTS" starring Barbie herself and Frankenstein's monster! Enjoy! #MargotRobbie #MartinClunes #JacobElordi #EmeraldFennell  

De noia prodigi a tresor nacional, la carrera de Kate Bush

Amarok c'est le jeudi et l'Ascension c'est toujours un jeudi alors il fallait bien que je fasse un jour une thématique, même pour le moins… approximative !  Rassurez-vous, pas de playlist "religieuse"; mais juste un clin d'œil avec deux morceaux portant ce titre similaire ainsi qu'une musque globalement "aérienne" (avec pas mal de synthétiseurs) et /ou aux noms quelque peu évocateurs :  En ouverture d'émission j'ai choisi un titre tiré d'un livre d'Atrhur C. Clarke qui y décrit un système permettant de faire monter à bord d'un vaisseau spatial (de terriens en exil faisant escale en orbite d'une planète), de l'eau grâce à un câble, opération très sensible ayant pour nom  Ascension et dont  le titre figure sur l'adaptation musicale de ce roman sous le même titre "Songs Of Distant Eatrh" par MIKE OLDFIELD en 1994.  Le second morceau intitulé "Ascension" en fin de programme est effectivement une musique dont le terme se rapporte à la spiritualité, publié en 2021 par le King of the Keybords RICHARD ANTHONY BEAN, tiré de l'album éponyme. Un instrumental épique et chargé d'émotions comme Richard sait si bien le faire ! J'en profite pour vous recommander sa nouvelle production : un album de reprises de de l'un des mentors de Richard, le grand Vangelis, sous le titre Pulstar", dix reprises par le disciple anglais disponible !  Entre ces deux titres, une expérience religieuse. Rassurez--vous, je veux parler de ce titre particulier de KEVIN AYERS ! "Religious Experience",  titre de travail de "Singing A Song In The Morning", 1er single de Kevin Ayers en solo sorti quelques mois après son 1er album "Joy Of A Toy" (1969) dont l'extrait "Eleanor's Cake" était placé en face B ("Singing ..." n'étant pas sur l'album original). Le contexte : Avec ses collègues de Soft Machine qu'il vient de quitter, Kevin a donné un coup de main à l'enregistrement de "Madcap Laughs", 1er album solo de SYD BARRETT, leader et co-fondateur de Pink Floyd dont on connait l'état psychique dans il se trouvait alors et qui avait sérieusement besoin de renforts pour aller au terme de cet album…  Durant ces séances,  Syd va enregistrer une piste de guitare pour Kevin, destiné à son single, piste qui ne sera finalement pas conservée dans le mixage final paru début 1970. Hors en 2003, à l'occasion de la réédition de l'album "Joy Of A Toy", ce fameux single réintitulé "Religious Experience" y est ajouté en bonus avec la piste guitare de Syd ! Un beau témoignage et c'est cette version qui vous était proposée dans ce numéro !  Nous avons quitté provisoirement  les Sujets de sa Majesté pour aller faire un tour en Russie y retrouver le duo SUN Q. Bientôt dix ans que ce duo composé d' Ivan Shalimov et Elena Tiron y fait ses gammes et j'avais eu plaisir à diffuser des extrait de leur album "Myth" en 2023. Sun Q propose habituellement une pop-rock à tendance progressive mais sur ce nouvel opus, ils ont imaginé ce qu'aurait pu être "Mythe" s'il avait été écrit dans les années 80, dans la mouvance new wave, synthpop. "Mythwave" n'est pas un réenregistrement de "Myht" mais un aperçu de ce que sa création aurait pu être dans cet univers hybride entre nostalgie analogique et univers cinématique et futuriste. Le visuel de l'album (sorti aujourd'hui même ! )  représente une pochette de vinyle écorné et je lui souhaite une belle… ascension dans les charts !  Autre nouveauté fort intéressante : "Fields And Worms" par  LUCIE SHAME. Je n'ai découvert cette artiste que cette semaine et même si je m'éloigne des musiques progressives, ce single n'est pas hors de propos dans cette émission, un morceau plutôt "art rock - folk" s'il fallait vraiment lui coller une étiquette mais surtout d'un grande sensibilité. Sa créatrice et interprète a reçue une éducation musicale classique au piano mais très vite, elle s'est découvert une appétence pour la poésie, l'écriture et la composition. Et puis le grunge à l'adolescence. Forte de ce bagage hybride, elle enregistre un album sur un simple magnéto cassette à 17 ans dans sa chambre. Ajoutez une expérience de vie personnelle assez rude et vous avez alors quelques éléments pour comprendre sa musique, un croisement entre classique, P.J. Harvey et Kate Bush et ce titre que je vous proposais donc dans ce numéro, un texte évoquant à la première personne la plongée dans l'au-delà d'une suicidée, pas le titre le plus gai de l'émission je vous l'accorde, mais d'une magnifique sensibilité !  Ce qui est incroyable avec cette émission c'est qu'en la préparant je fais encore des découvertes d'artistes pourtant reconnus mais dont j'étais passé à côté… Alors sachant que cette émission est aussi (un peu) suivie au Québec, j'entend déjà des railleries (justifiées) outre atlantique ! !  JEAN-PIERRE FERLAND y a été célèbre, et même animateur de télé ! Mais évidemment c'est sa musique qui m'a interpellé (grâce aux bons conseils judicieux d'un ami musicien). A ma décharge, son œuvre n'est pas spécifiquement "rock progressif" mais quand même : l'album "Jaune", quelle originalité ! Si la structure musicale n'est pas forcément prog, la subtilité des arrangements, le son, tout en fait un album qui a légitimement sa place ici ! D'ailleurs, on y trouve un certain Tony Levin, bassiste futur membre de King Crimson, tiens donc… mais aussi (entre autres) le guitariste David Spinoza qui sera appelé à jouer entre autres belles collaborations (la liste est trop longue) , sur des albums de McCartney, Lennon et Star. Jean-Pierre nous a quittés en 2024 mais il laisse une belle discographie à (re)découvrir peu importe les genres et notamment "Jaune" cette pépite de 1970 donc l'extrait "God Is An America", titre forcément lié au thème de ce numéro mais surtout qui n' a jamais sonné aussi juste face aux égos démesurés d'un Donald ou autres dirigeants actuels, laissez moi rire...jaune !   Il y a quelques semaines, une nouvelle pépite est arrivée  : "Autumn" , le nouvel album du multi-instrumentiste normand (entre autres compétences de producteur, auteur de musique de films) EMMANUEL QUENNEVILLE. A l'inverse de son dernier album "Dôme" qui nous avaient envoyés dans l'espace, ce nouvel opus sonne plus près de nous pauvres pécheurs mais reste aussi pas certains côtés, un album encore aérien (Si vous êtes aficionados de la musique oldfieldienne, vous noterez les influences dans le jeu de guitare d'Emmanuel qui lui confère aussi cet aspect). Plus lyrique aussi, il invite tant à l'introspection qu'au voyage intérieur  (je vous recommande une belle séance d'écoute au casque , imparable ! ).  En bonus, la superbe pochette de l'album digne de la célèbre maison Hipgnosis (à qui l'on doit notamment la plupart des pochettes de Pink Floyd),mais c'est à sa fille Clem qui a réalisé ce beau visuel, image garantie sans intelligence artificielle ! Enfin, sans citer tous les collaborateurs de ce bel album, mais au moins quand même :  Lambert Wilson et Pedro Almodovar ! Le cinéma dans vos oreilles !  Désolé si j'ai plombé l'ambiance avec le single de Lucie Shame, mais je réitère avec histoire de femme découverte dans son appartement londonien trois ans après sa mort. Le talentueux STEVEN WILSON s'est inspirée de cette tragédie symptomatique de notre société d'isolement derrière l'apparence d'être connectés… Le 4ème album solo du fondateur de Porcupine Tree basé sur ce triste fait ...d'hiver social est juste entré parmi les indispensables de ma discographie. Extrait dans ce numéro de "Hand Cannot Erase" sorti en 2015. Je vous rappelle qu'en 2026, Steven Wilson se produira en concert uniquement pour deux dates uniques  : 28 et 29 octobre au prestigieux Royal Albert Hall avec chœur et orchestre, avis aux fans !   Le multi-instrumentiste et producteur anglais BRENDAN PERKINS vient de publier un nouvel album intitulé "Trading River Songs qu'il décrit comme "rock progressif pastoral et symphonique". Je l'en remercie car cela m'évite d'avoir à trop me creuser la tête pour le décrire, oui j'aime bien aussi profiter des jours fériés ! Cela dit, je vous confirme que la description est correcte, j'ajouterai qu'à l'instar d' "Autumn" d'Emmanuel Quenneville, cet album gagne à être écouté en immersion et sous casque. Le titre éponyme proposé ce soir évoque les épreuves d'une famille qui va retrouver son statut de "clan". Vous avez les infos : montez le son !  Pour revenir au thème de notre émission, pas possible de passer à côté de la Genèse, autrement dit GENESIS ! L'occasion de revenir sur cet album (double et pas expresso s'il vous plait ! ) de 1974 : "The Lamb Lies Down On Broadway". Un album remarquable et ultime participation de Peter Gabriel qui s'est vu offrir (l'album, pas Peter ! ) à l'occasion de ses 50 ans une cure de remasterisation augmentée d'un live d'époque et de quelques goodies dans un somptueux coffret. Bon encore des sous à dépenser mais c'est vrai que  50 ans ça se fête  ! Le problème c'est que cette époque bénie du rock progressif regorge de rééditions sous formes d'onéreux coffrets depuis quelques années. On devrait être plus tranquille et faire des économies à la fin de la décennie !  Avant de refermer cet épisode et reprendre l'Ascension avec Richard Anthony Bean, un petit tour en Australie avec un groupe au nom un peu à rallonge : THE SEA NOT HAVE  THEM (du nom d'un film de guerre anglais et devise de l'unité de secours de la Royal Air Force). Mais revenons à ce qui nous intéresse ici, la musique. TSNHT (c'est plus facile ! ) propose un post-rock ambient qui se caractérise par un juste équilibre entre un son puissant, énergique et des sonorités aériennes. Finalement on peut faire une analogie avec la Royal Air Force ! Cette formation m'était inconnue mais je suis tombé dessus (pas de mon Hawker je vous rassure ! ) en suivant l'actu de leurs compatriotes ORPHANED BEE, projet qui propose un mélange de synthwave et de rock psychédélique et que j'ai déjà eu l'occasion de vous présenter ici. Le single "No Breathing In Dreams" vient donc d'être publié par TSNHT mais en collaboration pertinente et réussie avec les Orphaned Bee. Le temps de gagner en altitude pour une Ascension finale, promis je reviens sur Terre jeudi prochain à 20h !  Thierry Joigny AMAROK, chaque jeudi à 20h           

Immer mehr Künstler*innen wehren sich gegen Künstliche Intelligenz. Popstar Taylor Swift hat sich ihre Stimme und ihr Aussehen als Marke eintragen lassen, damit sie nicht einfach von KI genutzt werden können. Stars wie Paul McCartney, Kate Bush oder Hans Zimmer protestierten schon mit einem stillen Song gegen einen Gesetzesvorschlag der britischen Regierung, damit ihre urheberrechtlich geschützten Songs nicht von KI-Firmen zum Training genutzt werden können. KI-Songs und KI-Artists in der Musik gibt es dennoch zuhauf – und das ist gerade auf den Streamingplattformen ein Problem.

This week's show features tuneage from Warren Zevon, Kate Bush, John Lennon, Moody Blues, Grateful Dead, Randy Newman, Loggins & Messina, Paul Simon, Pink Floyd, David Bowie, Quicksilver, Derek & The Dominos, Lou Reed, Jean Luc Ponty, Mamas & Papas, Little River Band, Jefferson Airplane, Kinks, Santana, Stevie Wonder, Bill Withers, Chicago, Janis Joplin and Blood, Sweat & Tears...

Welcome to Off The Beat and Track!In this special episode, host Stu Whiffen sits down with LA-based musician Lola Bates—an exciting emerging artist making waves with her distinctive sound and bold creative identity.Raised in the iconic Laurel Canyon music scene, Lola Bates draws influence from legendary artists such as Joni Mitchell, Kate Bush, Tori Amos, and PJ Harvey. A classically trained pianist and accomplished multi-instrumentalist, she blends pop, rock, and folk with intricate vocal harmonies and cinematic production.Despite being just 24, Bates has already built an impressive résumé. She toured alongside Jerry Cantrell—best known from Alice in Chains—and later joined his band for a global tour supporting his solo work. She has also performed with emerging act Sunday (1994), further expanding her presence on the international stage.Her musical career began early, contributing piano work to Guardians of the Galaxy Vol. 1 at just 12 years old, before recording with the London Symphony Orchestra at Abbey Road Studios for the sequel. Her vocals have since featured across film, television, and major releases—including John Wick: Chapter 4 and Primal.Blending elements of indie, alternative, and leftfield pop, Lola is carving out her own lane with music that feels both modern and deeply personal. Writing and creating from Los Angeles, she brings a fresh perspective shaped by her surroundings, influences, and fearless approach to artistry.

Talk Talk made just five albums, all written and recorded unconventionally and no-one's entirely sure how they did it. And in the last two decades of his life Mark Hollis released only 92 seconds of music. Lifelong admirer Graeme Thomson explores the band's endless mysteries in his memoir ‘In Another World: the Four Seasons of Talk Talk', and looks back here at the last hurrah of the days of studio extravagance, which includes … … why Traffic in 1967 was the Mark Hollis Holy Grail … “25 per cent of him never appeared above the surface” … the Talk Talk ‘human sampling' method – eg a few seconds of Danny Thompson, Steve Gadd or Larry Klein woven into the mix … “music made with the blindfold on” … the ‘80s press reaction to Mark's eulogies about Miles Davis, Stockhausen and Shostakovich … where you can hear Talk Talk in the music of Kate Bush … making records the way Kubrick made films … head music: how Spirit of Eden suits the rebirth of headphones … band lynchpin Tim Friese-Greene, producer of the Lion Sleeps Tonight! … what unlimited time and choice does to a studio bill … and the 92 seconds of music he made for the Kelsey Grammer TV series Boss. Order ‘In Another World: the Four Seasons of Talk Talk' here: https://www.simonandschuster.co.uk/books/In-Another-World/Graeme-Thomson/9781917923613Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Talk Talk made just five albums, all written and recorded unconventionally and no-one's entirely sure how they did it. And in the last two decades of his life Mark Hollis released only 92 seconds of music. Lifelong admirer Graeme Thomson explores the band's endless mysteries in his memoir ‘In Another World: the Four Seasons of Talk Talk', and looks back here at the last hurrah of the days of studio extravagance, which includes … … why Traffic in 1967 was the Mark Hollis Holy Grail … “25 per cent of him never appeared above the surface” … the Talk Talk ‘human sampling' method – eg a few seconds of Danny Thompson, Steve Gadd or Larry Klein woven into the mix … “music made with the blindfold on” … the ‘80s press reaction to Mark's eulogies about Miles Davis, Stockhausen and Shostakovich … where you can hear Talk Talk in the music of Kate Bush … making records the way Kubrick made films … head music: how Spirit of Eden suits the rebirth of headphones … band lynchpin Tim Friese-Greene, producer of the Lion Sleeps Tonight! … what unlimited time and choice does to a studio bill … and the 92 seconds of music he made for the Kelsey Grammer TV series Boss. Order ‘In Another World: the Four Seasons of Talk Talk' here: https://www.simonandschuster.co.uk/books/In-Another-World/Graeme-Thomson/9781917923613Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Talk Talk made just five albums, all written and recorded unconventionally and no-one's entirely sure how they did it. And in the last two decades of his life Mark Hollis released only 92 seconds of music. Lifelong admirer Graeme Thomson explores the band's endless mysteries in his memoir ‘In Another World: the Four Seasons of Talk Talk', and looks back here at the last hurrah of the days of studio extravagance, which includes … … why Traffic in 1967 was the Mark Hollis Holy Grail … “25 per cent of him never appeared above the surface” … the Talk Talk ‘human sampling' method – eg a few seconds of Danny Thompson, Steve Gadd or Larry Klein woven into the mix … “music made with the blindfold on” … the ‘80s press reaction to Mark's eulogies about Miles Davis, Stockhausen and Shostakovich … where you can hear Talk Talk in the music of Kate Bush … making records the way Kubrick made films … head music: how Spirit of Eden suits the rebirth of headphones … band lynchpin Tim Friese-Greene, producer of the Lion Sleeps Tonight! … what unlimited time and choice does to a studio bill … and the 92 seconds of music he made for the Kelsey Grammer TV series Boss. Order ‘In Another World: the Four Seasons of Talk Talk' here: https://www.simonandschuster.co.uk/books/In-Another-World/Graeme-Thomson/9781917923613Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Podcaster and presenter, James Kavanagh, tells Brendan about his life through the prism of five songs from Enya to Kate Bush to The Spice Girls. He talks about receiving homophobic bullying as a teen, coming out as gay, finding his tribe, having panic attacks as an adult and moving to rural Kilkenny.

Ce 29 avril, l'émission démarre en force avec "Baba O'Riley" de The Who. La sélection fait la part belle à The Pretenders, Radiohead, Kiss, Gossip, Faith No More, The Beatles, Grandaddy et The Clash. S'y ajoutent Soul Asylum, America, Herman's Hermits, Cake, Placebo et The Cure. Marjorie Hache célèbre par ailleurs l'anniversaire de Tom Smith en diffusant le nouveau morceau de son groupe Editors, "Call It In". Les Français de Howlin' Jaws s'illustrent avec "Troubled Mind". Temples dévoile "Jet Stream Heart", tandis que Rob Zombie fait résonner "I'm A Rock N Roller". On retrouve aussi la collaboration entre Anna Calvi et Iggy Pop sur "God's Lonely Man", Yung Lean et Lana Del Rey. La primeur de la soirée marque le retour de Tricky, qui s'associe à la chanteuse Marta Zlakowska sur "Out Of Place", premier extrait de son quinzième disque. L'album de la semaine continue d'explorer le nouveau disque des Foo Fighters, "Your Favourite Toy", illustré aujourd'hui par le titre "Unconditional". Enfin, la reprise du jour est l'œuvre du groupe électro pop Chromatics, qui s'approprie avec sa touche singulière l'immense tube "Running Up That Hill" de Kate Bush. The Who - Baba O'Riley Howlin' Jaws - Troubled Mind Editors - Call It In Gossip - Standing In The Way Of Control Faith No More - Epic The Beatles - With A Little Help From My Friends Miles Kane - Rearrange Titre - Pour Rotation The Pretenders - Brass In Pocket Grandaddy - Am 180 The Clash - Rock The Casbah Temples - Jet Stream Heart Chromatics - Running Up That Hill Soul Asylum - Runaway Train Rob Zombie - (I'm A) Rock "N" Roller America - Ventura Highway Radiohead - Jigsaw Falling Into Place Anna Calvi - God's Lonely Man (Feat. Iggy Pop) Herman's Hermits - No Milk Today Cake - Short Skirt - Long Jacket Tricky - Move On (Feat. Marta) Kiss - Rock And Roll Hell (2022 Remaster) Placebo - Pure Morning Yung Lean - Horses The Cure - Boys Don't Cry Lana Del Rey - First Light Manfred Mann's Earth Band - Blinded By The LightHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Music fan Brian Koppen chats with music critic Max Freedman as they discuss Hall of Fame artists: Hank Ballard's “Hoochie Coochie Coo” vs. Janet Jackson's “If”Madonna's “Like a Prayer” vs. Madonna's “Live to Tell”Parliament's “Flash Light” vs. Prince's “When Doves Cry”Kate Bush's “Running Up That Hill” vs. Jackson Browne's “Somebody's Baby”Radiohead's “Let Down” vs. Nine Inch Nails' “Head Like a Hole” They also discuss Grimes, hyperpop, Ciccone Youth's “Into the Groovey,” Fusilier's “Ambush,” Marilyn Manson, and Courtney Barnett vs. Snail Mail. Check out Max Freedman at https://lavendersound.substack.com/ and https://www.instagram.com/thelavendersound/! Intro music is from Jussy's Down Open Roads.  Check out Jussy at https://soundcloud.com/user-214048265/sets/jussy-demos-1!Support the show

Music fan Brian Koppen chats with music critic Aug Stone as they discuss Hall of Fame artists: Mamas & the Papas' “Creeque Alley” vs. The Ramones' “Come On Now”Def Leppard's “Photograph” vs. Michael Jackson's “Scream”Ruth Brown's “This Little Girl's Gone Rockin” vs. Sly & The Family Stone's “Everyday People”Dusty Springfield's “Stay Awhile” vs. Elton John's “Bennie and the Jets”George Michael's “Freedom 90” vs. Solomon Burke's “Cry To Me”Van Halen's “Unchained” vs. Talking Heads' “This Must be the Place (Naïve Melody)”Little Richard's “Hurry Sundown” vs. Kate Bush's “Hounds Of Love” Check out Aug Stone at instagram.com/augxstone/, augstone.com, https://twitter.com/augstone, augstone.substack.com, https://linktr.ee/augstone, and augstone.bsky.social! Also check out https://hbird.bandcamp.com/album/operation-fascination! Intro music is from Jussy's Down Open Roads.  Check out Jussy at https://soundcloud.com/user-214048265/sets/jussy-demos-1!Support the show

This week we debate the virtues of Rocky III vs Rocky IV, review Wrestlemania 42 and spin Peter Gabriel's duet with Kate Bush, "Don't Give Up"!Visit Our WebsiteFor episode archives, show info, and everything ATPWR:https://www.podcastwillrock.com

Duncan Mackay spent the 1970s at the keyboard of British popular and progressive music, often invisibly, yet seldom far from its most defining moments. MacKay first built a reputation in South Africa which brought him back to England where he joined Steve Harley and Cockney Rebel, just as ‘Make Me Smile (Come Up and See Me)’ reached number one, and it was at Abbey Road during those sessions that he first encountered producer Alan Parsons. That relationship drew him into the Alan Parsons Project and, through the same circle, into the studio with Kate Bush, on whose first three albums he played. He later joined 10cc after an impromptu jam with Rick Fenn led to an invitation to Strawberry Studios South, arriving in time for ‘Dreadlock Holiday’ and another number one. He also recorded with Camel and served as musical director for Elkie Brooks while maintaining a solo career. Now based in South Africa and working in his home studio he is free to undertake the most enjoyable recording project of his career, his new album with Mauritz Lotz, A Beautiful Madness. Further information Duncan Mackay & Mauritz Lotz – A Beautiful Madness Duncan Mackay podcast tracks Support The Strange Brew Podcasts also available: Alan Parsons, Steve Harley, Jim Cregan – Cockney Rebel, David Paton – Part 1, Eric Stewart – 10cc – Part 2, Graham Gouldman This podcast is also available on Apple Podcasts, Spotify, YouTube, Google apps and all usual platforms If you like what I do please support me on Ko-fi The post Duncan Mackay – Cockney Rebel, Alan Parsons Project, Kate Bush, 10cc appeared first on The Strange Brew .

Hello! Welcome to pcmc! Your one-stop shop for non-toxic fandom! On today's all-new full episode, your host, Mike Bongiorno, is joined by dear friend of the show, Janine Gagliardi. Mike and Janine review movie trailers for Spider-Man: Brand New Day (2026), The Drama (2026), Dune: Part Three (2026), and The End of Oak Street (2026). In the "chill session," Mike and Janine talk about what current pop culture they are ingesting. Then the show ends with a reveal of their current media obsessions. Other topics in today's show: getting old, the downfall of Alamo Drafthouse, Bath and Bodyworks Air-Fresheners, Twisted Spine (Book store in Brooklyn NYC), Wuthering Heights, Kate Bush, Lovecraft Country, Project Hail Mary, Hoppers, Afroman, Strange Pictures, and much, much more! If you like what you hear, please subscribe to Pop Culture Man Children anywhere you get your pods. find us everywhere @PCMCpod

It's a show worth drinking to on Go Fact Yourself! Eric Winter plays Sergeant Tim Bradford on the ABC series “The Rookie.” The show has earned a very dedicated audience, especially with kids. How does he know for sure? He's seen them dress up as his character for Halloween. Dree Hemingway is an actor who portrays Daryl Hannah in the FX show “Love Story.” She'll tell us about how she reached out to the real life Daryl Hannah after she got the part. Plus we'll learn more about her other job… as a fashion model.  Areas of Expertise: Eric: The movie The Breakfast Club, tennis, and rum. Dree: The movie The Fifth Element, the movie Romeo + Juliet, and musician Kate Bush. What's the Difference: Maine Squeeze What's the difference between a harbor and a marina? What's the difference between squeeze and squish? With Guest Experts: Ben Schaffer: Publisher of online magazine “The Rum Reader” and author of several books about cocktails.   Robert Mark Kamen: Screenwriter (and winemaker!) whose many works include the screenplay for The Fifth Element. Hosts:  J. Keith van Straaten Helen Hong Credits: Theme Song by Jonathan Green. Maximum Fun's Senior Producer is Laura Swisher. Co-Producer and Editor is Julian Burrell. Additional editing by Valerie Moffat. Seeing our next live-audience shows by YOU!  

Whitney, Collin, and Doug revisit the music that made Stranger Things great, with their list of the series' best needle drops. From The Clash to Kate Bush to David Bowie, there was plenty of nostalgic tuneage to love (and hate), so we have plenty to discuss as we run through our favorites (and not-so-favorites) over the 42 episodes. Fire up the turntable and join us! Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Once upon a time, there was an indie wrestling company in Texas called WrestleCircus. It had a circus theme with appropriately named events and championships. It also booked a whole lot of prominent indie names who would later become regulars in AEW and WWE. But like many indie companies, it went the way of the dodo. Returning guest Erin Quinn went to several WrestleCircus shows back in the day, making her the ideal guest for this episode. Andrew and Erin go under the big top and play songs that have animals in the title. Artists played include Jethro Tull, Namoli Brennet, Lou Reed, The HU, Was (Not Was), Matthew Sweet, Kate Bush, Geggy Tah, and more. No animals were harmed in the making of this episode (just the host's patience when listening to that Lou Reed song).Theme song: "Hemispheres" by Silent PartnerTwitter: @MsErinQuinnBluesky: @MusicoftheMat / @justandrew / @erinquinnAll VOW podcasts, articles, previews, and reviews: VoicesofWrestling.comJoin the VOW Discord to discuss Music of the Mat and other shows/topics: VoicesofWrestling.com/DiscordDonate to Music of the Mat and other VOW podcasts: VoicesofWrestling.com/DonateAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

After a brief hiatus, it's such an honor to return to Breakfast of Champions / It's a New Day with my Space Cowboys family. This one is special because it marks the very first set that features 100% original kev/null productions—some released and many unreleased, including a last minute bootleg of Kate Bush's “Running Up That Hill,” in honor of the Stranger Things series finale that aired a week prior. This set is a journey through many genres and bpms but I think you'll find that, no matter what, it still has that kev/null sound. DJs out there, feel free to reach out if you want any of the tracks for use! Tracklist: 1. Pop It (Original Mix) - kev/null 2. Lift Off (Original Mix) - kev/null 3. Don't Flex on Snapchat (Original Mix) - kev/null 4. Losers Go Home (Original Mix) - kev/null 5. Catch A Raver (Original Mix) [QRK011_02] - kev/null, Adrian More 6. WTF Do DJs Actually Do - kev/null 7. Look at Me (Original Mix) - kev/null 8. No Scrubs (kev/null, Mick Jeets Rescrub) - TLC 9. Y'all Know Me (Original Mix) - kev/null 10. Real Smooth Booty (Original Mix) - kev/null 11. Oh YEAH (Original Mix) - kev/null 12. Running Up That Hill (kev/null/remix) - Kate Bush 13. Break It Down (Origiinal Mix) - kev/null 14. I'm Different (kev/null/edit) - 2 Chanz 15. Bawsy (Original Mix) [QRK011_03] - kev/null 16. What Are You Doing (Original Mix) - kev/null 17. White Lize (Tempo Do It) - kev/null 18. Captain's Balls (Original Mix) - kev/null 19. No Love for the Bass (Original Mix) - kev/null

This topic is about manipulation and manipulators. This is a super broad topic because manipulation is everywhere: not just unscrupulous people but in normal communication, advertising, story writing, art etc. for good, evil, and purely neutral objectives. But for the purposes of this cast we got Tantz to use her expertise to limit it down to mainly focus on people. So what IS manipulation? It's getting others to do things or change their thinking, often against their interests. They think it's their own decision based on their own wants and reasoning but in reality they're behaving in the way that the manipulator wants them to, using triggers, deception, and other clever methods. As children most of us learn how to easily manipulate others through behaviours and actions: things like tantrums, fake tears, being cute etc. Basically big obvious stuff that easily gets a reaction. Thankfully most of us also grow OUT of such crude behaviour, though some silly adults never do, or if they do they go back to it. The behaviour of master manipulators is driven by a perception of weakness: they see manipulation as their main available option to exert power because they don't feel they're able to in any other way. They can make great villains. A memorable manipulator villain is the mother in The Sopranos. A great example of the power of nasty manipulators is shown in the 1988 film The Chocolate War (also a great use of Kate Bush's "Running up that Hill"), where one boy's act of rebellion at the school causes him to be the target of a bullying campaign by a master manipulator. Sometimes manipulation is unintentional: certain things trip triggers we have and we change our behavior despite our better interests. The whole "sex sells" is based on that. People knowingly take advantage of that but it's ripe for comedy when they don't realise they're doing it. The character Francis in the comic Bottomless Waitress by Banes and I is one such example. The film Something about Mary is an entire story based on this premise because characters romantically fall for Mary, and do whatever they can for her and then they even deliberately manipulate others in their competition for her affections! Do you have a character that uses manipulation to get their way or can you think of an example of a noted manipulative character in fiction? This week we have another best off from Gunwallace and this time it's - Firefly cross - A very mystical sound, with traditional, middle eastern style music mixed with dark techno fuzz, this one is intriguing! Originally from Quackcast 285, 10th Oct, 2016. Topics and shownotes Links Thread about manipulation - https://www.theduckwebcomics.com/forum/topic/180225/ Featured comic: The Fox and Feather Saga Vol One - https://www.theduckwebcomics.com/news/2026/mar/16/featured-comic-the-fox-and-feather-saga-vol-one/ Featured music: Firefly cross - http://www.theduckwebcomics.com/Firefly_Cross/ by Dragonsong12, rated E Special thanks to: Gunwallace - https://www.theduckwebcomics.com/user/Gunwallace/ Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/ Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean Banes - https://www.theduckwebcomics.com/user/Banes/ VIDEO exclusive! Become a subscriber on the $5 level and up to see our weekly Patreon video and get our advertising perks! - https://www.patreon.com/DrunkDuck Even at $1 you get your name with a link on the front page and a mention in the weekend newsposts! Join us on Discord - https://discordapp.com/invite/7NpJ8GS

As the vernal equinox approaches in our hemisphere, we are saying goodbye to winter with two snow-themed songs! First, by listener request, we hear "50 Words for Snow" by Kate Bush -- a real arthouse-film of a song, complete with a beloved celebrity there to impart gravitas. We pair it with "Snobows" by Stan Beard and the Swinging Strings, which we are disappointed to report is NOT about the elbows of snowpeople. The ranking music in this episode is "December Will Be Magic Again" by Kate Bush. Thank you to merikus for the request!

This week on The Metro, Rev. Jeff Ivins brings you the following artists for your ear worm’s enjoyment: Joy Division, The Psychedelic Furs, The Stranglers, The Human League, Undertones, Great Buildings, Falco, Altered Images, David Byrne with Ghost Train Orchestra, John Cafferty & The Beaver Brown Band, Madness, Kate Bush, Gang Of Four, Elvis Costello, […]

Friendoes: Hello. I have a special one for you golden G-towners today. Forged and led by the vision of singer-songwriter and multi-instrumentalist Lee Rose, Ace of Wands has become one of Toronto's most creative and captivating bands since forming in 2017. Evoking the art-rock of PJ Harvey, the orchestral-pop of Kate Bush, and the alt-rock fuzz of Nirvana — Ace of Wands is known for their explosive and charismatic live performances, astonishing musicianship, and gothic-rock aesthetics. Lead vocalist Lee Rose alternates between violin and guitar, while simultaneously playing synth-bass foot pedals, joined by Anna Mernieks on guitar and Jody Brumell on drums. Together, they create a fantastical and immersive world of yearning, dread, euphoria, and insight — defining the essence of Dream Rock. Chatting with Lee was truly a flow state stopover, as both of us seem to have aligning views on the music world and the world at large, and we just had a poignant and pinging back and forth. Ace of Wands is sharing two stages with me (Graven) and my friend Melissa Payne very soon - March 20 at Hotel Wolfe Island in Wolfe Island and March 21 for my album release at House of Targ in Ottawa. Please come see all of us together!! Independent music makers rely on people buying advance tickets and coming out to their shows. Get your tickets to either or BOTH shows by clicking here:My new album "Geographics" is out now on all platforms. You can preorder the digital, cd and vinyl versions of the album on my bandcamp page, (which helps me greatly) but I understand that cash is tight all over the map, so you can also order a five dollar Geographics sticker. 5 beans! This album is really special to me (as my friends Melissa Payne and Charles Austin played all over it) and I hope you'll come along for the supersonic ride. Follow me @gravencanada on all the socials, and check my website to see when I'm playing live in a town near you. Join Graventown today to support yours truly for only 8 clams a month.

This podcast explores the life and legacy of Tupac Shakur as presented in Jeff Pearlman's biography, "Only God Can Judge Me: The Many Lives of Tupac Shakur."The episode centers on biographer Jeff Pearlman, a white sportswriter who spent three years conducting over 650 interviews to piece together a "definitive historic record" of Tupac. Pearlman acknowledges his status as an outsider to Hip-Hop culture, describing his approach as a "blank slate" intended to listen rather than project an agenda. A pivotal moment in his reporting occurred during an interview with Tupac's sister, Sekyiwa, who "checked" his privilege by correcting his use of the word "moved" to "relocated" when describing the family's transition from Baltimore to California—a distinction that highlighted the systemic forces at play in their lives.A major portion of the discussion focuses on the "profoundly sad" reality of Tupac's childhood. While his mother, Afeni Shakur, was a revolutionary icon of the Panther 21, the book reveals the devastating impact of her crack addiction on a young Tupac. The "Thug Life" persona was, in part, a carefully constructed mask. Before his rap fame, Tupac was a sensitive ballet and theater student who loved Kate Bush and Don McLean. The narrative suggests that as "gangsta rap" became the dominant commercial force, Tupac adapted his image to fit the industry, leading to a "saga of the mask gradually eating the face" as he became increasingly reckless to maintain his street credibility.

How do you capture something as enormous and personal as the feeling of “home” in a book? How can you navigate the chaotic discovery period in writing something new? With Roz Morris. In the intro, KU vs Wide [Written Word Media]; Podcasts Overtake Radio, book marketing implications [The New Publishing Standard]; Tips for podcast guests; The Vatican embraces AI for translation, but not for sermons [National Catholic Reporter]; NotebookLM; Self-Publishing in German; Bones of the Deep. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How being an indie author has evolved over 15 years, from ebooks-only to special editions, multi-voice audiobooks and tools to help with everything Why “home” is such a powerful emotional theme and how to turn personal experiences into universal memoir Practical craft tips on show-don't-tell, writing about real people, and finding the right book title The chaotic discovery writing phase — why some books take seven years and why that's okay Building a newsletter sustainably by finding your authentic voice (and the power of a good pet story) Low-key book marketing strategies for memoir, including Roz's community-driven “home” collage campaign You can find Roz at RozMorris.org. Transcript of the interview with Roz Morris JOANNA: Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. Welcome back to the show, Roz. ROZ: Hi, Jo. It's so lovely to be back. I love that we managed to catch up every now and again on what we're doing. We've been doing this for so long. JOANNA: In fact, if people don't know, the first time you came on this show was 2011, which is 15 years. ROZ: I know! JOANNA: It is so crazy. I guess we should say, we do know each other in person, in real life, but realistically we mainly catch up when you come on the podcast. ROZ: Yes, we do, and by following what we're doing around the web. So I read your newsletters, you read mine. JOANNA: Exactly. So good to return. You write all kinds of different things, but let's first take a look back. The first time you were on was 2011, 15 years ago. You've spanned traditional and indie, you've seen a lot. You know a lot of people in publishing as well. What are the key things you think have shifted over the years, and why do you still choose indie for your work? ROZ: Well, lots of things have shifted. Some things are more difficult now, some things are a lot easier. We were lucky to be in right at the start and we learned the ropes and managed to make a lot of contacts with people. Now it's much more difficult to get your work out there and noticed by readers. You have to be more knowledgeable about things like marketing and promotions. But that said, there are now much better tools for doing all this. Some really smart people have put their brains to work about how authors can get their work to the right readers, and there's also a lot more understanding of how that can be done in the modern world. Everything is now much more niche-driven, isn't it? People know exactly what kind of thriller they like or what kind of memoir they like. In the old days it was probably just, “Well, you like thrillers,” and that could be absolutely loads of things. Now we can find far better who might like our work. The tools we have are astonishing. To start with, in about 2011, we could only really produce ebooks and paperbacks. That was it. Anything else, you'd have to get a print run that would be quite expensive. Now we can get amazing, beautiful special editions made. We can do audiobooks, multi-voice audiobooks. We can do ebooks with all sorts of enhancements. We can even make apps if we want to. There's absolutely loads that creators can do now that they couldn't before, so it's still a very exciting world. JOANNA: When we first met, there was still a lot of negativity here in the UK around indie authors or self-publishing. That does feel like it's shifted. Do you think that stigma around self-publishing has changed? ROZ: I think it has really changed, yes. To start with, we were regarded as a bit of the Wild West. We were just tramping in and making our mark in places that we hadn't been invited into. Now it's changed entirely. I think we've managed to convince people that we have the same quality standards. Readers don't mind—I don't think the readers ever minded, actually, so long as the book looked right, felt right, read right. It's much easier now. It's much more of a level playing field. We can prove ourselves. In fact, we don't necessarily have to prove ourselves anymore. We just go and find readers. JOANNA: Yes, I feel like that. I have nothing to prove. I just get on with my work and writing our books and putting them out there. We've got our own audiences now. I guess I always think of it as perhaps not a shadow industry, but almost a parallel industry. You have spanned a lot of traditional publishing and you still do editing work. You know a lot of trad pub authors too. Do you still actively choose indie for a particular reason? ROZ: I do. I really like building my own body of work, and I'm now experienced enough to know what I do well, what I need advice with, and help with. I mean, we don't do all this completely by ourselves, do we? We bring in experts who will give us the right feedback if we're doing a new genre or a genre that's new to us. I choose indie because I like the control. Because I began in traditional publishing—I was making books for other people—I just learned all the trades and how to do everything to a professional standard. I love being able to apply that to my own work. I also love the way I can decide what I'm going to write next. If I was traditionally published, I would have to do something that fitted with whatever the publisher would want of me, and that isn't necessarily where my muse is taking me or what I've become interested in. I think creative humans evolve throughout their lives. They become interested in different things, different themes, different ways of expressing themselves. I began by thinking I would just write novels, and now I've found myself writing memoirs as well. That shift would have been difficult if someone else was having to make me fit into their marketing plans or what their imprint was known for. But because I've built my own audience, I can just bring them with me and say, “You might like this. It's still me. I'm just doing something different.” JOANNA: I like that phrase: “creative humans.” That's what we are. As you say, I never thought I would write a memoir, and then I wrote Pilgrimage, and I think there's probably another one on its way. We do these different things over time. Let's get into this new book, Turn Right at the Rainbow. It's about the idea of home. I've talked a lot about home on my Books And Travel Podcast, but not so much here. Why is home such an emotional topic, for both positive and negative reasons? Why did you want to explore it? ROZ: I think home is so emotional because it grows around you and it grows on you very slowly without you really realising it. As you are not looking, you suddenly realise, “Oh, it means such a lot.” I love to play this mind game with myself—if you compare what your street looks like to you now and how it looked the first time you set eyes on it, it's a world of difference. There are so many emotional layers that build up just because of the amount of time we spend in a place. It's like a relationship, a very slow-growing friendship. And as you say, sometimes it can be negative as well. I became really fascinated with this because we decided to move house and we'd lived in the same house for about 30 years, which is a lot of time. It had seen a lot of us—a lot of our lives, a lot of big decisions, a lot of good times, a lot of difficult times. I felt that was all somehow encapsulated in the place. I know that readers of certain horror or even spiritual fiction will have this feeling that a place contains emotions and pasts and all sorts of vibes that just stay in there. When we were going around looking at a house to buy, I was thinking, “How do we even know how we will feel about it?” We're moving out of somewhere that has immense amounts of feelings and associations, and we're trying to judge whether somewhere else will feel right. It just seemed like we were making a decision of cosmic proportions. It comes down so much to chance as well. You're not only just deciding, “Okay, I'd like to buy that one,” and pressing a button like on eBay and you've won it. It doesn't happen like that. There are lots of middle steps. The other person's got to agree to sell to you, not do the dirty on you and sell to someone else. You've got all sorts of machinations going on that you have no idea about. And you only have what's on offer—you only get an opportunity to buy a place because someone else has decided to let it go. All this seemed like immense amounts of chance, of dice rolling. I thought, yet we end up in these places and they mean so much to us. It just blew my mind. I thought, “I've got to write about this.” JOANNA: It's really interesting, isn't it? I really only started using the word “home” after the pandemic and living here in Bath. We had luckily just bought a house before then, and I'd never really considered anywhere to be a home. I've talked about this idea of third culture kids—people who grow up between cultures and don't feel like there's a home anywhere. I was really interested in your book because there's so much about the functional things that have to happen when you move house or look for a house, and often people aren't thinking about it as deeply as you are. So did you start working on the memoir as you went to see places, or was it something you thought about when you were leaving? Was it a “moving towards” kind of memoir or a “sad nostalgia” memoir? ROZ: Well, it could have been very sad and nostalgic because I do like to write really emotional things, and they're not necessarily for sharing with everybody, but I was very interested in the emotions of it. I started keeping diaries. Some of them were just diaries I'd write down, some of them were emails I'd send to friends who were saying, “How's it going?” And then I'd find I was just writing pieces rather than emails, and it built up really. JOANNA: It's interesting, you said you write emotional things. We mentioned nostalgia, and obviously there are memories in the home, but it's very easy to say a word like “nostalgia” and everyone thinks that means different things. One of the important things about writing is to be very specific rather than general. Can you give us some tips about how we can turn big emotions into specific written things that bring it alive for our readers? ROZ: It's really interesting that you mention nostalgia, because what we have to be careful of is not writing just for ourselves. It starts with us—our feelings about something, our responses, our curiosities—but we then have to let other people in. There's nothing more boring than reading something that's just a memoir manuscript that doesn't reach out to anyone in any way. It's like looking through their holiday snaps. What you have to do is somehow find something bigger in there that will allow everyone to connect and think, “Oh, this is about me too,” or “I've thought this too.” As I said, we start with things that feel powerful and important for us, and I think we don't necessarily need to go looking for them. They emerge the more deeply we think about what we're writing. We find they're building. Certainly for me, it's what pulls me back to an idea, thinking, “There's something in this idea that's really talking to me now. What is it?” Often I'll need to go for walks and things to let the logical mind turn off and ideas start coming in. But I'll find that something is building and it seems to become more and more something that will speak to others rather than just to me. That's one way of doing it—by listening to your intuition and delving more and more until you find something that seems worth saying to other people. But you could do it another way. If you decided you wanted to write a book about home, and you'd already got your big theme, you could then think, “Well, how will I make this into something manageable?” So you start with something big and build it into smaller-scale things that can be related to. You might look at ideas of homes—situations of people who have lost their home, like the kind of displacement we see at the moment. Or we might look at another aspect, such as people who sell homes and what they must feel like being these go-betweens between worlds, between people who are doing these immense changes in their lives. Or we might think of an ecological angle—the planet Earth and what we're doing to it, or our place in the cosmos. We might start with a thing we want to write about and then find, “How are we going to treat it?” That usually comes down to what appeals to us. It might be the ecological side. It might be the story of a few estate agents who are trying to sell homes for people. Or it might be like mine—just a personal story of trying to move house. From that, we can create something that will have a wider resonance as well as starting with something that's personally interesting to you. The big emotions will come out of that wider resonance. JOANNA: Trying to go deeper on that— It's the “show, don't tell” idea, isn't it? If you'd said, “I felt very sad about leaving my house” or “I felt very sad about the prospect of leaving my house,” that is not a whole book. ROZ: Yes. It's why you felt sad, how you felt sad, what it made you think of. That's a very good point about “show, don't tell,” which is a fundamental writing technique. It basically tells people exactly how you feel about a particular thing, which is not the same as the way anyone else would feel about it—but still, curiously, it can be universal and something that we can all tap into. Funnily enough, by being very specific, by saying, “I realised when we'd signed the contract to sell the house that it wasn't ours anymore, and it had been, and I felt like I was betraying it,” that starts to get really personal. People might think, “Yes, I felt like that too,” or “I hadn't thought you'd feel like that, but I can understand it.” Those specifics are what really let people into the journey that you're taking them on. JOANNA: And isn't this one of the challenges, that we're not even going to use a word like “sad,” basically. ROZ: Yes. It's like, who was it who said, “Don't tell me if they got wet—tell me how it felt to get wet in that particular situation.” Then the reader will think, “Oh yes, they got wet,” but they'll also have had an experience that took them somewhere interesting. JOANNA: Yes. Show me the raindrops on the umbrella and the splashing through the puddles. I think this is so important with big emotions. Also, when we say nostalgia—we've talked before about Stranger Things and Kate Bush and the way Stranger Things used songs and nostalgia. Oh, I was watching Derry Girls—have you seen Derry Girls? ROZ: No, I haven't yet. JOANNA: Oh, it's brilliant. It's so good. It's pretty old now, but it's a nineties soundtrack and I'm watching going, “Oh, they got this so right.” They just got it right with the songs. You feel nostalgic because you feel an emotion that is linked to that music. It makes you feel a certain way, but everyone feels these things in different ways. I think that is a challenge of fiction, and also memoir. Certainly with memoir and fiction, this is so important. ROZ: Yes, and I was just thinking with self-help books, it's even important there because self-help books have to show they understand how the reader is feeling. JOANNA: Yes, and sometimes you use anecdotes to do that. Another challenge with memoir—in this book, you're going round having a look at places, and they're real places and there are real people. This can be difficult. What are things that people need to be wary of if using real people in real places? Do you need permissions for things? ROZ: That book was particularly tricky because, as you said, I was going around real places and talking about real people. With most of them, they're not identifiable. Even though I was specific about particular aspects of particular houses, it would be very hard for anyone to know where those houses were. I think possibly the only way you would recognise it is if that happened to be your own house. The people, similarly—there's a lot about estate agents and other professionals. They were all real incidents and real things that happened, but no one is identifiable. A very important thing about writing a book like this is you're always going to have antagonists, because you have to have people who you're finding difficult, people who are making life a bit difficult for you. You have to present them in a way that understands what it's like to be them as well. If you're writing a book where your purpose is to expose wrongdoing or injustices, then you might be more forthright about just saying, “This is wrong, the way this person behaved was wrong.” You might identify villains if that's appropriate, although you'd have to be very careful legally. This kind of book is more nuanced. The antagonists were simply people who were trying to do the right thing for them. You have to understand what it's like to be them. Quite a lot of the time, I found that the real story was how ill-equipped I sometimes felt to deal with people who were maybe covering something up, or maybe not, but just not expressing themselves very clearly. Estate agents who had an agenda, and I was thinking, “Who are they acting for? Are they acting for me, or are they acting for someone else that we don't even know about?” There's a fair bit of conflict in the book, but it comes from people being people and doing what they have to do. I just wanted to find a good house in an area that was nice, a house I could trust and rely on, for a price that was right. The people who were selling to me just wanted to sell the house no matter what because that was what they needed to do. You always have to understand what the other person's point of view is. Often in this kind of memoir, even though you might be getting very frustrated, it's best to also see a bit of a ridiculous side to yourself—when you're getting grumpy, for instance. It's all just humans being humans in a situation where ultimately you're going to end up doing a life-changing and important thing. I found there's quite a lot of humour in that. We were shuffling things around and, as I said, we were eventually going to be making a cosmic change that would affect the place we called home. I found that quite amusing in a lot of ways. I think you've got to be very levelheaded about this, particularly about writing about other people. Sometimes you do have to ask for permission. I didn't have to do that very much in this book. There were people I wrote about who are actually friends, who would recognise themselves and their stories. I checked that they didn't mind me quoting particular things, and they were all fine with that. In my previous memoir, Not Quite Lost, I actually wrote about a group of people who were completely identifiable. They would definitely have known who they were, and other people would have known who they were. There was no hiding them. They were the people near Brighton who were cryonicists—preserving dead bodies, freezing them, in the hope that they could be revived at a much later date when science had solved the problem that killed them. I went to visit this group of cryonicists, and I'd written a diary about it at the time. Then I followed up when I was writing the book to find out what happened to them. I thought, I've simply got to contact them and tell them I'm going to write this. “I'll send it to you, you give me your comments,” and I did. They gave me some good comments and said, “Oh, please don't put that,” or “Let me clarify this.” Everything was fine. So there I did actually seek them out and check that what I was going to write was okay. JOANNA: Yes, in that situation, there can't be many cryonicists in that area. ROZ: They really were identifiable. JOANNA: There's probably only one group! But this is really interesting, because obviously memoir is a personal thing. You're curating who you are as well in the book, and your husband. I think it's interesting, because I had the problem of “Am I giving away too much about myself?” Do you feel like with everything you've written, you've already given away everything about yourself by now? Are you just completely relaxed about being personal, for yourself and for your husband? ROZ: I think I have become more relaxed about it. My first memoir wasn't nearly as personal as yours was. You were going to some quite difficult places. With Turn Right at the Rainbow, I was approaching some darker places, actually, and I had to consider how much to reveal and how much not to. But I found once I started writing, the honesty just took over. I thought, “This is fine. I have read plenty of books that have done this, and I've loved them. I've loved getting to know someone on that deeper level.” It was just something I took my example from—other writers I'd enjoyed. JOANNA: Yes. I think that's definitely the way memoir has to happen, because it can be very hard to know how to structure it. Let's come to the title. Turn Right at the Rainbow. Really great title, and obviously a subtitle which is important as well for theme. Talk about where the title came from and also the challenges of titling books of any genre. You've had some other great titles for your novels—at least titles I've thought, “Oh yes, that's perfect.” Titling can be really hard. ROZ: Oh, thank you for that. Yes, it is hard. Ever Rest, which was the title of my last novel, just came to me early on. I was very lucky with that. It fitted the themes and it fitted what was going on, but it was just a bolt from the blue. I found that also with Turn Right at the Rainbow, it was an accident. It slipped out. I was going to call it something else, and then this incident happened. “Turn Right at the Rainbow” is actually one of the stories in the book. I call it the title track, as if it's an album. We were going somewhere in the car and the sat nav said, “Turn right at the rainbow.” And Dave and I just fell about, “What did it just say?!” It also seemed to really sum up the journey we were on. We were looking for rainbows and pots of gold and completely at the mercy of chance. It just stayed with me. It seemed the right thing. I wrote the piece first and then I kept thinking, “Well, this sounds like a good title.” Dave said it sounded like a good title. And then a friend of mine who does a lot of beta reading for me said, “Oh, that is the title, isn't it?” When several people tell you that's the title, you've got to take notice. But how we find these things is more difficult, as you said. You just work and work at it, beating your head against the wall. I find they always come to me when I'm not looking. It really helps to do something like exercise, which will put you in a bit of a different mind state. Do you find this as well? JOANNA: Yes, I often like a title earlier on that then changes as the book goes. I mean, we're both discovery writers really, although you do reverse outlines and other things. You have a chaotic discovery phase. I feel like when I'm in that phase, it might be called something, and then I often find that's not what it ends up being, because the book has actually changed in the process. ROZ: Yes, very much. That's part of how we realise what we should be writing. I do have working titles and then something might come along and say, “This seems actually like what you should call it and what you've been working towards, what you've been discovering about it.” I think a good title has a real sense of emotional frisson as well. With memoir, it's easier because we can add a subtitle to explain what we mean. With fiction, it's more difficult. We've got to really hope that it all comes through those few words, and that's a bit harder. JOANNA: Let's talk about your next book. On your website it says it might be a novel, it might be narrative nonfiction, and you have a working title of Four. I wondered if you'd talk a bit more about this chaotic discovery writing phase when we just don't know what's coming. I feel like you and I have been doing this long enough—you longer than me—so maybe we're okay with it. But newer writers might find this stage really difficult. Where's the fun in it? Why is it so difficult? And how can people deal with it? ROZ: You've summed that up really well. It's fun and it's difficult, and I still find it difficult even after all these years. I have to remind myself, looking back at where Ever Rest started, because that was a particularly difficult one. It took me seven years to work out what to do with it, and I wrote three other books in the meantime. It just comes together in the end. What I find is that something takes root in my mind and it collects things. The title you just picked out there—the book with working title of Four—it's now two books. One possibly another memoir and one possibly fiction. It's evolving all the time. I'm just collecting what seems to go with it for now and thinking, “That belongs with it somehow. I don't yet know how, but my intuition is that the two work well together.” There's a harmony there that I see. In the very early stages, that's what I find something is. Then I might get a more concrete idea, say a piece of story or a character, and I'll have the feeling that they really fit together. Once I've got something concrete like that, I can start doing more active research to pursue the idea. But in the beginning, they're all just little twinkles in the eye and you just have to let them develop. If you want to get started on something because you feel you want to get started and you don't feel happy if you're not working on something, you could do a far more active kind of discovery. Writing lists. Lists are great for this. I find lists of what you don't want it to be are just as helpful as what you do want it to be because that certainly narrows down a lot and helps you make good choices. You've got a lot of choices to make at the beginning of a book. You've got to decide: What's it going to be about? What isn't it going to be about? What kind of characters am I interested in? What kind of situations am I interested in? What doesn't interest me about this situation? Very important—saves you a lot of time. What does interest me? If you can start by doing that kind of thing, you will find that you start gathering stuff that gets attracted to it. It's almost like the world starts giving it to you. This is discovery writing, but it's also chivvying it along a bit and getting going. It does work. Joanna: I like the idea of listing what you don't want it to be. I think that's very useful because often writers, especially in the early stages—or even not, I still struggle with this—it's knowing what genre it might actually be. With Bones of the Deep, which is my next thriller, it was originally going to be horror and I was writing it, and then I realised one of the big differences between horror and thriller is the ending and how character arcs are resolved and the way things are written. I was just like, “Do you know what? I actually feel like this is more thriller than horror,” and that really shaped the direction. Even though so much of it was the same, it shaped a lot about the book. It's always hard talking about this stuff without giving spoilers, but I think deciding, “Okay, this is not a horror,” actually helped me find my way back to thriller. ROZ: Yes, I do know what you mean. That makes perfect sense to me, with no spoilers either. It's so interesting how a very broad-strokes picture like that can still be very helpful. Just trying to make something a bit different from the way you've been envisaging it can lead to massive breakthroughs. “Oh no, it's not a thriller—I don't have to be aiming for that kind of effect.” Or try changing the tone a little bit and see if that just makes you happier with what you're making, more comfortable with it. JOANNA: You mentioned the seven years that Ever Rest took. We should say the title is in two words—”Ever” and “Rest”—but it is also about Everest the mountain in many ways. That's why it's such a perfect title. If that took seven years and you were doing all this other stuff and writing other books along the way, how do you keep your research under control? How do you do that? I still use Scrivener projects as my main research place. How do you do your research and organisation? ROZ: A lot of scraps of paper. My desk is massive. It used to be a dining table with leaves in it. It's spread out to its fullest length, and it's got heaps of little pieces of paper. I know what's on them all, and there are different areas, different zones. I'm very much a paper writer because I like the tangibility of it. I also like the creativity of taking a piece of paper and tearing it into an odd shape and writing a note on that. It seems as sort of profound and lucky as the idea. I really like that. I do make text files and keep notes that way. Once something is starting to get to a phase where it's becoming serious, it will then be a folder with various files that discuss different aspects of it. I do a lot of discussing with myself while writing, and I don't necessarily look at it all again. The writing of it clarifies something or allows me to put something aside and say, “No, that doesn't quite belong.” Gradually I start to look at things, look at what I've gathered, and think, “How does this fit with this?” And it helps to look away as well. As I said with finding titles, sometimes the right thing is in your subconscious and it's waiting to just sail in if you look at it in a different way. There's a lot to be said for working on several ideas, not looking at some of them for a while, then going back and thinking, “Oh, I know what to do with this now.” JOANNA: Yes. My Writing the Shadow, I was talking about that when we met, and that definitely took about a decade. ROZ: Yes. JOANNA: I kept having to come back to that, and sometimes we're just not ready. Even as experienced writers, we're not ready for a particular book. With Bones of the Deep, I did the trip that it's based on in 1999. Since I became a writer, I've thought I have to use that trip in some way, and I never found the right way to use it. I came at it a couple of times and it just never sat right with me. Then something on this master's course I'm doing around human remains and indigenous cultures just suddenly all clicked. You can't really rush that, can you? ROZ: You absolutely can't. It's something you develop a sense for, the more you do—whether something's ready or whether you should just let it think about itself for a while whilst you work on something else. It really helps to have something else to work on because I panic a bit if I don't have something creative to do. I just have to create, I have to make things, particularly in writing. But I also like doing various little arty things as well. I need to always have something to be writing about or exploring in words. Sometimes a book isn't ready for that intense pressure of being properly written. So it helps to have several things that I can play with and then pick one and go, “Okay, now I'm going to really perform this on the page.” JOANNA: Do you find that nonfiction—because you have some craft books as well—do you find the nonfiction side is quite different? Can you almost just go and write a nonfiction book or work on someone else's project? Does that use a different kind of creativity? ROZ: Yes, it does. Creativity where you're trying to explain something to creative people is totally different from creativity where you're trying to involve them in emotions and a journey and nuances of meaning. They're very different, but they're still fun. So, yes, I am an editor as well, and that feeds my creativity in various unexpected ways. I'll see what someone has done and think, “Oh, that's very interesting that they did that.” It can make me think in different ways—different shapes for stories, different kinds of characters to have. It really opens your eyes, working with other creative people. JOANNA: I wanted to return to what you said at the beginning, that it is more difficult these days to get our work noticed. There's certainly a challenge in writing a travel memoir about home. What are you doing to market this book? What have you learned about book marketing for memoir in particular that might help other people? ROZ: Partly I realised it was quite a natural progression for me because in my newsletter I always write a couple of little pieces. I think they're called “life writing.” Just little things that have happened to me. That's sort of like memoir, creative nonfiction, personal essays. I was quite naturally writing that sort of thing to my newsletter readers, and I realised that was already good preparation for the kind of way that I would write in a memoir. As for the actual campaign, I actually came up with an idea which quite surprised me because I didn't think I was good at that. I'm making a collage of the word “home” written in lots of different handwriting, on lots of different things, in lots of different languages. I'm getting people to contribute these and send them to me, and I'm building them into a series of collages that's just got the word “home” everywhere. People have been contributing them by sending them by email or on Facebook Messenger, and I've been putting them up on my social platforms. They look stunning. It's amazing. People are writing the word “home” on a post-it or sticking it to a picture of their radiator. Someone wrote it in snow on her car when we had snow. Someone wrote it on a pottery shard she found in her drive when she bought the house. She thought it was mysterious. There are all these lovely stories that people are telling me as well. I'm making them into little artworks and putting them up every day as the book comes to launch. It's so much fun, and it also has a deeper purpose because it shows how home is different for all of us and how it builds as uniquely as our handwriting. Our handwriting has a story. I should do a book about that! JOANNA: That's a weird one. Handwriting always gets me, although it'd be interesting these days because so many people don't handwrite things anymore. You can probably tell the age of someone by how well-developed their handwriting is. ROZ: Except mine has just withered. I can barely write for more than a few minutes. JOANNA: Oh, I know what you mean. Your hand gets really tired. ROZ: We used to write three-hour exams. How did we do that? JOANNA: I really don't know. JOANNA: Just coming back on that. You mentioned mainly you're doing your newsletter and connecting with your own community. You've done podcasts with me and with other people. But I feel like in the indie community, the whole “you must build your newsletter” thing is described as something quite frantic. How have you built a newsletter in a sustainable manner? ROZ: I've built it by finding what suited me. To start with I thought, “What will I put in it? News, obviously.” But I wasn't doing that much that was newsworthy. Then I began to examine what news could actually be. The turning point really happened when I wrote the first memoir, Not Quite Lost: Travels Without a Sense of Direction. I thought, “I have to explain to people why I'm writing a memoir,” because it seemed like a very audacious thing to do—”Read about me!” I thought I had to explain myself. So I told the story of how I came to think about writing such an audacious book. I just found a natural way to tell stories about what I was doing creatively. I thought, “I like this. I like writing a newsletter like this.” And it's not all me, me, me. It's “I'm discovering this and it makes me think this,” and it just seems to be generally about life, about little questions that we might all face. From then, I found I really enjoyed writing a newsletter because I felt I had something to say. I couldn't put lists of where I was speaking, what I was teaching, what special offers I had, because that wasn't really how my creative life worked. Once I found something I could sustainably write about every month, it really helped. Oh, it also helps to have a pet, by the way. JOANNA: Yes, you have a horse! ROZ: I've got a horse. People absolutely love hearing the stories about my ongoing relationship with this horse. Even if they're not horsey, they write to me and say, “We just love your horse.” It helps to have a human interest thing going on like that. So that works for me. Everyone's got different things that will work for them. But for me, it builds just a sense of connection, human connection. I'm human, making things. JOANNA: In terms of actually getting people signed up—has it literally just been over time? People have read your book, signed up from the link at the back? Have you ever done any specific growth marketing around your newsletter? ROZ: I tried a little bit of growth marketing. I have a freebie version of one of my Nail Your Novel books and I put that on a promotion site. I got lots of newsletter signups, but they sort of dwindled away. When I get unsubscribes, it's usually from that list, because it wasn't really what they came for. They just came for a free book of writing tips. While I do writing tips on my blog—I'm still doing those—it wasn't really what my newsletter was about. What I found was that that wasn't going to get people who were going to be interested long-term in what I was writing about in my newsletter. Whatever you do, I found, has got to be true to what you are actually giving them. JOANNA: Yes, I think that's really key. I make sure I email once every couple of weeks. And you welcome the unsubscribes. You have to welcome them because those people are not right for you and they're not interested in what you're doing. At the end of the day, we're still trying to sell books. As much as you're enjoying the connection with your audience, you are still trying to sell Turn Right at the Rainbow and your other books, right? ROZ: Absolutely, yes. And as you say, someone who decides, “No, not for me anymore,” and that's good. There are still people who you are right for. JOANNA: Mm-hmm. ROZ: I do market my newsletter in a very low-key way. I make a graphic every month for the newsletter, it's like a magazine cover. “What's in it?” And I put that around all my social media. I change my Facebook page header so it's got that on it, my Bluesky header. People can see what it's like, what the vibe is, and they know where to find it if they're interested. I find that kind of low-key approach works quite well for what I'm offering. It's got to be true to what you offer. JOANNA: Yes, and true for a long-term career, I think. When I first met you and your husband Dave, it was like, “Oh, here are some people who are in this writing business, have already been in it for a while.” And both of you are still here. I just feel like— You have to do it in a sustainable way, whether it's writing or marketing or any of this. The only way to do it is to, as you said, live as a creative human and not make it all frantic and “must be now.” ROZ: Yes. I mean, I do have to-do lists that are quite long for every week, but I've learned to pace myself. I've learned how often I can write a good blog post. I could churn out blog posts that were far more frequent, but they wouldn't be as good. They wouldn't be as properly thought through. In the old days with blogs, you had an advantage if you were blogging very frequently, I think you got more noticed by Google because you were constantly putting up fresh content. But if that's not sustainable for you, it's not going to do you any good. Now there's so much content around that it's probably fine to post once a month if that is what you're going to do and how you're going to present the best of yourself. I see a lot on Substack—I've recently started Substack as well—I see people writing every other day. I think they're good, that's interesting, but I don't have time to read it. I would love to have the time, but I don't. So there's actually no sin in only posting once a month—one newsletter a month, one blog post a month, one Substack a month. That's plenty. People will still find that enough if they get you. JOANNA: Fantastic. So where can people find you and your books and everything you do online? ROZ: My website is probably the easiest place, RozMorris.org. JOANNA: Brilliant. Well, thank you so much for your time, Roz. As ever, that was great. ROZ: Thank you, Jo.The post Writing Emotion, Discovery Writing, And Slow Sustainable Book Marketing With Roz Morris first appeared on The Creative Penn.

Fresh off the absolute victory for the Greens in Gorton and Denton, Ed Balls and George Osborne debate whether the betting markets - which accurately predicted the results - are reliable forecasters in elections in this week's EMQs. George ponders if, unlike official polling, it might be possible to influence the odds in your favour? Fellow ex-MP Gyles Brandreth asks the brutally honest question: did their careers peak when they were politicians? Despite all their success in podcasting and elsewhere, was being in government the best days of their lives? The pair debate the idea which ends up causing them to reminisce about Michael Gove's dog and a chicken named Gordon.Finally, Mayor of York and North Yorkshire David Skaith asks the best way a mayor can promote growth in their region, particularly one as rural as his. After offering David some useful ideas, the pair wander down a Wuthering Heights tangent and Ed gifts listeners with his slightly dubious Kate Bush impression. David also asks Ed for some personal advice on being a public figure with a stammer. We love hearing from you, so please don't forget to send all your EMQs to questions@politicalcurrency and make sure to include a voice note of your question.This podcast is sponsored by Chip. Join 400,000 customers building long term wealth. Also Chip have agreed that just for our listeners, for your first £10,000 deposited into Chip before midnight 20 March 2026, they'll give you a Fortnum & Mason hamper after holding it for 90 days - just head to getchip.uk/politicalcurrency.T&Cs apply, you must be a new Chip customer, over 18, a UK tax resident, and it's app only. Chip is a trading name of Chip Financial Limited. Savings products are provided by Clearbank and are protected up to the FSCS limit. When investing, your capital is at risk.Thanks for listening. To get episodes early and ad- free join Political Currency Gold or our Kitchen Cabinet. If you want even more perks including our exclusive newsletter, join our Kitchen Cabinet today:

Recorded before a live Facebook (and YouTube) audience, Will, Kat and Jon discuss the following topics:0:00 - Introduction2:25 - Racier than Hooters7:25 - Hooters is becoming family friendly12:05 - Hooters can discriminate against men16:15 - Who invented Buffalo chicken wings?19:30 - Can a boneless wing be a breast?25:15 - Can a boneless wing have bones?27:15 - RuPaul drags audience back to the 80s34:05 - Read our new book Totally Bogus (But True) Tales from the 1980s!35:20 - Zelda Turns 40, but Nintendo Hasn't Wished Her a Happy Birthday49:23 - Kate Bush's "Wuthering Heights" is a hit again1:09:40 - Wrap Up and Thank YouFollow us on Facebook: https://www.facebook.com/1980snow.Subscribe to our YouTube channel: https://www.youtube.com/@1980snow

Emerald Fennell's new adaptation of Emily Brontë's 1847 gothic romance "Wuthering Heights" is the most talked-about film of the year. But for pop lovers, the soundtrack is the real event: Charli xcx, asked to write one song, ended up recording an entire album for the movie while in the middle of the BRAT tour. If BRAT gave people permission to be messy on the dance floor, this score gives permission to be messy in your souls. But Charli isn't the first artist to channel "Wuthering Heights" into music. Line up her hyperpop strings and cavernous reverb against Kate Bush's winding harmonies, a Hollywood orchestral score from 1939, and Ryuichi Sakamoto's unsettled piano, and something surprising emerges: the most operatic, passionate, Wuthering Heights-obsessed recording of them all might belong to someone you'd never expect.Songs discussed: Charli xcx “Everything is Romantic” Charli xcx “Always Everywhere” Charli xcx “House” (feat. John Cale) Hans Zimmer “Inception score” Charli xcx “Wall of Sound” Ike & Tina Turner “River Deep, Mountain High” Charli xcx “Chains of Love” Charli xcx “Out of Myself” Charli xcx “Funny Mouth” (co-written with Joe Curie) Alfred Newman “Wuthering Heights score (1939)” Ryuichi Sakamoto “Wuthering Heights score (1992)” Kate Bush “Wuthering Heights” Celine Dion “It's All Coming Back to Me Now” Learn more about your ad choices. Visit podcastchoices.com/adchoices

Comrades! To paraphrase the wise words of Kate Bush, I wouldn't leave you out in the cold, so this episode I'm letting you into the window of my thoughts on Wuthering Heights (the book by Emily Bronte) and "Wuthering Heights" (the movie by Emerald Fennell). I'm joined by Caro, aka @difficultwomanreads, a Wuthering Heights internet scholar and haver of many right opinions about gothic literature. We talk Heathcliff and Cathy as romance MC archetypes, what adaptation really means, and plenty of romance novels to read next if you want that Wuthering Heights angst with the HEA guarantee. What did you think of the new movie? Enjoy the show!   Connect with Caro: Insta; Threads Heathcliff cosplay: @antiquated.omens Episodes on books mentioned: Lisa Kleypas: Wallflowers - Secrets of a Summer Night; It Happened One Autumn; Devil in Winter; Scandal in Spring Lord of Scoundrels Lothaire: Part 1; Part 2   SUPPORT THE PODCAST by visiting my Bookshop.org Storefront to get any book mentioned in the episode. If you use this link or go directly from my store, I earn a small commission. You can also buy me a coffee, shop some WRION merch, or grab something from my sapphic, bookish Etsy shop! FOLLOW THE PODCAST on Instagram/Threads @wereaditonenight or FOLLOW ME on Instagram @thealisonfinch Facebook: We Read It One Night Email: wereaditonenight [at] gmail.com

In Episode 346 of History in Five Songs with Martin Popoff, Martin traces the parallel career arcs of Kate Bush and Peter Gabriel, comparing their conservative early albums, synchronized creative peaks, shared technologies and collaborators, commercial high points, and eventual semi-retirement marked by long gaps, home studios, and artistic mystique. Peter Gabriel – “Modern Love” Kate Bush – “Delius” Peter Gabriel – “Mercy Street” Kate Bush – “Snowed in at Wheeler Street” Peter Gabriel – “Intruder” Learn more about your ad choices. Visit megaphone.fm/adchoices

In Episode 346 of History in Five Songs with Martin Popoff, Martin traces the parallel career arcs of Kate Bush and Peter Gabriel, comparing their conservative early albums, synchronized creative peaks, shared technologies and collaborators, commercial high points, and eventual semi-retirement marked by long gaps, home studios, and artistic mystique. Peter Gabriel – “Modern Love” Kate Bush – “Delius” Peter Gabriel – “Mercy Street” Kate Bush – “Snowed in at Wheeler Street” Peter Gabriel – “Intruder” Learn more about your ad choices. Visit megaphone.fm/adchoices

More feedback this week on the key questions: are we friends of Jesus or are we followers? Can we really be friends with a tree? What is a soul friend? Just how great is Kate Bush? And what happened to Nick's head? So many questions… Support the podcast Contact the podcast through your email machine Mid-faith Crisis Facebook Page Nick's Blog Mentioned in this episode: “Resurrecting Faith” – A Lent Course Arnolfini - Bristol's International Centre for Contemporary Arts Kate Bush Moments of Pleasure - YouTube Martin Buber - Wikipedia I and Thou - Wikipedia Overview — The Works of George MacDonald What a Friend We Have in Jesus - Wikipedia

Nostalgia. That sentimental feeling of the past. Memory is a powerful thing and we tend to look back on our firsts fondly. Your first phone, your first best friend, your first kiss… But it turns out you can also feel nostalgic for things you weren't around for.In the last few years, for Gen Z, there's been a huge rise in things like y2k fashion, old school technology like flip phones and digital cameras, and even Kate Bush has made it back into the charts.So why do we care so much about old things? Speaking of the past, let's go way back and find out about the ancient origins of kissing! Scientists at Oxford University in the UK now think that kissing evolved more than 21 million years ago, and it wasn't humans that started it.Victoria Gill, our Science Correspondent, tells us all about the research and what we know about if animals can be romantic like humans can.What in the World helping you make sense of what's happening in the world.For more episodes, just search 'What in the World' wherever you get your BBC Podcasts.