Podcast appearances and mentions of Kate Bush

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, […]

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:

L'info du matin - Une startup française veut rendre les hôtels plus écologiques en incitant les clients à adopter des éco-gestes via le jeu. Le winner du jour - Un homme déguisé en Spider-Man a tenté un record en descendant une échelle suspendue à une montgolfière. - Un crêpier de La Rotonda en Andorre est devenu viral en insultant ses clients. Le flashback - Mars 1993 : lancement de "Zone Interdite" sur M6, aujourd'hui présenté par Ophélie Meunier. - Sortie de l'album "Everybody Else Is Doing It, So Why Can't We?" du groupe The Cranberries. Le savoir inutile - Kate Bush a popularisé l'usage du micro-casque, influençant ensuite Michael Jackson, Madonna et Beyoncé. La chanson du jour Harry Styles "Watermelon Sugar" 3 choses à savoir sur Juliette Armanet Qu'est-ce qu'on regarde ? Sortie du film "Alter Ego" de Nicolas Charlet et Bruno Lavaine avec Laurent Lafitte. Série documentaire sur les dinosaures produite par Steven Spielberg, disponible sur Netflix. Le jeu Surprise (Le Cinéphile) - Tifen de Rédéné, vers Lorient, gagne un séjour Hôtel 4 étoiles Thalasso Spa Les Flamants Roses. Les Coffres à jouets RTL2 - Tom, 8 ans, de Lempdes vers Clermont-Ferrand, gagne un séjour pour 4 personnes au Puy du Fou. La Banque RTL2 - Karine d'Écommoy, vers Le Mans, gagne 600 €. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

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

Dans cet épisode, Augustin Lefebvre explore les phénomènes de retour en grâce de tubes musicaux oubliés, grâce à leur utilisation dans des publicités, des séries ou des films. Il revient notamment sur le cas de la chanson "Supernature" de Cerrone, redécouverte lors des Jeux Olympiques, ou encore sur le succès inattendu de "Running Up That Hill" de Kate Bush, propulsée en tête des charts grâce à la série "Stranger Things". Augustin Lefebvre analyse ces exemples fascinants de chansons qui connaissent une seconde jeunesse, offrant un éclairage passionnant sur les mécanismes de la popularité musicale.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Theo Bleckmann is an vocalist with a penchant for creating experimental, boundary-pushing recordings drawing on a wide range of musical styles. His latest recording, called "Love and Anger," is no exception. It includes highly personal and sometimes radical arrangements of two Kate Bush songs, Sylvester's disco hit “Mighty Real,” “Hide Your Love Away” by the Beatles, “Dido's Lament” by Henry Purcell, and other songs by Massive Attack, Frank Ocean, Janis Ian, and more. Peter Solomon speaks with Bleckmann about the new recording, and Bleckmann discusses his musical origin story, including his close musical and personal relationship with the legendary singer Sheila Jordan.

Theo Bleckmann is an vocalist with a penchant for creating experimental, boundary-pushing recordings drawing on a wide range of musical styles. His latest recording, called "Love and Anger," is no exception. It includes highly personal and sometimes radical arrangements of two Kate Bush songs, Sylvester's disco hit “Mighty Real,” “Hide Your Love Away” by the Beatles, “Dido's Lament” by Henry Purcell, and other songs by Massive Attack, Frank Ocean, Janis Ian, and more. Peter Solomon speaks with Bleckmann about the new recording, and Bleckmann discusses his musical origin story, including his close musical and personal relationship with the legendary singer Sheila Jordan.

Clube do Disco, é um quadro da nossa corja, onde traremos para a conversa a recomendação de álbuns/discos para você que está nos escutando.Para começar hoje, traremos dois albuns: o "Hounds of Love" da maravilhosa Kate Bush e o "Extensions" do também maravilhoso, pianista McCoy Tyner.

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

durée : 00:04:33 - "Wuthering Heights" : l'apparition surnaturelle de Kate Bush - par : Max Dozolme - Une introduction au tout premier succès de la chanteuse composé à 18 ans en 1978. Une chanson pop, baroque et gothique inspirée des Hauts de Hurlevent d'Emily Brontë où résonnent des sonorités fantomatiques et classiques... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Don and Dude keep the “I Love the 80s” journey moving into 1986, when pop music turned glossy, global, and emotionally grown-up while hip-hop kicked down the door to the mainstream and refused to close it. One of us drops the needle on a blockbuster art-pop record that turned a former prog-rock oddball into an MTV-era icon, and the other cranks a Queens rap classic where drum machines, DJ wizardry, and rock guitars collide to launch hip-hop into its album era.The Albums Peter Gabriel – So (1986) Peter Gabriel's fifth solo LP trades full-on prog theatrics for a song-focused blend of art-pop, soul, and worldbeat that still feels intimate and strange even as it aims for stadiums. "Red Rain" and "Sledgehammer" frame the record's range, from cinematic storms and ritual grooves to horn-driven 60s-style soul reimagined as big-budget 80s pop. "Don't Give Up," a duet with Kate Bush, turns Linn drums and warm keys into a slow-motion conversation between despair and reassurance that speaks to unemployment, depression, and stubborn hope. Deep cuts like "That Voice Again," "Mercy Street," "Big Time," "We Do What We're Told," and the Laurie Anderson collaboration "This Is the Picture" keep the emotional arc intact while proving that production maximalism and adult subject matter can still hit like pop.Run-D.M.C. – Raising Hell (1986) By 1986, Run, DMC, and Jam Master Jay had already changed rap once; Raising Hell is where they change the world's idea of what a hip-hop record could be. Peter Piper opens with the bell-driven Bob James break, 808 thump, and nursery-rhyme flips that double as a DJ showcase and statement of intent. "Walk This Way" rebuilds a 70s rock riff into a hip-hop framework, smashing the wall between rock radio and rap while relaunching Aerosmith and blasting Run-D.M.C. into MTV rotation. "It's Tricky" and "My Adidas" sharpen their minimal drum-machine-and-scratch template into pure hooks, while "Proud to Be Black" closes as a history lesson and manifesto that points toward the coming wave of conscious rap.Diggin' Albums Jay Buchanan – Weapons of Beauty (2026) The Rival Sons frontman strips away the big rock theatrics for a rootsier, Americana-leaning solo set, focusing on weathered vocals, open-sky arrangements, and songs that feel like they were written on long drives and sleepless nights.Genesis – Invisible Touch (1986) Phil Collins, Tony Banks, and Mike Rutherford lean fully into shiny 80s pop on their biggest commercial triumph, stacking drum-heavy radio singles and bright synths around a few lingering prog instincts on the longer cuts.Susanna Hoffs – The Lost Record (2024 / recorded 1999) A once-shelved garage-made collection that captures the Bangles singer reshaping her identity at home with a new baby and a circle of songwriter friends, marrying jangly pop, adult introspection, and late-90s alt-rock warmth.Kirsty MacColl – Real (2023 / recorded 1983) Finally released in full decades after being shelved, this early 80s set frames MacColl's sharp, clear voice with icy synths and programmed rhythms, revealing a tougher, more new-wave edge than her later, better-known work.Follow & Support Follow the show on Instagram, Facebook, Threads, and Bluesky @albumnerds, and support by subscribing, rating, reviewing, and sharing.“Well, I guess that's the difference between you and me. You wanna lose small, I wanna win big.” – Maverick, played by Tom Cruise in 1986's Top Gun.

Is this what a “Pop icon” is? Kate Bush burst onto the scene in 1978 with Wuthering Heights, a wildly unlikely and ethereal single. The record industry and radio DJs were bemused, but the record-listening public were instantly smitten. I loved it, but I thought it had ‘one-hit wonder' written all over it. I was spectacularly wrong. (I have form in that department. I also tagged Sultans of Swing by Dire Straits as a one-hit wonder.) Kate Bush has had a remarkable career, increasingly on her own terms, and earned the highest respect of her peers and the adoration of her fans. She was anxious when she released her eight … Continue reading →

Send us a message, so we know what you're thinking! When we watch movies & shows at the movies or, increasingly, on TV, the soundtrack is ever-present to set the mood and enhance the story. But we never stop to consider its' role, how it's changed over the years, and how it interacts with other elements, such as the title sequence.This episode we look at how the use of soundtracks has changed over the last 30 or more years and consider some very creative soundtracks! In Rock News, we look at The Hollywood Vampires, Cyndi Lauper, Deep Purple, David Lee Roth and Devo, who are all heading out on the road, while the latest fad out of the US is Lollipop Star, a sweet that plays a tune as you suck it! Our Album You Must Hear before You Die is “The Lexicon of Love” by ABC.  Smooth! We know you'll enjoy this one!  References:  The Hollywood Vampires, Cyndi Lauper, Deep Purple, David Lee Roth, Devo, 1001 Albums You Must Hear before You Die, Robert Dimery, ABC, The Lexicon of Love, Martin Fry, Poison Arrow, early 80s British pop, Star Wars, Sound of Music, I Dream of Jeannie, Mr Ed, The Exorcist, Mike Oldfield, Tubular Bells, Shrek, I'm a Believer, Hallelujah, Led Zeppelin, Immigrant Song, Charmed, How Soon is Now, The Smiths, Morrissey & Marr, Game of Thrones, The Americans, The Old Man, Bad Sisters, Leonard Cohen, Who by Fire, PJ Harvey, The Pogues, Dirty Old Town, Rogue Heroes, Amelia Hartley, “prestige TV”, Down Cemetery Road, John Cale, You know more than I know, Fear, Fallout, scenes of extreme gore, Some Enchanted Evening, The Castells, It Ain't the Meat (It's the Motion), The Swallows, Slow Horses, Mick Jagger, Mick Herron, Queen, Brighton Rock, Bowie, Heroes, Stranger Things, Kate Bush, Running Up That Hill, IF, Ryan Reynolds, Ooh La La, The Faces, Connie Francis, Pretty Little Baby, TikTok  Playlist Lollipop Star – The sucker that sings to you A list of bands touring through 2026 (It's read-only.  Sorry!)60s TV Shows 

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

Hoy en La Gran Travesía podréis escuchar a The Supremes, Red Hot Chili Peppers, Blondie, Franz Ferdinand, The Clash, AC/DC, Manic Street Preachers, Kate Bush, Whitesnake, Bob Dylan, Nancy Sinatra, Beatles, Ryan Adams...y muchos más. ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Eduardo Gutiérrez, Belén B, Rafa Navarro, José Carlos Lozano, Ikatza, Cabe1961, Guillermo Esteban, Diego Román, Tole, Raquel, Poncho C, Sergio Rodríguez Rojas, Javier, Jose Antonio Moral, Juanito, Octavio Oliva, Andreea Deea, Samuel Sánchez, Igor Gómez Tomás, Matías Ruiz Molina, Eduardo Villaverde Vidal, Víctor Fernández Martínez, Rami, Leo Giménez, Alberto Velasco, Poncho C, Francisco Quintana, Con, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Nacho, Javito, Alberto, Moy, Dani Pérez, Santi Oliva, Vicente DC, Leticia, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, Joaquín, Horns Up, Victor Bravo, Fonune, Francisco González, Marcos Paris, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Noyatan, Iván Menéndez, Niksisley y a los mecenas anónimos.

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

The stars of “Wuthering Heights” Margot Robbie and Jacob Elordi join iHeartRadio Canada’s Shannon Ella for a thrilling chat about about their upcoming movie! Margot Robbie show lots of to Charli xcx who created the soundtrack for their film “Wuthering Heights”! Jacob Elordi dives into if their characters "Heathcliff" & "Catherine Earnshaw" relationship has a chance at surviving in modern day. Margot and Jacob talk about what set was like while filming serious scenes. They both tell Shannon more about the type of music they were listening to get into character including “Wuthering Heights” by Kate Bush. Margot and Jacob share a very wholesome moment discovering they both love the same artist. Margot gushes over the unique costume designs by Jacqueline Durran for the movie and her excitement to work together again after the ‘Barbie’ movie. #WutheringHeights #MargotRobbie #JacobElordi #charlixcx #KateBush #JacquelineDurran #AlexCameron #CatherineEarnshaw #Heathcliff

We're a little late off the mark. But we finally go the amazing “Stranger Things” series in the books. So this week we decided to discuss all the strange goin-ons in Hawkins. Apart from the usual thoughts about the show, we discuss the power of music, the Kate Bush fandom in Metaldom, share our own trials and tribulations from high school and ask the question – “Eddie Munson – Maiden... The post Radioactive Metal 867: All The Strange Things appeared first on Shining Wizards Network.

We're a little late off the mark. But we finally go the amazing "Stranger Things" series in the books. So this week we decided to discuss all the strange goin-ons in Hawkins. Apart from the usual thoughts about the show, we discuss the power of music, the Kate Bush fandom in Metaldom, share our own trials and tribulations from high school and ask the question - "Eddie Munson - Maiden or Metallica?" Musically, we crank some tunes we feel Eddie would've given The Horns to including Angel Witch, Razor, Power Trip, Destroyer 666, Skull Fist, Solanum, Riot City and we introduce Brazil's Grey Wolf in our "Indie Spotlight". Horns Up!!

Sarah-Louise Young, Theatre maker, cabaret performer, writer, director, tells Dermot all about An Evening without Kate Bush.

Olivia Lynch tells Dermot that the women of Cahir Co Tipp went stone made a few years ago and re enacted the whole Kate Bush classic Wuthering Heights.

In this episode of NeedleXChange I interview Robert John Hodge.Robert John Hodge makes cross-stitch work based on Renaissance sculptures, using a CMYK / screenprint-style layering approach and recurring Wingdings symbols.In this half we jump into Robert's newer series - smaller, quicker pieces that work like little stitched collages: videogames, screenshots, photos, culture… and, for reasons we absolutely get into, a whole run of nuclear weapons tests.Part 2 is where we widen out into the stuff that feeds the work: horror films from the 70s and 80s, documentaries that stitch history into a continuum, Kate Bush and Wagner, and even T.S. Eliot's The Waste Land as a kind of cultural collage blueprint.Timestamps:00:00:00 - Introduction00:01:30 – Cross stitch as a serious art medium00:05:44 – Challenging the “serious art” prejudice00:07:50 – Balancing making work and making money00:09:02 – Art-world reality: logistics + day job00:11:22 – Film influences + nostalgia threads00:18:16 – A wide media diet (and why it matters)00:24:53 – Literary influences: T.S. Eliot and collage thinking00:26:52 – Looping + obsession as the creative engineLinks:Website: robertjohnhodge.comInstagram: robertjohnhodgeIntro music is Cotton Candy by Cospe via Epidemic Sound.About NeedleXChange:NeedleXChange is a conversation podcast with embroidery and textile artists, exploring their process and practice.Hosted by Jamie "Mr X Stitch" Chalmers, it is an in-depth showcase of the best needlework artists on the planet.Visit the NeedleXChange website: needl.exchangeSign up for the NeedleXChange Newsletter here: bit.ly/NeedleXChangeNewsIf you're looking for modern cross stitch designs, then XStitch is the magazine you need!Find out more here: xstitchmag.comAnd follow Mr X Stitch on all the usual social media channels!Facebook: mrxstitchInstagram: mrxstitchPinterest: mrxstitchYouTube: mrxstitchLinkedIn: mrjamiechalmers

就在不久前，跨越十年的流行文化史诗《怪奇物语》终于落下了帷幕。从2016年那个失踪的小男孩开始，我们陪着霍金斯小镇的孩子们，从稚气未脱走到了终极决战。这场横跨十年的全球狂欢，在网飞上创下了超过12亿次的观看记录，甚至在大结局上映时搞瘫了服务器、在院线单挑《阿凡达3》。但今天，我们不想只聊情怀和数据。我们要拆解的是：在那个充满霓虹色、合成器音乐和80年代符号的‘翻转世界'里，达菲兄弟究竟如何利用一种‘不犬儒的乐观主义'，重塑了我们的时代议题？当威尔关上那扇门、合上那本书，一代人的童年告别式背后，隐藏着怎样的商业逻辑与创作哲学？今天，我们邀请到了在北美影院亲历了这场‘万人大结局'的嘉宾Kevin，一期复盘这出属于‘书呆子'（Nerds）的最后胜利。翻转世界的大门已开启，请随我们一起进入霍金斯！嘉宾：阿莫多瓦特了，金球奖评委Kevin，第五届深焦影评大赛冠军00:11 5季横跨10年，这12亿次播放量背后，网飞到底做对了什么？01:13 结局篇票房单挑同期《阿凡达3》，在北美影院和两千人一起欢呼是种什么体验？07:07 为什么即便是面对顶级大结局，这代观众依然无法放下手机？11:57 拒绝犬儒主义，达菲兄弟为何在今天依然坚持回归80年代的纯真？19:54 狂收230万美金！Kate Bush的神曲如何通过剧情完成了意义的二次升华？26:04 深度复盘Will的出柜戏：是剧情的尴尬败笔，还是角色必然的内心脱壳？34:46 从第一季的捉迷藏到第五季的翻转世界，悬疑感在十年间是如何进化的？36:39 为什么第三季要把冷战背景拍得像色彩浓郁的卡通片？42:44 从悲剧英雄Eddie到“男妈妈”Steve，每一个小人物都有被温柔对待的瞬间。45:07 “男妈妈”Steve其实是美国小镇青年的缩影。48:33 聊聊Dustin的蜕变：从纯粹的智力担当到独自带伤前行的精神领袖。55:51 当角色线多到难以收束，叙事是如何完成多线捏合的？01:02:36 从斯皮尔伯格到80年代恐怖片，主创是如何重组这些经典符号的？01:10:41 说说衍生舞台剧《第一道阴影》01:21:26 网飞的“造星合约”：如何通过锁定这群童星来掌握流媒体时代的流量密码。影视剧集： 《怪奇物语》（1-5季）、《阿凡达3》、《权力的游戏》、《复仇者联盟4》、《E.T.》等斯皮尔伯格作品。舞台剧： 《怪奇物语：第一道阴影》（伦敦西区前传）。音乐： Kate Bush - 《Running Up That Hill (A Deal with God)》、专辑《Hounds of Love》。文化/商业： D&D（地下城与勇士）、Netflix House、佐治亚州拍摄税收、Eggo华夫饼。监制：Peter Cat统筹：电车、阿莫多瓦特了策划：电车、阿莫多瓦特了剪辑：anber编辑：阿莫多瓦特了

The Netflix show Stranger Things has become a global cultural phenomenon. In this solo Eye2Eye episode, Dr. Harbir Sian shares an unexpected but powerful lesson inspired by Stranger Things. But the lesson learned may not be what you might expect. Fans of the show may expect something related to the comradery exemplified by all the friends fighting evil together. Instead, using the resurgence of Kate Bush's iconic song Running Up That Hill as a real-world case study, Harbir reflects on the importance of patience, consistency, and trusting that effort often pays off on a timeline we can't predict.This episode isn't about TV shows or pop culture—it's about doing the work, taking the shot, owning your value, and recognizing that impact and success can arrive long after the work is done.Key Takeaways for Listeners1. Your timing is not the universe's timing You may put in years of effort before seeing results—but that doesn't mean the work wasn't worth it.2. Consistent effort compounds, even when it feels invisible Kate Bush's decades-old song became a global hit 40 years later. Impact doesn't always come immediately.3. You miss every opportunity you never try for Progress only happens when you take the shot—publish the content, start the project, have the conversation.4. Own what makes you different Your personality, perspective, and voice are assets. Lean into them instead of blending in.5. Own your work—literally and figuratively Know your value, protect your rights, and charge appropriately so you can show up fully.Key Quotes from the Episode“Your timing, my timing, is not the same as the universe's timing.”“If we don't try, if we don't put out that content, we'll never achieve that goal.”“Kate Bush made more money 40 years later than she did when the song first came out.”“Own your uniqueness—lean into it and leverage it.”“If you're good at something, don't do it for free.”“You might already be planting the seeds for something you haven't even imagined yet.”Who This Episode Is ForOptometrists and healthcare professionals building long-term careersEntrepreneurs frustrated by slow or delayed growthCreators and leaders questioning whether their effort is “worth it”Anyone needing motivation to keep going—even when results aren't visible yetFinal ThoughtThis episode is a reminder that meaningful success often arrives quietly, unexpectedly, and much later than planned—but only if you're willing to keep showing up.Love the show? Subscribe, rate, review & share! http://www.aboutmyeyes.com/podcast/

Quase dez anos se passaram desde que acompanhamos o desaparecimento do pequeno Will Byers na pacata cidade de Hawkins, Indiana. Agora, após cinco temporadas e muito hype, chegou a hora de finalmente nos despedirmos de Stranger Things. No RdMCast dessa semana nossa bancada enfrenta pela última vez o famoso Mundo Invertido para conversar sobre a quinta temporada da série que se transformou em um fenômeno da cultura pop. Entre atrasos na produção, teorias malucas, um elenco cansado e explicações demasiadamente longas, nos acompanhe enquanto lidamos com Demogorgons, traumas emocionais, D&D e o esquisitão do Vecna para responder à seguinte pergunta: o final de uma das maiores séries de todos os tempos atendeu às expectativas dos fãs? Pegue seu walkman, coloque Kate Bush para tocar no volume máximo e embarque conosco por esta última aventura nostálgica pelos anos 80.O RdMCast é produzido e apresentado por: Gabi Larocca, Thiago Natário e Gabriel Braga. Apoie o RdM e receba recompensas exclusivas: https://apoia.se/rdmCITADOS NO PROGRAMA:Stranger Things (2016 – 2025)Citações off topic:It: Bem-Vindos a Derry (2025)EPISÓDIOS CITADOS:Cabana RdM #94 – Stranger Things 5: Chaves no Mundo Invertido?RdMCast #357 – Stranger Things 4: o mundo invertido de VecnaRdMCast #370 – Especial A Hora do PesadeloRdMCast #533 – Bem-Vindos a Derry: o palhaço Pennywise voltou (no tempo)!Siga o RdMYoutube: https://www.youtube.com/c/Rep%C3%BAblicadoMedoInstagram: @republicadomedoTwitter: @RdmcastEntre em contato através do: contato@republicadomedo.com.brLoja do RdMConheça nossos produtos: https://lojaflutuante.com.br/?produto=RdmPODCAST EDITADO PORFelipe LourençoESTÚDIO GRIM – Design para conteúdo digitalPortfólio: https://estudiogrim.com.br/Instagram: @estudiogrimContato: contato@estudiogrim.com.br

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.

Seán introduces our first episode of 2026! Following on from their recent countdown from No. 20-11, Paul and Darrell now share each of their Top 10 Kate songs. There are a few surprises along the way! Did they miss out some of your favourites?

Miland "Mille" Petrozza är gitarrist och sångare i det stilbildande tyska thrash metal-bandet Kreator. Han växte upp i Essen med en mor som flytt från Östtyskland och en far som kommit från det fattiga Syditalien för att bli gruvarbetare. Den första musik som Mille älskade var disco som Baccara och Bee-Gees. Han blev förtjust även i Kiss discoflörter men när han såg dem live 1980 fick han smak för tyngre musik tack vare förbandet Iron Maiden. Två år senare startade den 14-årige Mille gruppen Metal Militia som bytte namn till Tyrant för att sedan bli Tormentor och slutligen Kreator. Mille gick fortfarande i gymnasiet när de fick skivkontrakt och åkte på sin första USA-turné. Hemma hos mig pratar han bland annat om sin kärlek till Dario Argentos skräckfilmer, om när han fick besök av Mayhem långt innan de blivit satanister, om när det senare bandets ledare Euronymous fick honom att upptäcka Kate Bush, om Kreators legendariska spelningar i Fagersta (som bland annat inspirerade en ung Howlin' Pelle), om att ta hand om sin kropp för att orka headbanga, om nya albumet "Krushers of the world" och om varför det inte funkar att vara rasist och metalfan. Hosted on Acast. See acast.com/privacy for more information.

Reflecting on 2025's Best Music with Mylla Issues & Simone Insights, Witchy Vibes, and Global ReachIn this episode, we wrap up 2025 and dive into an insightful conversation with Mylla Issues and her BF, Simone Mancinelli. Mylla shares her musical journey, her love for 'witchy' vibes, and her inspirations from the 80s, including Kate Bush. The discussion touches on how Mylla integrates gothic and witchy elements into her music and on the significance of this for her and her fans. Simone translates and tells us how he provides honest feedback on her work. They also discuss the future of radio, the role of streaming platforms, and plans for international tours. A must-watch for fans of unique, genre-blending music and an understanding of independent music scenes.

Morse code transcription: vvv vvv Two children and mother killed in Boxing Day house fire in Stroud The words from my Dad that saved me as a new parent Kate Bush heartbroken over friend missing at sea TV lookahead for 2026 and beyond Home secretary urged to strip activist of British citizenship John Simpson Ive never seen a year as worrying as 2025 Why are young people leaving Britain to work abroad Mums 27 year wait for return of global explorer son Karl Bushby Man shot dead by Norfolk Police in Thetford after two car crash Hospitals warned end of life care crisis threatening treatment

Morse code transcription: vvv vvv The words from my Dad that saved me as a new parent Mums 27 year wait for return of global explorer son Karl Bushby Hospitals warned end of life care crisis threatening treatment Home secretary urged to strip activist of British citizenship Kate Bush heartbroken over friend missing at sea Man shot dead by Norfolk Police in Thetford after two car crash John Simpson Ive never seen a year as worrying as 2025 Two children and mother killed in Boxing Day house fire in Stroud Why are young people leaving Britain to work abroad TV lookahead for 2026 and beyond

Morse code transcription: vvv vvv Kate Bush heartbroken over friend missing at sea The words from my Dad that saved me as a new parent Hospitals warned end of life care crisis threatening treatment TV lookahead for 2026 and beyond Home secretary urged to strip activist of British citizenship Mums 27 year wait for return of global explorer son Karl Bushby Why are young people leaving Britain to work abroad Two children and mother killed in Boxing Day house fire in Stroud Man shot dead by Norfolk Police in Thetford after two car crash John Simpson Ive never seen a year as worrying as 2025

It's a very special encore interview with legendary producer Martin “Youth” Glover! This is one of my favorite episodes ever! Not only because we talk about some his production credits such as working with Paul McCartney, Pink Floyd, Gun & Roses, U2, Kate Bush, The Verve, and many others. But also, because he was the longtime bass player from one of my all-time favorite bands: Killing Joke. An absolute thrill of an interview! (Note: This interview was recorded just four months before the death of Killing Joke guitarist Geordie Walker). Listen on Apple Podcasts, Spotify, YouTube, and on the Rock102 app. Brought to you by Metro Chrysler Dodge Jeep Ram of Chicopee.

Happy Christmas! Seán introduces a fun episode in which Paul and Darrell share each of their top 20 Kate Bush song lists. This is part 1 where they count down from number 20 to 11, without knowing what each other's choices are! They are surprisingly quite different, and they explain why they chose each song. Wishing all our listeners a lovely Christmas and a wonderful, peaceful New Year in 2026!  

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. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

What's your most loved and least favourite song on Cocteau Twins' 1990 album Heaven or Las Vegas? Ranking such a semi-wordless shimmery masterpiece was a strange, wonderful experience. TMI abounds. San Diego's Cocteau coverband, the Mocteau Twins inspired Adam to choose it and the whole band was kind enough to send us their story and favorites!  Available at WeWillRankYouPod.com, Apple, Spotify and Las Vegas. Please tell us how YOU would rank tonight's tunes on Instagram, Facebook and Threads  @wewillrankyoupod !FILE UNDER/SPOILERS:Ambient, baby, Blue Bell Knoll, Kate Bush, Capitol Records, Cherry Coke, Cherry-Coloured Funk, Christmas lights, Cocteau Twins, the Cure, Miley Cyrus, dream pop, electronic, experimental, Fifty-Fifty Clown, Fotzepolitic, 4AD, Elizabeth Fraser, Frou-Frou Foxes in Midsummer Fires, GARLIC FONDUE, harmonies, Robin Guthrie, Heaven For Last Vegans, Heaven or Las Vegas, Iceblink Luck, Jericho, Johnny and the Self Abusers, Las Bagels, London, Lucy Belle, Massive Attack, misheard lyrics, Mocteau Twins, Alanis Morrissette, newborn, pedals, Pitch the Baby, Matt Pond PA, psychedelia, Simon Raymonde, reverb, Ride, Road River and Rail, Chappell Roan, Scotland, September Sound, shoegaze, Simple Minds, the Sundays, swirling, Twickenham, Wolf in the Breast, 1990.US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comNEW! Host tips: Venmo @wewillrankyoupodhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPodhttp://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)http://www.instagram.com/MocteauTwins

Conductor Ben Gernon and Music Director Katy Richardson join Jeffrey Boakye and Anna Phoebe as they add another five tracks, taking us from the Mongolian landscape to a sunrise in Lesbos, a famous TV theme, and some seriously wronged wives.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Wolf Totem by The HU  Daybreak (Lever du jour) by Maurice Ravel Stranger Things Theme by Kyle Dixon and Michael Stein Madeline by Lily Allen Ex-Wives from SIX: The MusicalOther music in this episode:Music for 18 Musicians by Philip Glass Creep by Radiohead The Lonely Goatherd by Julie Andrews Morgul by Ay-Kherel Dancing On My Own by Robyn Sweet Dreams by Eurythmics I Feel Love by Donna Summer Running Up That Hill (Deal With God) by Kate Bush

In this episode, we sit down with Laura Camacho, a double bassist, tango composer, and ethnomusicologist originally from Buenos Aires and now based in Austin, Texas. Laura shares her fascinating journey from performing with the ensemble Las del Abasto in Argentina—including opening for tango legend Mariano Mores—to pursuing a PhD in ethnomusicology at the University of Texas at Austin. We dive deep into Laura's new album, Todo Tiempo Pasado, released in November of 2025 with her ensemble, the Laura Camacho Tango Project. The album is a beautiful blend of tradition and experimentation, featuring original compositions, works by Astor Piazzolla and Mariano Mores, and tango-inspired arrangements of pop songs like Britney Spears' "Toxic" and Kate Bush's "Running Up That Hill." Enjoy and be sure to check out Laura's new album on all streaming platforms. Also, give her Tango Project a follow on Instagram! Connect with DBHQ Join Our Newsletter Double Bass Resources Double Bass Sheet Music Double Bass Merch Gear used to record this podcast Zoom H6 studio 8-Track 32-Bit Float Handy Recorder Rode Podmic Sony Alpha 7 IV Full-frame Mirrorless Interchangeable Lens Camera Sony FE 16-35mm F2.8 GM Lens Sony FE 24-70mm F2.8 GM Lens   When you buy a product using a link on this page, we may receive a commission at no additional cost to you. Thank you for supporting DBHQ.   Thank you to our sponsors! Upton Bass - From Grammy Award winners and Philharmonic players like Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

1) Merry Christmas Merry - mu330 2) The Season's Upon Us - Dropkick Murphys 3) Christmas Was Better In The 80's - The Futureheads 4) Frosty The Snowman - froSted (Jane Weidland) 5) Silver Bells - Erasure 6) Linus And Lucy - Game Theory 7) It Doesn't Often Snow At Christmas (Extended AYED Mix) - Pet Shop Boys 8) Last Christmas - All About Eve 9) Christmastime - Smashing Pumpkins 10) December Will Be Magic Again [Live 1979] - Kate Bush 11) Mary X-Mas - Nina Hagen 12) Black Christmas - Poly Styrene 13) Free Christmas - Johnny Marr And The Healers 14) Winter Wonderland - Eurythmics 15) Peace On Earth Little Drummer Boy - The Flaming Lips 16) Jingle Bell Rock - The Fall 17) Santa Claus Is Coming To Town - X 18) Christmas Wrapping - The Waitresses 19) Winterlong - Pixies 20) You Trashed My Christmas - The Primatives 21) Santa Claus - Throwing Muses 22) Christmas (Baby, Please Come Home) - U2 23) It Only Comes Once A Year - Deborah Holland 24) Feast Of Lights - They Might Be Giants 25) Do They Know It's Christmas? - Band Aid

Emma Barnett is a broadcaster, journalist and author who we admire hugely. She is one of the BBC's most high-profile journalists who is currently part of the presenting team on BBC Radio 4's Today programme - as well as previously hosting Women's Hour and Newsnight. Alongside her incredible broadcasting career, Emma has also become a powerful advocate for women's health - having chosen to speak up about her very difficult IVF journey as well as struggling with both endometriosis and adenomyosis. Emma told us about why she chose to bring her private reality into light to advocate for women's health and to disrupt the assumptions that we may hold about ‘serious' news presenters. We also spoke to Emma about interviewing Kate Bush, what happened when she called out Rory Stewart for lying on air and why she is concerned about women feeling the need to be liked all the time. Experiences that have reshaped lives. Bold questions, unexpected truths, lots of tea... Emma Barnett invites you into her world for deeply human conversations. You can listen to episodes on BBC Sounds HERE. New episodes of Ready to Talk with Emma Barnett are available every Friday on BBC Sounds.Follow @emmabarnett on InstagramIf you want to get in touch you can email us on shouldideletethatpod@gmail.com Follow us on Instagram:@shouldideletethat@em_clarkson@alexlight_ldnShould I Delete That is produced by Faye LawrenceStudio Manager: Elliott MckayVideo Editor: Celia GomezSocial Media Manager: Sarah EnglishMusic: Alex Andrew Hosted on Acast. See acast.com/privacy for more information.

Bill speaks with film critic and author Willow Catelyn Maclay about her various endeavors in film culture, from writing freelance criticism and creating the Curtsies and Hand Grenades website to contributing to special features to Blu-Rays from labels like Mondo Macabro, Arrow Video and American Genre Film Archive and co-authoring the book CORPSES, FOOLS AND MONSTERS: THE HISTORY AND FUTURE OF TRANSNESS IN CINEMA with Caden Mark Gardner. Topics include: BLADE RUNNER, Simran Hans' Girls Gotta Eat fanzine, Letterboxd, BOYS DON'T CRY, Elizabeth Purchell, the "Body Talk" series, constructive feedback from editors, COME BACK TO THE 5 & DIME, JIMMY DEAN, JIMMY DEAN and the Lou Reed/Metallica "Lulu" album. Read Curtsies and Hand Grenades: http://curtsiesandhandgrenades.com/ Buy CORPSES, FOOLS AND MONSTERS: THE HISTORY AND FUTURE OF TRANSNESS IN CINEMA: https://www.penguinrandomhouse.com/books/725695/corpses-fools-and-monsters-by-willow-maclay/ Buy the EVA MAN double feature - Limited Red Case Edition from Mondo Macabro: https://mondomacabro.bigcartel.com/product/eva-man-double-feature-limited-red-case-edition Read Willow Catelyn Maclay on the music videos of Kate Bush: https://musings.oscilloscope.net/post/174602794486/moving-on-the-cinema-of-kate-bush-by-willow Read Willow Catelyn Maclay and Caden Mark Gardner's Body Talk series: http://curtsiesandhandgrenades.blogspot.com/search/label/Body%20Talk Read Willow Catelyn Maclay's 2014 essay "Under the Skin's Transgender Allegory": http://curtsiesandhandgrenades.blogspot.com/2018/03/under-skins-transgender-allegory.html Read and follow Willow Catelyn Maclay on Patreon: https://www.patreon.com/c/willowcatelynmaclay Watch Willow Catelyn Maclay on Turner Classic Movies: https://www.instagram.com/reel/DRKhKh_Dm6s/ Read Caden Mark Gardner's essay "From the Margins: What the Archives Show Us About Trans Cinema and Audiences" for The Criterion Collection: https://www.criterion.com/current/posts/7254-from-the-margins-what-the-archives-show-us-about-trans-cinema-and-audiences

Welcome back to Kinfolklore, where Andrea and Paul dive deep into the fantasy and sci-fi worlds we love. Few shows capture that blend of nostalgia, terror, and friendship quite like Stranger Things.This episode, we're Diving chaos and heartbreak of Stranger Things 4, the year is 1986. The music is Kate Bush, the vibe trauma, guilt, and horror. In preparation for the final season dropping this November, Andrea and Paul are rewatching every episode from the very beginning, continuing their coverage here with Season 4, Chapters 6-9

Welcome back to Kinfolklore, where Andrea and Paul dive deep into the fantasy and sci-fi worlds we love. Few shows capture that blend of nostalgia, terror, and friendship quite like Stranger Things.This episode, we're Diving chaos and heartbreak of Stranger Things 4, the year is 1986. The music is Kate Bush, the vibe trauma, guilt, and horror. In preparation for the final season dropping this November, Andrea and Paul are rewatching every episode from the very beginning, continuing their coverage here with Season 4, Chapters 1-5

Singer and composer Theo Bleckmann has spent his career between categories - jazz and avant-garde, improvisation and composition, structure and discovery. Born in Germany, he began as a boy soprano and figure skater before discovering jazz and moving to New York to study with Sheila Jordan. Since then, he's built a singular life in music, collaborating with artists like Meredith Monk, Laurie Anderson, and Ben Monder. Here he talks about community, teaching, queerness, and the meaning of "a life in music" rather than "a career in jazz." He also talks about his new album Love & Anger, produced by Ulysses Owens Jr., which bridges Kate Bush and the Beatles, Frank Ocean and original compositions - all infused with curiosity, empathy, and mystery. This episode is supported by Musication, providing in-home music lessons in Brooklyn and Manhattan to children ages 3yrs old and up. Email lessons@musication.nyc and mention "The Third Story" to receive two free trial lessons.  www.third-story.com https://leosidran.substack.com/ https://www.wbgo.org/podcast/the-third-story

Slim thought he was gonna die this weekend, and Lazlo had the cops at his house. A guy died by getting sucker punched. How do you pay bail? What are songs people listen to while giving birth?? SlimFast always cries to Kate Bush, and Lazlo places his sports bets. Everyone would LOVE if Slim and Lazlo were cops. In Headlines, the guys talk about Adam Silver speaking out about the NBA Gambling Fraud Charges, Trumps' Canada ad and possible 3rd running, the AVIS Employee not returning cars, people getting mad about a stripping skeleton, and much much more! Stream The Church of Lazlo podcast on Apple Podcasts, Spotify, or wherever you get your podcasts!