Podcast appearances and mentions of lady churchill

In this episode of Gangland Wire, I sit down with retired FBI agent Geoff Kelly, a specialist in art theft investigations who inherited one of the most notorious unsolved cases in American history—the 1990 robbery at the Isabella Stewart Gardner Museum. He recently wrote a book about this theft titled 13 Perfect Fugitives: The True Story of Mob, Murder, and the World’s Largest Art Heist. Kelly's law enforcement career began as a New York City transit police officer before transitioning to the FBI. Like many agents, he initially sought violent crime work. Instead, he was assigned to economic crimes before eventually transferring to a violent crime squad. It was there that he encountered the Gardner case—a cold case largely untouched by senior agents at the time. The robbery itself remains extraordinary: two men posing as police officers gained entry to the museum and stole 13 works of art, including masterpieces by Rembrandt. More than three decades later, none of the works have been recovered. Inside the Gardner Heist Geoff explains how art theft is often misunderstood. Popular culture portrays refined, sophisticated criminals orchestrating elaborate capers. The reality, he says, is usually more opportunistic and frequently violent. Art theft often intersects with organized crime, drug trafficking, and even homicide. Massachusetts has a documented history of art-related crimes, and several individuals connected to the Gardner investigation met violent ends. The criminal underworld surrounding stolen art is less about wealthy collectors hiding paintings in private vaults and more about leverage—using artwork as collateral in criminal negotiations. The FBI's Art Crime Evolution Following the 2003 looting of Iraq's National Museum during the Baghdad invasion, the FBI formalized its Art Crime Team. Kelly discusses how intelligence gathering, informants, and international cooperation became central tools in recovering stolen artifacts. He emphasizes that solving art crimes often depends less on forensic breakthroughs and more on human intelligence. Informants remain essential, especially in cases where organized crime overlaps with high-value theft. Kelly also discusses his upcoming book, 13 Perfect Fugitives, which explores the intersections of mobsters, murder, and the illicit art market. Organized Crime and the Reality of Stolen Art Drawing on my own experience working organized crime in Kansas City, I found clear parallels between traditional mob rackets and art theft networks. The same structures—intimidation, secrecy, and violence—apply. Once a painting disappears into criminal circulation, it becomes a liability as much as an asset. Kelly challenges the myth that thieves profit easily from masterpieces. High-profile works are difficult to sell. The black-market art world is volatile and dangerous. In many cases, the artwork becomes bargaining collateral rather than a cash windfall. A Case Still Waiting for Closure More than 30 years later, the Gardner Museum still displays empty frames where the paintings once hung. Kelly remains committed to the idea that public awareness may eventually generate new leads.  The Gardner heist stands as both a cultural tragedy and a criminal mystery—one that continues to intersect with organized crime, violence, and international intrigue. Hit me up on Venmo for a cup of coffee or a shot and a beer @ganglandwire Click here to “buy me a cup of coffee” Subscribe to the website for weekly notifications about updates and other Mob information. To go to the store or make a donation or rent Ballot Theft: Burglary, Murder, Coverup, click here To rent ‘Brothers against Brothers’ or ‘Gangland Wire,’ the documentaries click here.  To purchase one of my books, click here. Transcript [0:00] Hey, you guys, Gary Jenkins back here in studio Gangland Wire. Y’all know me. I’m a retired Kansas City Police Intelligence Unit detective and now podcaster and documentary filmmaker. I have in the studio today… Jeff Kelly, he’s a now-retired FBI agent. He was an expert in recovering stolen artifacts and art pieces. He was involved. He wasn’t involved in the original theft of the Boston art theft, the Isabella Stewart Gardner Museum, but he ended up inheriting that case. So welcome, Jeff. Hi. Thanks, Gary. Nice to be here. And guys, I need to mention this right off the bat. Jeff has a book, 13 Perfect Fugitives, The True Story of the Mob, Murder, and the World’s Largest Art Heist. Be out on Amazon. I’ll have links down below in the show notes if you want to get that book. I think it would be pretty interesting. I was telling Jeff, I just interviewed Joe Ford, the million-dollar detective, the guy that goes after classic cars, and I read that book. I love these kind of caper kind of books and caper crimes. Those are the ones I like the best is the caper crimes. And Jeff is an expert at working caper crimes. And that’s what these are, capers. So Jeff, how did you get into this? Now you came on the FBI. You were a policeman before, I believe. So tell the guys a little bit about yourself and your FBI career. Yeah, I started out with the Metropolitan Transportation Authority Police in New York City. It was a transit cop. I did that for three years. And then I got into the FBI in October of 95. [1:30] And my goal was always, I wanted to work violent crime. That’s what drew me to law enforcement in the first place, working bank robberies and kidnappings and fugitives. I had to do my five years on working economic crime, telemarketing fraud. It was interesting, but not all that exciting. And finally in 2000, I got my transfer to the violent crime squad. And I loved working it. And I did it for my entire career from then on, right up until my retirement in 2024. But back then, art theft was considered a major theft violation, [2:01] and it was worked by the Violent Crime Squad. And so in 2002… My supervisor dumped this old moribund cold case in my lap. It was the Isabella Stewart Gardner Museum heist. [2:15] Nobody wanted it on the squad, so they figured, let’s give it to the new guy. I was ecstatic to get it because I’d heard about it. I went to school in Boston. I went to Boston University and graduated the year before it happened, but I knew about it. [2:28] That’s how I started working this case, this particular case, and then the following year during the U.S., there was a, the U.S. And coalition forces invaded Baghdad in Iraq. And during a 36-hour period, more than 15,000 objects of very, very important cultural history were looted from the National Museum of Iraq. And it’s really one of the most important museums in the world in terms of our shared history. Kind of the cradle of civilization over there in the Tigers and Euphrates River. Yeah, and that was the time when the FBI kind of belatedly realized that there was no art crime team to investigate this. And of course, FBI agents have been working art theft like any other property crime since the beginning of the FBI’s existence, but there was no codified team. So they did a canvas for the team in 2004 and I applied for it because at this point I’d been working the Gardner case for a couple of years and really was fascinated by it and made the team. And so then over the next 20 years, we continued to expand the team both in size and in scope and in our intelligence base and knowledge base. And when I left the Bureau in 2024, it was and still is a tremendous team with a lot of very dedicated and professional agents and professional support. [3:51] Now, guys, if you don’t know about the Isabella Stewart Gardner case, there was a Netflix documentary on it a few years ago. It was an art museum in Boston. [4:01] Two guys showed up. They had Boston police uniforms on, and they got in. They basically, it was an armed robbery, and they took control of the museum. The guards were in there late at night and took these really valuable paintings out. I believe you told me earlier they were Remington paintings. We’ll get into that. And it was a violent crime. It was an armed robbery of paintings, and you told me about other armed robberies of paintings. I think you got into some other armed robberies of paintings. You always think of, as you mentioned before, the Thomas Crown Affair character that goes out and does these sophisticated art thefts. That’s not always true, is it? It’s never that way, but it doesn’t matter. Don’t let the facts get in the way of a good story. Everybody wants to believe that art thefts are pulled off by the Thomas Crown Affairs and these gentlemen thieves repel in through skylights and do all that fancy stuff, put it in their underground lair. That’s just not the way it works. But if you look to art theft. [4:55] Massachusetts really is a cradle of art theft in this country, and it’s very unique. The first armed robbery of a museum occurred in Boston in 1972. It was committed by a guy named Al Monday, who was a prolific art thief. And they stole four pieces from the Worcester Art Museum in central Massachusetts with a gun. They ended up shooting the guard. And one of the pieces that they stole was a Rembrandt called St. Bartholomew. [5:26] And in keeping with the milieu of true art thieves, the paintings were stored on a pig farm just over the state line in Rhode Island. And when this Connecticut safecracker by the name of Chucky Carlo, who was looking at some serious time in prison for some of the crimes that he committed, when he found out that Al Monday had these paintings, he just simply kidnapped Al Monday and stuck a gun in his ribs and said he would kill him if he didn’t give him the paintings. which is no honor among thieves. And Al turned over the paintings, Chucky returned them, and he got a very significant break on his pending jail sentence. Right here in 1972, Boston thieves see Rembrandt as a valuable get-out-of-jail-free card. [6:09] And then if we jump forward three years to 1975, there was a very skilled art thief, really a master thief by the name of Miles Conner. I interviewed Miles for my book. It was very gracious of him to sit down with me for it. And he had robbed or committed a burglary of the Woolworth estate up in Maine, the family, the five and dime family magnets. And he got caught for it because he tried to sell those paintings to an undercover FBI agent. And so he was looking at 12 years in prison for it. And he was out on bail. And he reached out to a family friend who was a state trooper. And he asked him, how can I get away with this one? How can I get out of this? Because he was in serious trouble. The trooper’s response was meant to be hyperbolic. The trooper said, Miles, it’s going to take you a Rembrandt to get out of this one. [6:57] And so Miles said, okay, I’ll go get a Rembrandt. And he got a crew together and they did a daylight smash and grab at the Museum of Fine Arts in Boston, just across the street from the Gardner. And they stole Rembrandt, the girl in a gold-trimmed cloak. [7:12] And he was able to return that painting. Instead of doing 12 years, he did 28 months. And he even managed to, he told me he even managed to get the $10,000 reward in the process. So you have this atmosphere in Massachusetts that Rembrandts are a valuable commodity, right? They can help you out in a jam. And so I think it’s no coincidence that in 1990, when the Gardner Museum heist came down, the Gardner Museum had this array of motion sensors all throughout the museum. It would alert to wherever you went, every gallery, hallway, whatever. [7:49] And we know from these motion sensors that after, as you said, the two guys went in disguised as cops and bluffed their way into the museum, they made a beeline for the Dutch room, which is the room of all things Rembrandt. They stole three Rembrandts. They stole a fourth piece called Landscape with an Obelisk, which was actually by Govard Flink, but it had been misattributed to Rembrandt until the mid 80s. And then they took a large Rembrandt oil-on-panel off the wall and it was recovered the next morning leaning against a piece of furniture. We believe they just overlooked it in the dark. So out of the 13 pieces taken, three were Rembrandt, a fourth was misattributed to Rembrandt, and there was going to be a 14th piece taken, which was also Rembrandt. It definitely falls into that theory that this was going to be a hold-on to these pieces for a while and see if you can use them for a break. [8:48] Interesting. Now, back in the 70s, for example, when somebody would work in an art robbery like that or an art theft, you got your tried and true ways of working a crime. You got to have sources, you got to have witnesses, and hopefully you can get a crime like this. You can get a source that says, hey, this guy, we had a guy in Kansas City that he was a fence for these kinds of guys. He had an antique auction and he took all this stuff and got it somewhere else. So at the time, just use your regular police methods. And what changed over the years as you’ve done this? Yeah, certainly we’ve become much more sophisticated with the techniques that we use. But at the end of the day, it’s always still going to be intelligence. But I found from working my entire career in violent crime, virtually my whole career in violent crime, the sources are crucial. Having a good informant can make and break a case. And working art theft investigations, you’re certainly going to have the same types of fences of informants, fences for stolen property and what they’re hearing about what organized crime guys are doing and what drug guys are doing. But it also opened up a whole new avenue of sources for me as working in art investigations, because now you’ve got pawn shops and gallery owners and auction houses, and they’re in a position to know when not only when stolen artwork is coming in, but also fakes and forgeries. We spoke about this, that. [10:16] Somebody comes in with one valuable piece that would be very difficult for somebody in his or her position to come across one piece like this, let alone a dozen of them. That really points to probably a fake. And so that’s really the key to solving these things is just having a good intelligence base who’s going to let us know about when something comes up that’s either stolen or it’s been forged. [10:43] Brings up a question. In my mind, did you ever work a gallery owner or a gallery [10:48] that then would filter in, knowingly filter in some fakes every once in a while? They couldn’t do it 100% of the time, but you could certainly make some extra money by filtering fakes out of it because many people would get it and they’d never know. Nobody would ever know. Listen, it is a really difficult thing when you’re working these types of crimes because unlike bank robber, you go into a bank and you stick them up with a gun and take them on. It’s not up to the government to be able to prove at trial that you knew that the bank was insured by the FDIC. You went in and you robbed it, you committed the offense. When you’re talking about interstate transportation of stolen property or possession of stolen property, there are what’s called specific intent crimes, meaning you have to prove the element of knowledge. You have to be able to prove that the person knew that that item was stolen. Not that it said it was stolen. and you had to show that they knew it. And that’s a really high hurdle to overcome. And typically what we do to try and prove that specific intent is we’re going to go through. [11:53] Recorded statements made to a source or to an undercover or emails or texts or something that we can show that this person knew that item was stolen. And so we would see that a lot in auction houses and galleries. There’s a lot of willful blindness where a lot of gallery owners and auction houses, they’re going to look the other way because it’s too lucrative to pass up. And in fact, in 2015, the art crime team, once we received information that ISIL or ISIS was using looted cultural property from Syria and Iraq as a form, a viable form of terrorism financing. And we put auction houses and gallery owners on notice in 2015, and we basically told them that if you’re selling objects of cultural patrimony or cultural heritage with a dubious provenance, like a wink and a nod, you may be unwittingly or wittingly funding terrorism. While we never charged anybody with it, hopefully it was an eye-opener that when you’re getting into this world, it’s not a victimless crime. There are very real victims involved. [13:07] And that’s one of the things that really is interesting about working our crime investigations. And I used to get ribbed by my friends who were not on the art crime team about [13:18] where like the wine and cheese squad were raised and everything. But our subjects are far from it. We’re dealing with organized crime, gangs, terrorists. This is no joke. These are serious individuals and the stakes are high. And in the Gardner case, three or four people that we believe were involved in the heist were murdered a year after the Gardner case crime occurred. Yeah, I was just going to go back to that a little bit, as we said before, a little bit like the Lufthansa case. All of a sudden, everybody that was involved in the theft. Started dropping like flies. So tell the guys about that. That is really interesting. [14:00] Yeah. So the two individuals that we believe went into the museum dressed as cops, just a week shy of the one-year anniversary, one of the guys was found dead in his apartment of an acute overdose of cocaine, intravenous. And his family admitted that he used Coke, but they said he was terrified of needles. He was scared of needles. So it really looked to be like a hotshot, an intentional overdose of cocaine. Two weeks later, the other guy who we believe went into the museum with him, his wife reported him missing. And a couple of weeks later, his bullet riddled body was recovered in the trunk of his car out by Logan Airport in East Boston. There was another member of that crew. These were all part of the same crew. This Carmelo Merlino, who was a Boston mobster, had an auto shop down in the Dorchester section of Boston. Another member of his crew, a guy named Bobby, six weeks after the heist, he brought in, he visited a jeweler in the downtown crossing jewelry district in Boston. He came in with this object and he unwrapped it. It was an eagle. [15:03] It was the finial from the Napoleonic flag that was stolen in the Gardner heist. And he asked the jeweler, how much is this thing worth? And the jeweler looked at it and he said, it’s worth nothing. Because he immediately recognized it as one of the people that had been stolen six weeks earlier from the Gardner heist. And then a few months later, Bobby was stabbed to death and nearly decapitated on the front porch of his house. And the responding police saw that his house had been broken into and ransacked like his killers had been looking for something. There was a fourth guy, Jimmy, who bragged to his girlfriend a few months after the heist that he had a couple of pieces from the Gardner Museum hidden in his attic. [15:47] And in February of 1990, 11 months after the heist, he was executed on his front porch in what the local police called a mob hit. So, yeah, these are the types of crimes that have a tendency to have a chilling effect on anybody who harbors any aspirations to come forward with information. Yeah, and we talked earlier a little bit about, like, the crime itself, and the statute of limitations is up on that, what you said, and the crime itself, but how we talked a little bit and explained to them about how this could be part of a RICO case. And you’ve got the murders and you’ve got the actual theft and whatever they did with the paintings, then maybe you could get over after a Bob boss as a Rico case. Tell the guys a little bit about doing that. Yeah. [16:32] I’ve heard it so many times in more than two decades that I worked the case and people would say, geez, why don’t people come forward? They’re just paintings. There are so many times they’re just paintings. They’re like, yeah, they are, but there’s two things about that. Number one, there’s some dead bodies on these paintings, three or four, and that there’s no statute of limitations for murder. And so if you implicate yourself in the theft or you implicate yourself in possessing or transporting these paintings at any time, the fear is that you’re then implicating yourself in a homicide. And the other aspect of this, which I think has a chilling effect, is the fact that transportation of stolen property is one of the predicate acts for RICO, racketeering influence corrupt organization case. And RICO is basically, Gary, is basically an entire organization is corrupt. Yeah. There’s no legitimate purpose. It’s what we think about the mob and the [17:27] FBI has taken down the mob in the past. So if you implicate yourself in stolen property and you’re part of organized crime, that’s one of the predicate acts for a RICO. And that’s basically life sentences. And so one of my goals in the years and years that I worked in this case was to try and convince people that you could come forward with information and the U S attorney’s offices, whether it’s up in Boston or new Haven or Philadelphia. [17:58] Would be willing to figure out a way to get the paintings back with immunity from prosecution for a RICO case. Look, that’s a high hurdle. That’s a high hurdle to convince somebody that if you come forward, you’re not going to get charged and you’re eligible for millions of dollars in reward. That’s a tough bill to swallow, but it’s the truth. I’m retired from the FBI now. I can tell you that it was, it’s a, it was, and still is a bona fide offer. And that’s one of the goals that I’ve always tried to impress on anyone is the opportunity to become a millionaire without going to jail. There you go, Jeff. Can you, now you’re not with the Bureau anymore. Can you go out, if you could go out and find them and bring them in, could you collect that reward? I would certainly hope so. [18:48] I can’t tell you how many of my friends thought that I had some of these paintings stashed in my basement. Waiting for retirement to go turn them in the next day. I think half the guys I worked with were expecting to see me pull into the parking lot of the FBI. [19:01] Big package, but no. But yeah, I suppose I could. By this point, I can tell you the amount of my very being that I put into this case over two days. Yeah. I just would love to see these paintings go back just because they need to be back at the museum. That’s where they belong. Now, these crimes, they seem, You said there’s a lot of murders attached to this. They seem a little boring. Did you have any exciting moments trying to pop anybody or do any surveillances? I know we did a big surveillance of a bunch of junkies that were going around stealing from small museums around the Midwest. And we follow them here in Kansas City. And they would have been pretty exciting had we had a confrontation with them. Did you have any exciting moments in this? It actually was a fascinating case. And for the first, there’s the really boring aspects of this job and tedious aspects. And I would say that in my, two decades working this case, I probably did, I don’t know, 50, 60, 70 consent searches, searching in attics and basements and crawling through crawl spaces and just getting sweaty and covered in cobwebs. But the break in the case for me came in 2009 when one of the guys who was part of Merlino’s crew who was deceased, his niece came forward to me and told me that the paintings. Some of them had been hidden up in this guy’s hide at his house up in Maine. I went up to Maine with Anthony Amore, who’s the director of security for the Gardner Museum. We worked on this case together for years. [20:29] And then we found that hide. And then we interviewed, right from there, we went and interviewed Guarenti. That’s the guy, Bobby Guarenti. We interviewed his widow and she broke down and admitted that he once showed her the paintings and she gave them to a guy down in Connecticut. And we identified that guy and we interviewed him. My name is Bobby Gentile. He’s a made member of the Philly Mob. He got straightened out with his crew back in the late 90s. [20:54] And he refused to cooperate. And then that’s where we really just started getting, using a lot of ingenuity to try and break it. And an agent down in the New Haven office, a guy by the name of Jamie Lawton, he joined our team and we started working this case. And he had a source who knew Gentile, Bobby Gentile, and the source started buying drugs from Gentile. Ah, there we go. We ended up arresting Gentile and we did a search warrant at his house. And it was crazy. Like we recovered, I want to say seven handguns, loaded handguns lying all over the place. He had a pump action shotgun hanging by the front door. He had high explosives. We had to evacuate the house and call him the bomb squad. But the interesting thing was he had the March 19th, 1990 edition of the Boston Herald with headlines about the Gardner heist and tucked inside that newspaper was a handwritten list of all the stolen items. With what looked like their black market values. This is in the house of a guy who swore up and down that he’d never heard of the Gardner Museum. And we were able to figure out who wrote the list. It was written by none other than Al Monday, who’s the guy that did the first armed robbery of a museum, of a Rembrandt. And we interviewed him and he told us that he wrote that list for Bobby Gentile and his buddy up in Maine, Bobby Garanti, because they had a buyer for the paintings and they wanted to know what they were worth. [22:24] So yeah, and then Gentile took 30 months. [22:28] He wouldn’t cooperate. And while he was incarcerated, we turned two of his closest friends to becoming sources. And so when he got out of prison in February or April of 2014, they started talking to him and talked about the gardener and they said they might know somebody who’d want to buy him. That’s how we then introduced an undercover agent. Gentile was introduced to Tony, this undercover FBI agent. Over six months, they had long talks about selling the paintings. Unfortunately, before Gentile would sell the paintings, he wanted to do a drug deal first, which we couldn’t allow to happen. We can’t let drugs walk on the street. So we had to take it down. And although we’d seized all these guns from Gentile back in 2012, he told the sources the FBI didn’t get all of his guns. Because of that disturbing comment, one of the sources asked Gentile if he could buy a gun for him. And Gentile sold him a loaded 38. So we arrested him again. And he still refused to cooperate. I don’t respect what he did for a living or a lot of the things that he did, but you do have to respect his adherence to his values. However, misguided they may have been, he took the code of omerta, the code of silence to heart, and he took it to his grave. He died, I think, in 2021 after going to prison a second time. [23:50] While we never got any paintings back, it was a tremendous ride, and I’m confident they will come back. It’s just going to be a question of when. Yeah, that kind of brings up the question that you hear people speculate. Did you ever run across this? Is there actually any rich old guys or an Arab sheik or somebody that buys stuff like this and then really keeps it and never shows it to anybody? Does that unicorn really exist? everybody wants that to be true i know virtually it’s not yeah there’s there’s never been a case of some wealthy what we call the doctor no theory some some reclusive billionaire with his underground lair filled with all the illicit stolen treasures of the world yeah that’s it’s never happened yeah i guess you never say never but but no look the majority statistically about three-quarters of everyone that collects art in this country does it for, and I assume it’s probably worldwide, does it for the investment potential. There’s a lot of money to be made in collecting art. It rarely, if ever, drops in value. So that’s why people collect art. If there’s somebody who has a particular piece that they want so badly that they’re going to commission its theft, it’s more the stuff of Hollywood. It could happen, but we’ve never seen that happen yet. Interesting. [25:14] We did have one case here where we had a medical doctor and he had it on the wall of his house. And it was, I believe it was a Western artist named Remington that these junkies stole out of Omaha. But it was such a minor piece that he could show it to anybody and they wouldn’t. They would say, oh, that’s cool. You got a Remington. [25:30] There’s plenty of those around. And he could afford a real deal Remington anyhow. So it wasn’t that big a deal. And that’s really what it comes down to is that art, high-end art does get stolen. It gets stolen quite often. The art market is about $60 billion, and the FBI, we estimated about $6 to $8 billion of that is illicit, whether it’s theft or fakes and forgeries. It’s a tremendous market, but it’s mostly second and third tier items. [26:02] Really valuable, well-known pieces. They do get stolen, but that’s the easy part. The easy part is stealing it. The hard part is monetizing it. That’s why you very rarely see recidivism among art thieves, high-end art thieves, because you do it once, and now you’re stuck with the thing. It’s easier to steal something else. You got to go out and boost fur coats and stuff to make a living. Exactly. Do a jewelry store robbery down there and make a living. And that’s exactly the point. That’s why you’re seeing a sea change in terms of art thefts, museum thefts. The Louvre was a great example of that. Dresden green vault robbery where 100 million euros in gems were stolen back in 2019 yeah. [26:45] Gems and jewelry, it can be broken down. It’s going to greatly diminish their value, but you can recut a gem. You can melt down the setting. You can monetize it for a greatly diminished value, but at least you can monetize it. You can’t cut up a Rembrandt into smaller pieces. [27:02] It’s only valuable as a whole complete piece. Yeah. I’m just thinking about that. We got a couple of guys, Jerry Scalise and Art Rachel in Chicago, flew to London, robbed a really valuable piece, the Lady Churchill’s diamond or something, I don’t remember, but really valuable piece and mailed it to somebody on their way to the airport and then got caught when they got back to Chicago and brought back to London and did 14 years in England and they never gave up that piece and nobody could, it never appeared anywhere, but it was just cut up and they didn’t make hardly any money off of it. Yeah. Look, there’s a, there’s much more profitable ways to. Yeah. To make an illicit living than stealing high-end artwork, but it does still get stolen. And that’s one of the cruel ironies when you’re talking about art theft is if somebody has a $20,000 piece of jewelry or a very expensive watch, they’re most likely going to lock it up in a safe in their bedroom or something. But you have a $10 million piece of artwork, you probably got it on the mantle. You’ve got it over the fireplace or in the front foyer of your house and probably doesn’t have a passive alarm system protecting it or security screws to keep it from being taken off the wall because people want to show it off. Yeah. It’s way too enticing. [28:24] Really? So, yes, you need to keep the word out there and keep this in people’s minds. And I’m sure the museum tries to do this in some ways in order, hopefully, that maybe somebody will say, oh. Yeah. [28:38] I think I saw that somewhere in this news program or on this podcast. [28:42] I’ll put some pictures on the podcast when I end up editing this. No, please do, Kerry. And that’s the thing. That’s the basis for the title of my book is it really is a fugitive investigation. And that’s how I work this case is fugitives and perfect fugitives because they’re not like their human counterparts. They’re not going to get tripped up on the silly things that we need to do as human beings, getting a driver’s license or whatnot. Yeah. [29:09] And so that’s how I worked the case. The FBI was really, I was always impressed with the FBI’s support that they gave me on this investigation. We did billboard campaigns and social media and a lot of things to get these images out there to the public, hoping it might resonate with somebody. And that’s really my goal for this book. I felt it should be written. I felt it’s an important case. Certainly, it’s something that I wanted to write about. It’s something that’s very important to me. [29:42] But it’s yet another attempt to apprehend these fugitives. And I’m hopeful that somebody, it might resonate with somebody. Somebody’s going to see something. And there’s so much disinformation and misinformation that’s out there in the media about this case. People are endlessly, all these armchair detectives, and I don’t say it in a deprecating way. Good for them. Work as hard as you can. But if you want to work this case from your armchair, great. but you should be going off accurate information because there’s a lot of bad information that’s out there on the internet. And if you want to help out, if you want to collect that $10 million reward, great, but you should be going off the most accurate factual information that’s available. Yeah. And you probably ought to go down to the deep seamy underbelly of Philadelphia or Boston or somewhere and get involved with a mob and then work your way up and make different cocaine deals and everything. And eventually you might be trusted enough that some might say, oh yeah, I’ve got those in this basement. I would suggest there’s better hobbies. [30:47] That could be hazardous to your health. I wouldn’t recommend it. Yes, it could. All right. Jeffrey Kelly, the book is 13 Perfect Tuesdays. Those are the paintings that were stolen that you’ll see on the podcast on the YouTube channel. The true story of the mob, murder, and the world’s largest art heist. Jeffrey, thanks so much for coming on to tell us about this. Thanks, Gary. Thanks for having me.

Here’s the audio from the Dec 10th Fantastic Fiction at KGB reading, with guests Daniel Braum & Martin Cahill. Both read from their work on a rainy evening to a packed enthusiastic house. Support the Fantastic Fiction at KGB series by clicking here!​​​​​​​​​​​​ ​ Daniel Braum Daniel Braum writes short stories that explore the tension between the supernatural and the psychological. He intentionally adopts the term “strange tales” for his “Twilight Zone-like” stories in homage to author Robert Aickman and the intentional ambiguities in his work. His most recent books are the illustrated short story collections Creatures of Liminal Space (Jackanapes Press) and Phantom Constellations: Strange Tales and Ghost Stories (Cemetery Dance). His stories also appear in Lady Churchill's Rosebud Wristlet, Shivers 8, and the Best Horror of the Year Volume 12. Braum is also the host of the Night Time Logic Series which has entered its tenth year of interviews and spotlighting dark fiction. & Martin Cahill Martin Cahill is the author of the USA Today bestselling book, Audition For The Fox, released in September from Tachyon Publications. He is also the writer of Critical Role: Armory of Heroes, and contributed to Critical Role: Vox Machina – Stories Untold. Martin was a 2022 Ignyte Award nominee for Best Short Story and a graduate of the 2014 Clarion Writers’ Workshop. He has published fiction with Reactor, Clarkesworld, Lightspeed Magazine, appeared in The Best American Science Fiction and Fantasy 2019, and much more. Martin also writes, and has written, book reviews, articles, and essays for Reactor, Writer’s Digest, Catapult, and others.

At times we have the opportunity to deviate a little from the tried-and-true conversations this podcast has become known for as opportunities occur for us to sit down with a very special person, perhaps not known as a sewist or quilter, but as someone who has made an indelible mark in the world of creativity. Our guest today is a woman whose life and work have helped shape some of the most iconic spaces and moments in American design history – and whose personal story is just as remarkable as her professional one.Tania McKnight Norris was born in Scotland and lived in London and Zimbabwe (then Southern Rhodesia) before relocating to Los Angeles in 1963. With a refined eye for detail, a love of elegance, and an independent spirit, she made her way to the United States and found herself working at the highest levels of interior design—at a time when few women were given a seat at the table.She joined the design team at Walt Disney Productions in the 1960s, becoming the only woman on the original five-person team responsible for creating the interiors of Disneyland's New Orleans Square and the elegant Club 33—an exclusive private club hidden behind an unmarked door that has since become the stuff of legend. Tania designed the club's original logo, handpicked furnishings, and helped shape its iconic look and feel, combining European sophistication with imaginative flair.Norris left Disney in the 70s, working as a project designer for the RMS Queen Mary before relocating to central California and opening an antique shop. She also anchored a weekly radio show about antiques and participated in antique shows throughout the United States while running her shop.Her interests include gardening, photography travel, cooking, needlepoint and botanical art – she is a member of the American Society of Botanical Artists.Today, Tania joins us to reflect on a life lived with imagination, strength, and purpose. From her early days as a curious girl in Scotland to becoming a design icon in her own right, she has so much to share—and we are honored to have her here to share it with us.(3:42) Tania shares stories of her youth…being born before WWII. She lived in a castle Culzean in Scotland which had a special floor that was given by the people of Scotland to President Eisenhower. Did you know that Scotland has palm trees along the coast. And that at the age of 8, Tania decided she wanted to decorate homes?! She even met Lady Churchill, Margo Fountain and the royal family. She arrived in America in November 1963, 2 weeks prior to the assassination of President Kennedy. She marveled at the resilience of this country. Then…there was THE call about the job at Disney. What follows is a rich recount of her early days at Disney.(13:30)Tania talks about Walt Disney and the gracious way he treated her. He “never said no” to her about her ideas. Learn what Disney would do if he didn't like someone's work…or wanted something more. And…how the ladies room got to be bigger than originally planned.(19:05) What's Tania's favorite attraction at Disney World! Find out here and why she chose this particular one. Learn about some of the behind-the-scenes things done at Disney World…things you probably never knew!(21:50) And now…the purple wallpaper. Tania tells of its creation.(24:46) Tania's hands have been reproduced many times at Disney. Hear this story and how much she was paid. Any why Mitzie Chandler got paid more.(26:22) What's it like for Tania to walk into a haunted mansion and see her work? What happened when she saw it on a maiden voyage of a Disney cruise ship?(27:33) Tania is a sewist. How did she learn to sew and what are her favorite things to make. How did WWII influence her sewing? And what's she up to with Joe Vecchiarelli?(33:10) Tania has visited +130 countries. Her some of her wonderful tales of adventures. Let's start with Antarctica. Then there's Mongolia where she saw the eclipse, Siberia for a wedding and Albania to interview students with whom she travelled to Macedonia. Oh, and what about 1000 miles down the Amazon.(35:02) Where has she not traveled to…but wants to go to…? West Africa and several places in Europe. Have toothbrush will travel!(35:37) She talks about her endowment for botanical art at the Huntington in San Marino. She explains why botanical art is so meaningful to her. She tells of the Virginia Robinson Gardens. She also explains botanical art.(38:30) Who is someone she's met in her life that really left an impression. Well…JoeVechiarelli…and Charles the King of England! Michael Jackson, Madonna.(40:12) What inspires her? Inquisitiveness! She tells of a dinner one night at the Getty Museum and…!(41:22) What's next for her? Retirement…most likely not!(41:53) What didn't I ask? Well, hear about her radio show The World of Books(43:14) How can you reach out to Tania? HMpurplewallpaper@gmail.com. Be sure to follow, rate and review this podcast on your favorite platform. Be sure to subscribe to, review and rate this podcast on your favorite platform…and visit our website sewandsopodcast.com for more information about today's and all of our Guests.

Alisa Alering discusses their debut novel, Smothermoss, growing up on a farm, writerly trickery, place, southern Pennsylvania, how unlimited access to the outdoors as a child influenced their writing, what time means to a mountain, the energy of the natural world, the real-life tragedy that features in the novel, setting the novel in the 1980s, starting the novel as a collage, and so much more! Alisa Alering grew up in the Appalachian Mountains of Pennsylvania and now lives in Arizona. After attending Clarion West, their short fiction has been published in Fireside, Lady Churchill's Rosebud Wristlet, Podcastle, and Cast of Wonders, among others, and been recognized by the Calvino Prize. A former librarian and science/technology reporter, they teach fiction workshops at the Highlights Foundation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kelly Link discusses with Ivan six things which should be better known. Kelly Link is the author of White Cat, Black Dog; Get in Trouble, a finalist for the Pulitzer Prize in Fiction; Magic for Beginners; Stranger Things Happen; and Pretty Monsters. Her short stories have been published in The Best American Short Stories and Prize Stories: The O. Henry Awards. She is a MacArthur “Genius Grant” fellow and has received a grant from the National Endowment for the Arts. She is the co-founder of Small Beer Press and co-edits the occasional zine Lady Churchill's Rosebud Wristlet. She is also the co-owner of Book Moon, an independent bookstore in Easthampton, Massachusetts. The Book of Love is her debut novel. Bloomsbury: https://www.bloomsbury.com/uk/book-of-love-9781804548431/ Amazon: https://www.amazon.co.uk/Book-Love-Kelly-Link/dp/1804548456/ Bookshop.org: https://uk.bookshop.org/p/books/the-book-of-love-kelly-link/7508595?ean=9781804548455 Waterstones: https://www.waterstones.com/book/the-book-of-love/kelly-link/9781804548455 Kathryn Davis https://artsci.wustl.edu/faculty-staff/kathryn-davis Dorothy https://dorothyproject.com/ Winterpills https://www.winterpills.com/ Kiva www.kiva.org CCATE www.ccate.org Street Books www.streetbooks.org This podcast is powered by ZenCast.fm

When Nigel Hamilton was a student at Cambridge University in Great Britain, he stayed for a brief time with Winston and Lady Churchill at their home at Chartwell in Kent. He also spent hours talking about World War II with Field Marshall Bernard Montgomery. These experiences led to a life as an author about history. Nigel Hamilton first moved to the United States in 1988 and is now a U.S. citizen. He's based in the Boston area and his books include "JFK: Reckless Youth," two volumes on President Bill Clinton, and a trilogy on FDR as Commander in Chief during World War II from 1941 to 1945. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Nigel Hamilton was a student at Cambridge University in Great Britain, he stayed for a brief time with Winston and Lady Churchill at their home at Chartwell in Kent. He also spent hours talking about World War II with Field Marshal Bernard Montgomery. These experiences led to a life as an author about history. Nigel Hamilton first moved to the United States in 1988 and is now a U.S. citizen. He's based in the Boston area and his books include "JFK: Reckless Youth," two volumes on President Bill Clinton, and a trilogy on FDR as Commander in Chief during World War II from 1941 to 1945. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alex McHugh interviews sci-fi author Dennis Danvers on anarchist ideas in fiction, his books The Watch and Leaving the Dead, and the life of a writer. http://dennisdanvers.com/ Mr. Danvers has written a variety of well-received sci-fi novels, including Circuit of Heaven, Time and Time Again, and End of Days, as well as the Locus and Bram Stoker nominee Wilderness. His short fiction has appeared in Strange Horizons, Intergalactic Medicine Show, Space and Time, Lady Churchill's Rosebud Wristlet, F & SF, Realms of Fantasy, Electric Velocipede, Lightspeed, Tor.com, See the Elephant, Apex Magazine; and in anthologies Tails of Wonder, Richmond Noir, The Best of Electric Velocipede, Remapping Richmond's Hallowed Ground, and Nightmare Carnival. He taught fiction writing and science fiction and fantasy literature at Virginia Commonwealth University in Richmond, Virginia for over thirty years.

Kelly Link is the author of four previous story collections including Get in Trouble, which was a finalist for the Pulitzer Prize (a link to her interview with Marrie about that book can be found here). Her short stories have been widely published in literary magazines including The Best American Short Stories and Prize Stories: The O. Henry Awards. She is a 2018 MacArthur Fellow and has received a grant from the National Endowment for the Arts. She's also the co-founder of Small Beer Press and co-edits the occasional zine Lady Churchill's Rosebud Wristlet. Kelly joins Marrie to talk about her latest collection, White Cat, Black Dog, out later this month and published by Random House. They talk about the role of fairy tales, Scottish ballads, and 17th century French lore in her work. Kelly walks through the evolution of several stories, the ways some of them surprised her, and how her illustrator was able to communicate something about one story that Kelly was not willing to include. Kelly talks about the Joy Williams' list of 8 essential things every story needs and much more. For more information on Writers on Writing and additional writing tips, visit our Patreon page. To listen to past interviews, visit our website. (Recorded on March 2, 2023) Host: Barbara DeMarco-Barrett Co-Host: Marrie Stone Music and sound design: Travis Barrett

Barbara Krasnoff divides her time between writing short speculative fiction and editing tech as Reviews Editor for The Verge. Her book The History of Soul 2065 is coming out in June, 2019 from Mythic Delirium Books. It is a “mosaic novel” made up of interconnection short stories about two uncanny families through several generations. Her short fiction has appeared in a variety of publications, including Space & Time Magazine, Electric Velocipede, Apex Magazine, Doorways, Sybil's Garage, Behind the Wainscot, Escape Velocity, Weird Tales, Descant, Lady Churchill's Rosebud Wristlet, Amazing Stories, and the anthologies Fat Girl in a Strange Land, Subversion: Science Fiction & Fantasy tales of challenging the norm, Broken Time Blues: Fantastic Tales in the Roaring '20s, Crossed Genres Year Two, Descended From Darkness: Apex Magazine Vol. I, Clockwork Phoenix 2, Such A Pretty Face: Tales of Power & Abundance, and Memories and Visions: Women's Fantasy and Science Fiction. Barbara is also the author of a non-fiction book for young adults, Robots: Reel to Real (Arco Publishing, 1982). You can find Barbara online at the links below. Website Twitter The Verge

Daniel is the author of the short story collections The Night Marchers and Other Strange Tales, The Wish Mechanics: Stories of the Strange and Fantastic, Yeti Tiger Dragon, and Underworld Dreams. The Serpent's Shadow, his first novella, was released from Cemetery Dance eBooks. He is the editor of the Spirits Unwrapped anthology from Lethe Press, and the host and founder of the Night Time Logic reading series in New York City which can also be heard on the Ink Heist podcast. His work has appeared in publications ranging from Lady Churchill's Rosebud Wristlet to the Shivers 8 anthology. He can be found at bloodandstardust.wordpress.com and on Twitter @danielbraum Links: The Go Fund Me for the folk horror project, The Dark Heart of the Wood, coming in 2022 from Oxygen Man Press, including Daniel's short story "Where the Jaguar King Lives in the Dark Heart of the Wood" is here: https://www.gofundme.com/f/the-dark-heart-of-the-wood Underworld Dreams is available for Kindle, in Paperback, and as an audiobook via Amazon. https://www.amazon.com/Underworld-Dreams-Daniel-Braum/dp/1590215834 Daniel's next reading is September 23, 2021. Link to the Facebook event page and the You Tube Channel is here: https://www.facebook.com/events/1481016415630091 And here is the You Tube Channel where the reading will be and also an archive of many past readings: https://www.youtube.com/watch?v=qkYNJMDrsEM

At the core of every mind numbing horror, there is a joke waiting for its time to shine. I dare you not to laugh out loud when listening to Kris Dikeman's perfectly paired story (read it with wine for the spit take), and Sam Schreiber takes you on a noir whodunnit with a werewolf too curious for his own good. "A Singular Event, In Several Courses" by Kris Dikeman, Read by Mary Boughey Kris Dikeman lives and works in New York City. Her stories have appeared in Lady Churchill’s Rosebud Wristlet, Beneath Ceaseless Skies, Strange Horizons, Analog and Mad Hatters and March Hares, among other places. She is currently at work on a novel about carnivorous plants. You can read more of her work at her website: www.krisdikeman.com. A career performer and storyteller, Mary Rodgershas acted in plays, musicals, television and film and was the lead singer/keyboardist for an all-women's rock band for a number of years. She is also a published novelist and screenwriter, with a focus on near-future science fiction, contemporary romance and fantasy. "Homo Homini Lupis" by Sam Schreiber, Read by Paul Karle Sam Schreiber is a writer living in Brooklyn, where he teaches science fiction and fantasy at New York University’s Tandon School of Engineering. He is an active member of the Brooklyn Speculative Fiction Writers as well as an associate member of Science Fiction Writers of America. Paul Karle is an actor living and working in New York City.

Maria Romasco Moore is the author of Some Kind of Animal, a novel, and Ghostographs, an interconnected collection of flash fiction inspired by vintage photographs. Her stories have appeared or are forthcoming in Lightspeed, DIAGRAM, Hobart, Interfictions, Kaleidotrope, Lady Churchill's Rosebud Wristlet, and the anthology Women Destroy Science Fiction. She is a graduate of the Clarion West Writer's Workshop and has an MFA from Southern Illinois University. She teaches writing at Columbus College of Art and Design.

Author : Frances Rowat Narrator : James Thomson Host : Setsu Uzume Audio Producer : Peter Behravesh Discuss on Forums First published in Lady Churchill’s Rosebud Wristlet.   Rated PG-13. Ink, and Breath, and Spring by Frances Rowat The wheelbarrow thumped a jolt into Palwick’s arms with every third step as he led Mattish back […] The post PodCastle 637: Ink, and Breath, and Spring appeared first on PodCastle.

WE'RE BAACK! Art Detective has landed with a brand new sparkling theme tune by award winning composer, Marc Canham and we're kicking off season 2 with an interview with Ophelia Field, author of The Favourite recorded at Blenheim Palace! Yes, we are spoiling you but we REALLY missed you! Tune in on Friday for Part 2 with an exclusive interview with the Head Archivist at Blenheim Palace.Artwork discussed in this episode:1. Large family portrait by John Closterman (1660-1711)2. Lady Churchill and Lady Fitzharris by Charles Jervas (1675-1739)Tell all your friends, you can now support us on PATREON! Presented by: Dr Janina RamirezProducer: Dan Morelle--------Patreon: https://www.patreon.com/ArtDetectiveInstagram: https://www.instagram.com/DrJaninaRamirez/Twitter: https://twitter.com/ArtDetectivePodTwitter: https://twitter.com/DrJaninaRamirez Facebook: https://www.facebook.com/DrJaninaRamirezFacebook Group (Patreon Backers Only): https://www.facebook.com/groups/ArtDetective/ See acast.com/privacy for privacy and opt-out information.

Lady Churchill’s Rosebud Wristlet No. 33 is a strange and extremely personal cultivation. Guest edited by Michael J. Deluca, it themes and focuses and ponders on our ecological future in a way that doesn’t seem to limit the writing at all. LCRW No. 33 is about people and relationships. It is also about this new […]

Coming Up…. Main Fiction: “I Love You Like Water” by Angela Slatter 02:00 The desert laps at the edge of the city – what used to be a conurbation is now one city short. The place where two cities met is a sand trap. The inhabitants of the place that got swallowed, the hardy few who stayed, are referred to as “sand crabs”. Specialising in dark fantasy and horror, Angela Slatter is the author of the Aurealis Award-winning The Girl with No Hands and Other Tales, the World Fantasy Award finalist Sourdough and Other Stories, Aurealis finalist Midnight and Moonshine (with Lisa L. Hannett), as well as the 2014 releases Black-Winged Angels, The Bitterwood Bible and Other Recountings, and The Female Factory (again with Lisa L. Hannett). Her short stories have appeared in Fantasy, Nightmare and Lightspeed, Lady Churchill’s Rosebud Wristlet, Fearie Tales, A Book of Horrors, and Australian, UK and US Best Of... See acast.com/privacy for privacy and opt-out information.

Richard Coles and Suzy Klein with comedian Paul Whitehouse, Lady Churchill's secretary Heather White-Smith, polar explorer Ben Saunders, pargetting plasterer Martin Ward and Francis Urquhart's Inheritance Tracks. Plus JP Devlin in the BBC Radio Theatre with audience members from The Hitchhikers Guide To The Galaxy.Producer: Dixi Stewart.

Listen to the interview here!Tell me a little about yourself and your writing.I’m a 21-year-old British woman, I graduated from King’s College, London last summer with a BA in War Studies and History, and I now work as a Content Editor for Jane’s Information Group.I’ve been writing for about ten years now, in which time I’ve amassed (and lost, sometimes) a lot of terrible juvenilia and, more recently, a novel (The Bone Queen) that I hope to submit to agents early next year. Two years ago I started writing short fiction. In that time I’ve sold stories to several magazines, including Lady Churchill’s Rosebud Wristlet, Electric Velocipede, Sybil’s Garage and Farrago’s Wainscot. 
I’m currently working on several things: revising The Bone Queen; starting a novel about a war between humans and the so-called “water-people” in an alternate world based on Thailand, told in the form of various texts from the world; and I’m writing some short fiction.
 Most of my writing tends to the fantastical, with some science fiction in the mix. I don’t apply further labels; I find them a waste of time. Tell me about the story that you've created a soundtrack/playlist for. I tend to have very few songs for a story, sometimes even one, not a whole soundtrack. Rather than give you the one song that I played a lot while writing The Bone Queen, I’ve compiled various songs that have either been mini-soundtracks or inspirations for three pieces of work.
The Bone Queen is about the deal that Beth, a gunslinger, gets involved in with a story-figure, Kaili, who requests that she steal a necklace from the Bone Queen in return for the information that the Bone Queen can rid Beth of the angry ghosts following her. Meanwhile another gunslinger, Jeckel, pursues a monster that desiccates towns; and Imi, a Professor of Oral History, pursues an old tale about a man with carpets for skin. It has storytelling magic, a monster made of squares and other fun things. The second piece of work is a short story, “Tattoos of the Sky, Tattoos of the Days,” published in issue 5 of Sybil’s Garage and free to read online. It’s about unhappiness and finding love.Another short story is “An Orange Tree Framed His Body,” which is about an eighteen-year-old boy doing two things: participating in a violent rebellion against the government that’s killing the semi-sentient plumbing of the city, and facing the pattern of suicides in his family. The story is set in an alternate world with fantasy elements, but with a technology level among the elites of the society that includes cloning. I finished the first draft of it in early August; it was a difficult story to write, it pushed at what I’m able to do as a writer, so the first draft was not very good. I’m hopeful that I can edit it into something strong. What is your playlist? DeVotchKa - La LloronaDeVotchKa - Charlotte Mittnacht (The Fabulous Destiny Of)DeVotchKa - TragedyCornershop - We’re in Yr CornerAugie March - The Night is a BlackbirdPatrick Wolf - The StarsSnow Patrol - You Could Be HappyAugie March - Bolte and Dunstan Talk YouthAugie March - The Baron of SentimentLa Llorrona is the song that I often put on repeat to get into the right mindset for The Bone Queen. Something about it contains deserts, open spaces, a hint of the unusual. When not listening to just that song, I put on all my songs by DeVotchKa. Charlotte Mittnacht and Tragedy are two of my favourites. I also listened to Cornershop through some stretches.The Night is a Blackbird inspired the opening of “Tattoos…”; it became the line “The night is a blackbird and it lives on Gemma’s arm.” The rest of the song didn’t do anything for the story, just that opening line. Then, a couple of months after I wrote it, the story was accepted for publication by Sybil’s Garage. If you take a look inside an issue of Sybil’s Garage, you’ll see that every story is presented with a song that it can be read ‘to the sound of…’ I spent the next half a year on-and-off thinking about what song I would choose. Though The Night is a Blackbird had inspired the story, it wasn’t a soundtrack for the story. And I hadn’t listened to anything in particular while writing it. I settled eventually on Patrick Wolf’s The Stars, because the words are appropriate -- there are stars on the wings of the blackbird on Gemma’s arm -- and, the more I listened to the song, the more I thought that its sound suited the story.Snow Patrol’s You Could Be happy -- Now, this isn’t a very deep song. It’s about lost love: nothing remarkable. Except the sound of it, and just some of the lyrics -- You could be happy / I hope you are -- did something in my head, and the song fit with Au’s relationship (not a sexual one) with his father in “An Orange Tree Framed His Body”. The final lines of the song -- More than anything / I want to see you go / Take a glorious bite / Out of the whole world -- inspired how the story ended. I also listened to a lot of Augie March while writing this story; Bolte and Dunstan Talk Youth and The Baron of Sentiment particularly suited it. What does music mean to you? To your writing?Music can be an inspiration, an accompaniment. Music can make me stop and listen, think about something new or something in a different way. It’s something I need in my life, like flavoursome food and the countryside. What kind of music do you like to write to?Music with the right kind of sound. 
That doesn’t tell you much, does it? It’s hard to explain. I mean how the music feels to me -- something that comes from the notes played, the lyrics sung (if there are any) and how it makes me react in my head. It can be for just one song, or for all of a band’s music. I write to music with a sound that matches the story. If this story was made into a movie, who would you want to do the soundtrack?I would love DeVotchKa to perform a soundtrack to The Bone Queen. Their music is very different to usual soundtrack music -- both orchestral compositions and pop music -- and I’d like that. Their music can be jaunty and whimsical, thoughtful and sad; they’d have no trouble capturing the range of moods in a story. To learn more about Alex, visit her LiveJournal.Next week, I interview author C.C. Humphreys.