Podcast appearances and mentions of lindsay kemp

Send us a textDavid Bowie's “Scary Monsters (and Super Creeps)” is, for many fans, his last great album. Mick regards it as one of Bowie's best, with the singles "Ashes to Ashes" and "Fashion".  Mick and Jeff talk through what makes this album great, and look at the music environment as Bowie, along with many other 70's greats, faced the changes and challenges of the 80's.“Knockin' on Heaven's Door” offers a long line of new entrants to Rock'n'Roll Heaven including Herbie Flowers, Tito Jackson, Kris Kristofferson and Liam Payne from One Direction. Our Album You Must Listen to Before you Die, fresh from Robert Dimery's book, is Dexy's Midnight Runners' “Don't Stand Me Down”, a massive failure on release in 1985 but receiving a fresh critical re-evaluation in modern times.  We didn't like it!  Not least because of their complete rip-off of “Werewolves of London” by Warren Zevon.   Episode PlaylistScary Monsters (and Super Creeps) - just the album__________________________________More Trump! One of those things – Dexy's  Bowie interview - “My Phil Collins Years”  Bowie – Ashes to Ashes live on Jools Holland  Pete Townshend   Glass Spider LiveOther References Alt Rock Chick – fabulous insightful reviews across the rock spectrum  References:  Angie Bowie, Eno, Lodger, Outside, Joy Division, Kate Bush, Gary Numan, New Romantic, “Are “Friends Electric?”, The Pleasure Principle, “Cars”, “It's No Game”, Pete Townshend, “Because You're Young”, Robert Fripp, “Heroes”, Carlos Alomar, George Murray, Dennis Davis, Tony Visconti, Kellogg's Corn Flakes, Edward Bell, Pierrot, "Ashes to Ashes", Brian Duffy, Natasha Korniloff, Lindsay Kemp, Pierrot in Turquoise, Berlin Trilogy, Phil Collins, Let's Dance, Nile Rodgers, “In the air tonight”, Alt Rock Chick, Major Tom, Fripp's skronky guitar work, “Scary Monsters (and Super Creeps)”, “Fashion”, “Scream Like a Baby”, “Kingdom Come”, Tom Verlaine, Neil Young, “Hey Hey My My” 

The Wicker Man (1973) RMR 0285: Special Guest, Luke Ferris, of The Least Important Things Podcast,  joins your hosts, Bryan Frye, and Dustin Melbardis for the Retro Movie Roundtable as they revisit The Wicker Man (1973) [R] Genre: Horror, Mystery, Thriller   Starring: Edward Woodward, Christopher Lee, Diane Cilento, Britt Ekland, Ingrid Pitt, Lindsay Kemp, Russell Waters, Aubrey Morris, Irene Sunters   Director: Robin Hardy Recorded on 2024-09-11

Attraverso la sua musica Corally ci ricorda la fragile interdipendenza tra l'uomo e il mondo naturale. Le sue canzoni diventano manifesti per la difesa del nostro ambiente, un atto d'amore verso il mare e le sue creature. Il suo mondo musicale è un vibrante mix di pop melodico e rock, una sinfonia dolce e grintosa per dar voce a megattere, delfini, balene e capodogli, creature straordinarie che abitano i nostri mari e gli Oceani. Quegli specchi d'acqua sfruttati senza tregua ma fondamentali per la vita. Collaborazioni illustri come quella con il leggendario Lindsay Kemp, coach di David Bowie, hanno arricchito il percorso artistico di Corally portandola sui palchi italiani e internazionali con una missione chiara, trasformare la sua musica in un invito a proteggere il nostro Pianeta.In questi giorni è uscito il suo nuovo Pescecani (Extinction), brano potente e toccante che affronta il tema della violenza. La produzione artistica, l'arrangiamento e la chitarra portano la firma di Andrea Rigonat, fuoriclasse della scena musicale italiana già produttore per Elisa, Ultimo, Alessandra Amoroso, e chitarrista per Elisa e Giorgia. Il brano fa riferimento alla crudele pratica del finning, in cui lo squalo è vittima di un bracconiere che gli taglia le pinne, ed è allo stesso tempo una metafora della violenza di genere. La donna protagonista del brano guarda il suo carnefice negli occhi con la stessa impotenza dello squalo di fronte al suo. Ispirato da un vissuto personale dell'artista, Pescecani è un invito a prendere posizione contro qualsiasi tipo di abuso, verso la natura o verso gli esseri umani. Corally ci invita a non distogliere lo sguardo, a riconoscere la sofferenza e a combattere per un mondo più giusto e rispettoso, per noi e per le future generazioni. Ne parliamo in questo incontro, con una sorpresa: una speciale esclusiva versione unplugged di Pescecani assieme ad Andrea Rigonat, realizzata per noi.I proventi delle sue canzoni sono devoluti a favore di campagne per la protezione degli oceani dallo sfruttamento illegale, dal bracconaggio e dalla distruzione ambientale.undefinedundefinedCorally Canale youtube

Sandy Powell won her first Academy Award for dressing Joseph Fiennes and Gwyneth Paltrow in Shakespeare in Love, and has since won two more Oscars - along with a further dozen nominations - and three BAFTAs. Her credits range from Gangs of New York for Martin Scorsese to Mary Poppins Returns for Disney, and she's worked with many of the biggest current screen stars, including Leonardo di Caprio, Cate Blanchett and Al Pacino. Sandy was born in south London and completed an art foundation course at St Martin's School of Art. In 1981 she got her first job designing costumes for the choreographer Lindsay Kemp's show Nijinsky at La Scala in Milan. She later worked for the director Derek Jarman on his film Caravaggio and continued to collaborate with him until his death in 1994. She has also enjoyed long working relationships with Martin Scorsese and Todd Haynes. Sandy has won acclaim for her designs on films with historical settings, including The Wings of the Dove, The Young Victoria and The Favourite starring Olivia Colman, as well as the flamboyant glam rock world of Velvet Goldmine and the fairy-tale fantasy of Cinderella, starring Lily James. In 2011 she was awarded an OBE for services for the film industry and in 2023 she became the first costume designer to receive a BAFTA Fellowship. DISC ONE: Jeepster - T Rex DISC TWO: Adagietto, Symphony No. 5 in C-Sharp Minor. Composed by Gustav Mahler and performed by Orchestre de l'Académie de Santa Cécilia and conducted by Franco Mannino DISC THREE: Life on Mars? - David Bowie DISC FOUR: La Vie en Rose - Alan Dunn DISC FIVE: I'll Never Fall in Love Again - Bobbi Gentry DISC SIX: Satellite of Love - Lou Reed DISC SEVEN: Where Love Lives (Come On In) - Alison Limerick DISC EIGHT: I Left My Heart in San Francisco - Tony BennettBOOK CHOICE: Josef Koudelka: Gypsies LUXURY ITEM: A lemon tree CASTAWAY'S FAVOURITE: Life on Mars? - David BowiePresenter Lauren Laverne Producer Paula McGinley

SEASON 20 BEGINS!!! We meet ICON of film and Hollywood costumes SANDY POWELL OBE!!!! We discuss her love of art, collaborating with legendary queer artists/creative minds Derek Jarman and Lindsay Kemp, a 25 year collaboration with choreographer Lea Anderson, and how art informs her costume design. Sandy is a multi award-winning Costume Designer who has won three Academy Awards, three BAFTA Awards for Best Costume Design, plus the recent honour of BAFTA Fellowship 2023, and a Costume Designers Guild Award.Londoner, Sandy, studied at St Martins School of Art and the Central School of Art and Design where she specialised in theatre design. She started her professional career in fringe with the National Theatre working on numerous productions including Orders of Obedience and Rococo. She went on to design sets and costumes for productions of Lumiere and Son, Bright Side and Culture Vulture. As a student and one of the leading lights of the international theatre scene she most admired was Lindsay Kemp, the gifted director, designer and performer. On impulse she spoke to him on the phone and said how much she wanted to work with him. After seeing samples of her work he asked her to join him in Milan as costume designer for his theatre company. During her 3 year spell with him she worked on Nijinsky which was a study of the start and madness of the great Russian dancer. She also designed the costumes for The Big Parade, a tragic- comic homage to the silent screen, and the stage and screen versions of A Midsummer Nights Dream. In 1985 she rapidly established herself in the world of video working on many pop promos with director Derek Jarman and with him on his film Caravaggio, and Zenith's For Queen and Country.Born in 1960, she was raised in south London, where she was taught to sew by her mother on a Singer sewing machine, and began experimenting with cutting and adapting patterns at a young age. Educated at Sydenham High School, she went on to complete an Art Foundation at Saint Martins in 1978, and in 1979 she began a BA in Theatre Design at Central School of Art and Design (now Central Saint Martins.)In 1981 she withdrew from her degree to assist a costume designer who worked for a fringe theatre company called Rational Theatre, and also began a long collaboration with Lindsay Kemp designing for him in Italy and Spain.In 1984 when, after a spell as a costume designer on music videos, she moved into the film industry. Her break came when the film director and stage designer Derek Jarman appointed her costume designer on his film, Caravaggio (1986), starring Tilda Swinton and Sean Bean. To date, Powell has worked as Costume Designer on over 50 films, including Orlando (1992);The Crying Game (1992); Interview with the Vampire (1994); Michael Collins (1996); The Wings of The Dove (1997); Hilary and Jackie (1998); The End of the Affair (1999); Gangs of New York (2002); Far From Heaven (2002); Sylvia (2003); The Aviator (2005); The Departed (2006); Shutter Island (2010) Hugo (2011) The Wolf of Wall Street (2013); Cinderella (2015); Carol (2015); Mary Poppins Returns (2018); and Living (2022). She has earned 76 award nominations and won 27 awards in her career, including Academy Awards for Shakespeare in Love (1998) and The Aviator (2004), a BAFTA Award for Velvet Goldmine (1998), and both an Academy Award and a BAFTA Award for The Young Victoria (2010).Follow @TheSandyPowell on Instagram.Thanks for listening!!! This season is shaping up to be one of the most fascinating so far!!! Thanks for listening. Follow us @TalkArt for images of works we discuss in today's episode. Hosted on Acast. See acast.com/privacy for more information.

Linda Bates is a fourth generation herbalist who trained in 19 schools around England and the Mediterranean. She has been in clinical practice for 4 decades and is a truly inspirational herbal elder in Australia. I met Linda about a decade ago, at Pindari farm in Tasmania at a week-long medicine making intensive which was taught by her and Sandra Parker (who I interviewed in episode 17). In this episode we discuss the importance of herbalists doing the ongoing self work- the spiritual work is important to be able to hold space as a practitioner to create a space of love and compassion for the patient. Linda shares about how the word herbalist back in ancient Greece meant doctor, and the role of the doctor was teacher. We discuss the importance of clinic being educational. The teacher should be opening minds and expanding hearts.We share the importance of attuning with and talking to the plants and listening to what they have to say. Linda shares her passion and belief that herbalists should have 10 years of clinical practice before being able to give clinical training to herbal students. She shares her dissapointment at the lack of experience many lecturers at university have these days and the necessity of being truly ready before entering into clinical practice. She offers wonderful mentorship for university graduates to assist them in coming into their own clinics- this is a wonderful bridge! Linda shares wisdom around Angelica, Lavender and Basil. She shares her way of integrating herbs into a hospital setting and also addresses the issue of mass produced heavily processed medicines on the market lacking the fresh vitality and wholeness.Linda shares some wonderful stories fro her time in the London theatre working for Lindsay Kemp. It was here that she assisted famous opera singers with her herbs. She dispensed herbs to David Bowie and was even kissed by Mel Gibson!!! It was such an honour to interview Linda, she is a herbal elder who I respect immensely and am grateful that I had the opportunity learn from her face-to-face. I am sure you will all enjoy this episode! Learn more about Linda here:https://www.lindabatesherbalmedicine.com/aboutFollow Linda Bates Herbal Medicine on FB. To find out more about The Elder Tree visit the website at ⁠www.theeldertree.org⁠ and donate to the crowdfunding campaign ⁠here⁠. You can join our Patreon ⁠⁠here⁠ ⁠and gain a deeper connection to our podcast. Pay only $2 per week to have access to bonus and often exclusive resources and opportunities- plus support The Elder Tree at the same time!⁠www.patreon.com/theeldertree You can also follow The Elder Tree on ⁠Facebook⁠ and ⁠Instagram⁠ and ⁠sign up to the newsletter⁠. Find out more about this podcast and the presenters ⁠here⁠. Get in touch with The Elder Tree at:  ⁠asktheeldertree@gmail.com The intro and outro song is "⁠Sing for the Earth⁠" and was kindly donated by Chad Wilkins.  You can find Chad's music ⁠here⁠ and ⁠here

On this episode of Big Blend Radio, UK solo artist Tim Arnold talks about his new concept album SUPER CONNECTED that lifts a magnifying glass up to the technology vs. humanity debate! Conceived with guidance from Arnold's mentors Kevin Godley and the late Lindsay Kemp, the album fuses tech addiction, consumerism, family trauma, and compassion for those affected by screen dependency into 12 new songs. Produced by Arnold with additional production from Jethro Tull bassist Jonathan Noyce, the album spans an elective mix of genres, and includes a vocal cameo from actor Stephen Fry on Track 6 “A Commercial Break”.WATCH THIS INTERVIEW ON YOUTUBE: https://youtu.be/PoKziLwEL48 SUPER CONNECTED is also a feature length film drama directed by Arnold in collaboration with the designers of Terry Gilliam's Brazil and Kate Bush's "The Line, The Cross and The Curve." More at: http://www.superconnected.technology/ Hosted on Acast. See acast.com/privacy for more information.

On this episode of Big Blend Radio, UK solo artist Tim Arnold talks about his new concept album SUPER CONNECTED that lifts a magnifying glass up to the technology vs. humanity debate! Conceived with guidance from Arnold's mentors Kevin Godley and the late Lindsay Kemp, the album fuses tech addiction, consumerism, family trauma, and compassion for those affected by screen dependency into 12 new songs. Produced by Arnold with additional production from Jethro Tull bassist Jonathan Noyce, the album spans an elective mix of genres, and includes a vocal cameo from actor Stephen Fry on Track 6 “A Commercial Break”. WATCH THIS INTERVIEW ON YOUTUBE: https://youtu.be/PoKziLwEL48  SUPER CONNECTED is also a feature length film drama directed by Arnold in collaboration with the designers of Terry Gilliam's Brazil and Kate Bush's "The Line, The Cross and The Curve."  More at: http://www.superconnected.technology/ 

On this episode of Big Blend Radio, UK solo artist Tim Arnold talks about his new concept album SUPER CONNECTED that lifts a magnifying glass up to the technology vs. humanity debate! Conceived with guidance from Arnold's mentors Kevin Godley and the late Lindsay Kemp, the album fuses tech addiction, consumerism, family trauma, and compassion for those affected by screen dependency into 12 new songs. Produced by Arnold with additional production from Jethro Tull bassist Jonathan Noyce, the album spans an elective mix of genres, and includes a vocal cameo from actor Stephen Fry on Track 6 “A Commercial Break”.WATCH THIS INTERVIEW ON YOUTUBE: https://youtu.be/PoKziLwEL48 SUPER CONNECTED is also a feature length film drama directed by Arnold in collaboration with the designers of Terry Gilliam's Brazil and Kate Bush's "The Line, The Cross and The Curve." More at: http://www.superconnected.technology/ Hosted on Acast. See acast.com/privacy for more information.

Tim Arnold in conversation with David Eastaugh https://timarnold.co.uk https://timarnold.bandcamp.com/album/super-connected# Singer songwriter, film-maker, composer, social activist and founder of Save Soho. In recognition of his constant change of musical direction, Iggy Pop noted in an interview with NME that Tim's music reminded him of David Bowie.  Tim scored music for Iggy's film, Blood Orange, featuring the theme song, “Money Kills Love.”  Tim is also the last artist to collaborate with Bowie and Kate Bush mentor, Lindsay Kemp. Their 2018 video single and live arts installation ‘What Love Would Want' was inspired by the United Nations' ‘He for She' campaign for gender equality and has since sparked a movement for social and human rights in Europe and North America. Tim is an active and vocal LGBTQIA+ ally.

This exciting Electronically Yours podcast features mysterious pop star and songwriter Zaine Griff. His brand of melodramatic new romantic synthpop was much admired in the early 80's, and he collaborated with such luminaries as mime guru Lindsay Kemp and The Kinks, David Bowie, Kate Bush, Gary Numan and Hans Zimmer in music. His legendary ‘lost' 80's synthpop album The Helden Project (with Warren Cann and Hans Zimmer) and recently been released finally… Ladies and gentlemen – prepare to be amazed by the mysterious visitor – Zaine Griff... If you can, please support the Electronically Yours podcast via our Patreon: https://www.patreon.com/electronicallyours

Talk Art Christmas Special!!!! We meet the one and only Julian Clary, comedy pioneer, camp icon and bonafide Talk Art hero!!!! BORN TO MINCE!!!!We discuss living with art, the lasting influence of his art teacher and the fine art of Christmas pantomimes! We learn about his interest in the work of Keith Haring, Peter Blake, Jean Cocteau, queer life in the 1980s and his admiration for Noël Coward, Lindsay Kemp and Renaissance Art! We also have an art quiz in the style of Mastermind, to encourage maximum festive drama!!!After studying Drama and English at Goldsmiths College, University of London, Julian Clary began working on the cabaret and alternative comedy scene in the 1980s, first under the alias Gillian Pieface and later as The Joan Collins Fan-club. We reminisce about Fanny the Wonder Dog and Julian's hosting of groundbreaking TV show Sticky Moments with stage sets inspired by painter Marc Chagall, plus his radical stand-up comedy performances on Friday Night Live, which returned in October 2022 for a special, critically acclaimed & award-nominated brand new episode, as part of the 40th anniversary of Channel 4!Julian made his London Palladium debut in 2016 and returns to the stage in 2022! This Christmas join comedy superstars Dawn French and Julian Clary, with Alexandra Burke making her Palladium pantomime debut, as they lead the cast of a brand-new production of Jack and the Beanstalk at London's iconic home of pantomime! Book tickets now: https://palladiumpantomime.com/ or @PalladiumPantoVisit Julian's Instagram: @JulianClaryRenownedHomosexual and his official website: https://JulianClary.co.uk/HAPPY HOLIDAYS EVERYONE!!! Thank you for another amazing year!!! With love, Russell and Robert X Hosted on Acast. See acast.com/privacy for more information.

Happy Birthday to Garth Fagan, Alexandra Balashova, Mona Inglesby, Marina Svetlova, James Brown, Lindsay Kemp, and Hofesh Shechter! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

l disco que vamos a escuchar hoy es ‘The Kick Inside’, algo así como ‘La patada interior’. El álbum alcanzó el puesto número 3 en la lista de álbumes del Reino Unido y ha sido certificado Platino por la Industria Fonográfica Británica (BPI). El disco lo grabó cuando sólo tenía 19 años de edad, saliendo al siguiente año. Kate Bush fue descubierta nada menos que por el ex-Pink Floyd Dave Gilmour cuando ésta contaba con 16 años de edad. Una de las características que más le definen es su gran voz, pudiendo alcanzar nada menos que un rango de 4 octavas. * Una infancia muy musical Catherine Bush nació el 30 de julio de 1958 en el condado de Kent, Inglaterra. Su padre era un médico inglés de nombre Robert Bush, y su madre una irlandesa llamada County Waterford, ambos ya fallecidos. Estudió en una escuela católica, junto a sus hermanos mayores John y Paddy. Kate también gozó de un gran ambiente musical en casa: su madre era una reconocida bailarina de baile tradicional irlandés y su padre era también un aventajado pianista, su hermano Paddy trabajaba como constructor de instrumentos musicales y su otro hermano John era poeta y fotógrafo, además de que ambos hermanos estaban muy involucrados en la escena folk de la zona. Por lo tanto, no fue difícil que Kate se sintiese atraída por el piano, el órgano y el violín con sólo 11 años de edad. Pronto empezó a componer y poner letras a sus canciones. Fue mientras estudiaba en la escuela, cuando sus padres recogieron una demo con 50 temas creados por la joven para mostrar su trabajo a las discográficas. * Su relación con Dave Gilmour, de Pink Floyd La vida da muchas vueltas y fue la casualidad que un amigo de la familia, un tal Ricky Hopper lo fuese también del entonces componente de Pink Floyd, David Gilmour que quedó impresionado tras la escucha y pensó que la demo no tenía suficiente calidad para ser mostrada a las compañías fonográficas del momento. Así que decidió ayudarla para hacer una nueva demo. Gilmour pagó de su propio bolsillo la grabación de 3 nuevos temas que fueron producidos a su vez, por otro amigo de Gilmour, el músico Andrew Powell, músico y arreglista que participaría en casi todos los discos de Alan Parsons. Andrew decidió ser el productor de los dos primeros larga duración de Kate. 'The Kick Inside' y 'Lionheart' ambos aparecidos en 1978. También trabajó en estos discos, como ingeniero de sonido Geoffrey Emerick, que ya había estado con The Beatles en discos como 'Revolver', 'Sgt. Peppers' o 'Abbey Road', entre otros. Al final, esa demo con tres canciones cayó en manos de Terry Staler, un ejecutivo de EMI que quedó gratamente impresionado con la labor de la joven. En un acto realmente impensable en la industria discográfica actual, Bob Mercer, un director ejecutivo de EMI, pensó que a pesar que Kate contaba con muy buen trabajo, un éxito a edad tan temprana podía ser poco beneficioso, y un fracaso realmente dañino. Así que pensó que era mejor que la chica se dedicase a sus estudios, y a pesar de estar en nómina de la discográfica, se lo tomaron con calma, dando tiempo a que Kate madurase como artista y personalmente, fuese el resultado que fuese. La percepción de Kate, como contaba hace pocos años era algo distinta, tal vez Radcliffe la contrató para que no pudiese ir a la competencia. De todas formas, con el generoso avance de honorarios de una persona que, recordemos, todavía no había grabado nada en absoluto, la joven aprovechó para acabar sus estudios con una nota más que notable y tomar clases de interpretación con el actor Lindsay Kemp, que también trabajó con David Bowie en sus inicios. También tomaría clases de mímica con Adam Darius. A pesar de todo, Kate siguió escribiendo canciones, algunas de las cuales se pueden encontrar hoy en un disco pirata conocido como ‘Phoenix Recordings’, llegándose a contar alrededor de 200 composiciones. * Preparando todo para su primer disco Para la grabación de este disco, se pidió a Bush utilizar músicos de sesión en lugar de la KT Bush Band, aunque siguió conservando a algunos de ellos, como su hermano Paddy que tocaba la armónica y la mandolina o Stuart Elliott que tocó algunos de los tambores y se convirtió en su baterista principal en álbumes posteriores. David Gilmour produce dos de los temas del mismo. Una de las canciones más conocidas de este disco es ‘Wutherings Heights’, que fue el primer éxito de su carrera, llegando a ser la primera vez que una cantautora encabezó las listas con una canción escrita por ella misma. Está inspirada en la novela única novela que escribió en 1847 Emily Brontë. Se mantuvo en el número uno en la lista de singles del Reino Unido durante cuatro semanas y sigue siendo el sencillo más exitoso de Bush. Pitchfork la nombró la quinta mejor canción de la década de 1970, y en 2020, The Guardian la clasificó como el decimocuarto mejor sencillo número uno del Reino Unido. Bush escribió la canción a los 18 años, después de ver la adaptación de la BBC de 1967 de la novela Cumbres Borrascosas de 1847. Al leer el libro descubrió que compartía su cumpleaños con la autora del mismo. Otro de los temas más conocidos del disco es “The Man with the Child in His Eyes”, que fue sacada como segundo single. Escribió la canción cuando tenía 13 años y la grabó a los 16 bajo la dirección de David Gilmour. En 2010, el ex presentador de radio y televisión Steve Blacknell, que fue el primer novio de Bush, ofreció a la venta la letra original escrita a mano de la canción a través del sitio web de recuerdos musicales 991.com. La propia Bush nunca ha dicho sobre quién escribió la canción, pero Backnell ha declarado que una persona cercana a Bush le había dicho que la canción estaba escrita sobre él. Durante mucho tiempo se supuso que se trataba de Gilmour. A día de hoy, Kate Bush ha sido nominada a 13 galardones de la industria fonográfica británica, ganó como Mejor Artista Femenina Británica en 1987 y ha sido nominada a tres premios Grammy. En 2002, Bush fue reconocida con un premio Ivor Novello por su destacada contribución a la música británica. Bush fue nombrado CBE en los Honores de Año Nuevo de 2013 por sus servicios a la música. Fue nominada tres veces para aparecer en elSalón de la Fama del Rock and Roll de 2018, 2021 y 2022.

In today's episode I welcome Tim Arnold. Tim is a Singer songwriter, film-maker, composer, social activist and founder of Save Soho. Tim began his career as leader of 90's British art rock band Jocasta. As a solo artist, he has self-released 23 albums. He scored music for Iggy Pop's film, Blood Orange (Iggy noted in NME that Tim's music reminded him of David Bowie). Tim has been mentored by Bowie mentor Lindsay Kemp which resulted in their collaborative multimedia project ‘What Love Would Want'. He is widely recognised as the first songwriter to write and release a concept album about London's Soho district, 2015's The Soho Hobo (BBC London Album of The Year).  The project led him to create ‘Save Soho' – a coalition of performers including Stephen Fry and Benedict Cumberbatch, that campaign for Soho's historic role as a national platform for the performing arts. Tim performs and speaks internationally gracing major stages, institutions and festivals and is an ambassador for international mental health organization The Creative Well. Tim shares his life story, from his unusual, yet character building childhood, to his many transformational quests throughout his personal journey. He is someone who stands up for his principles and tries to make the world a better place through his compassion and deep sense of integrity. For more info on Tim Arnold visit his website https://timarnold.co.uk Secrets For An Inspirational Life is in the Top 10 UK Inspirational Podcasts: https://blog.feedspot.com/uk_inspirational_podcasts/

We talk about the amazing costume designer Sandy Powell who recently talked about her work at the Victoria & Albert Museum. See links below. We'd also love you to check out our Patreon page: https://www.patreon.com/bandeapartpodcast You Must Remember This, ‘Gossip Girls: Louella Parsons and Hedda Hopper (The Queer, Female Film Producer You've Never Heard Of, Episode 5)', (31 May 2021): http://www.youmustrememberthispodcast.com/episodes/2021/5/5/gossip-girls-queer-film-producer-5 Walter Lang (director), Travis Banton (Miss Lombard's gowns), Brymer (other gowns), ‘Love Before Breakfast' (1936): https://www.imdb.com/title/tt0027908/ Gregory La Cava (director), Travis Banton (Miss Lombard's gowns), Brymer (other gowns), ‘My Man Godfrey' (1936): https://www.imdb.com/title/tt0028010/ Richard Dyer, ‘White', Routledge (2017, first published 1997): https://www.routledge.com/White-Twentieth-Anniversary-Edition/Dyer/p/book/9781138683044 Past event: ‘Online Talk: Sandy Powell in Conversation', Victoria & Albert Museum (7 November 2021): https://www.vam.ac.uk/event/awz4mQnapkN/online-talk-sandy-powell-in-conversation Sandy Powell: https://www.imdb.com/name/nm0694309/ Sandy Powell's Autograph Suit auctioned at Phillips in 2020: https://www.phillips.com/detail/sandy-powell/UK090320/1 The Female Lead: https://www.thefemalelead.com/about-us Piere Bourdieu, Yvette Delsaut, ‘Le couturier et sa griffe: contribution à une théorie de la magie', Actes de la Recherche en Siences Sociales (1-1, 1975): https://www.persee.fr/doc/arss_0335-5322_1975_num_1_1_2447 Colleen Kelsey, ‘Fashioning Sandy Powell', Interview (18 February 2016): https://www.interviewmagazine.com/film/sandy-powell ‘Behind the Seams: An interview with Sandy Powell', podcast episode (7 June 2020): https://www.angelsbehindtheseams.com/podcast/episode0010/ ‘Emily Blunt on the costumes of “Mary Poppins Returns”', Variety Artisans (20 December 2018): https://youtu.be/BiYgPfpjSCk Julie Miller, ‘How Sandy Powell, Oscar-Winning Costume Designer, Ventured Outside Her Comfort Zone', Vanity Fair (6 November 2017): https://www.vanityfair.com/hollywood/2017/11/wonderstruck-sandy-powell ‘The Rake's Progress: An Introduction', Glyndebourne (23 August 2010) – shows David Hockney's designs: https://youtu.be/DxeeWlp4AZ8 Alex Marshall, ‘Lindsay Kemp, Dancer Who Taught David Bowie, Is Dead at 80', New York Times (29 August 2018): https://www.nytimes.com/2018/08/29/obituaries/lindsay-kemp-dead.html ‘Lindsay Kemp Dies at 80', Gramilano (25 August 2018): https://www.gramilano.com/2018/08/lindsay-kemp-dies-at-80/ Kazuo Ono, ‘The Dead Sea' (1980s): https://www.youtube.com/watch?v=ZUjhQLB0hXY

Welcome back to Albumto album with guest Bowie obsessive Adam Buxton!  Scary Monsters is a milestone album. It is one I have long wanted to tackle here and I have quite a few thoughts about it. Here are a few of them.  David Bowie entered 1980 restless for change and a new sense of purpose. The generally lukewarm reaction to his previous album Lodger clearly prompted an internal audit and the 33-year old artist, on the move from Europe and now soaking up the energy of New York city, felt the time had come to harness the spirit of adventure and experimentation of the ‘Berlin’ era with a scaffold of tough, catchy rock.    The songs, constructed by the dream team core combo of producer Tony Visconti, guitarist Carlos Alomar, bassist George Murray and drummer Dennis Davis, came together fast. Gone were the conceptual hi-jinks of the Eno era and instead, Bowie crafted these tracks with painterly care and attention. Each has a dynamic chiaroscuro, silhouettes and shadows are everywhere. Bowie’s interest in Expressionism and surrealism filters through these songs that tease the listener, before giving up their charms with sluttish abandon.    Bowie recorded the album at a brisk clip in spring 1980, working hard and fast at the New York Power Station studios with his band and assorted guest musicians including left field guitarists Chuck Hammer and Robert Fripp, both of whom left their distinctive fingerprints on the record. The former, with his customised guitar-synths, aroused Bowie with talk of “guitarchitecture”, the latter, a veteran of strange spontaneous sessions for Heroes and Lodger, scrawled atonic graffiti phrases across the title track, Its No Game, Fashion and so on, while a delighted Bowie would give gnomic instructions, “Play like Ritchie Blackmore, without sounding like Ritchie Blackmore!”   The lyrical content of the album gives us a fascinating insight within the author’s brain. Clear-headed, relatively sober and facing down the barrel of his 30s (many messianic men feel weird at 33, especially those of self-mythologising bent) and for the first time, seeing the results of his influences on a new wave of foppish romantics. His constituency had always been in the margins of the mainstream, but now, in the sulphurous afterburn of punk, it seemed as if his legacy was everywhere. From the so-called Blitz kids, some of whom he rather smartly re-appropriated for use in the Ashes To Ashes video to his swipes and bitchy asides aimed at the younger generation in songs like Teenage Wildlife and Because You’re Young, it seemed as if the unwilling role as older statesman of rock was sitting uncomfortably. His ambivalence to the generation of ‘Blitz kids’ who followed in his wake, was understandable. Bowie had always valued the courage to move on, look ahead and explore. His cadre of imitators that reached a peak around 1978, 1979 - pale, robotic - staccato of delivery and alienated of mien - irritated him, outweighing any personal gratification and flattery.    As Bowie the artist would tend to leg it, on achieving a degree of success and acclaim, Bowie the viable record label investment and going concern was in deep shit, thanks not only to the aftermath of his disastrous mid 70s breakup with avaricious manager Tony DeFries, but generally dismal sales figures. The need to generate serious cash with serious moonlight would dominate the years ahead, leading to questionable artistic decisions and generating much unhappiness for fans, peers, record label and not least, the actor himself.    But that was all still in the future. Looking back, we can mythologise 1980 as being the year that Bowie came of age as a recording artist. The self-referential myth-making wove throughout his year. It can be seen in the small, roughly obscured covers of Low, Heroes and Lodger on the Scary Monsters album artwork, the revisiting of ‘Space Oddity’s  Major Tom in the astonishing ‘Ashes To Ashes’. It’s the howling anguish in opener ‘It’s No Game (Part One) and the resigned indifference of the track’s reprise at the close of the record. The lurking Pierrot of the cover figure, an affectation that stretched back to Bowie’s days in mime with the Lindsay Kemp company, was also something of a marker, closing the blinds on yesterday as a ‘cunt in a clown suit’. And this was the last time the alchemical magic of Alomar, Davis, Murray and Visconti would burn in the crucible of the studio. Shortly after the album was released, on September 17, 1980, Bowie was starring in a successful Broadway run as The Elephant Man, his close friend and inspiration John Lennon would be dead and the actor would return to his Swiss fastness, to plot yet another about-face. From now on, every album featuring Bowie that was released, would be compared to ‘Scary Monsters’, a millstone around its creator’s neck who, despite the decades of artistic, critical and commercial successes and flops to come, would never again quite match its extraordinary moment and magic. For more Adam Buxton shenanigans, check out his site at: www.adam-buxton.co.uk Subscribe to his podcast here (The 2016 'Bowiewallow' episodes ate especially recommended) https://podcasts.apple.com/gb/podcast/the-adam-buxton-podcast/id1040481893 Adam's cartoon on the making of 'Warszawa'  https://www.youtube.com/watch?v=FODvjYoVEi8&t=58s Chris O'Leary's masterful Pushing Ahead Of The Dame blog special on Scary Monsters at 40  https://bowiesongs.wordpress.com/2020/10/08/scary-monsters-at-40/

WELCOME TO EXPLAINIACS 13!  It's a very lucky number 13, because we're talking to the musician, composer, film maker and social activist Tim Arnold. Tim tells us how to create a long and happy musical career as an independent artist by releasing your own material. He takes us into his songwriting process, which have led to collaborations with the likes of Iggy Pop, Boy George and Lindsay Kemp. And, he talks about his 20th album ‘When Staying Alive's The Latest Craze', which has been created, recorded and released during COVID. You can stream and download Tim's album – and his incredible back catalogue – at https://timarnold.bandcamp.com, or go to his website www.timarnold.co.uk Please let us know if there's a subject you'd like us to cover on Explainiacs – simply get in touch at Explainiacs.com - and see you for the next episode soon!

Extraño, anómalo, diferente, "freak" o monstruoso son algunos de los símiles para Raro. Grace Jones, K.D. Lang, Bowie o Yma Sumac en el pasado fueron o son consideradas como tales. En 1893 Ruben Darío escribió "Los Raros" e incluía a Verlaine o Poe."Freaks" ("La Parada de los Monstruos"), la película de Tod Browning en 1932, el mejor espejo de la relación entre los supuestos "normales" y la oficial deformidad. De Walter a Wendy Carlos y de Héctor Roberto Chavero a Atahualpa Yupanqui, la fina línea que separa de la rareza. Elvis, Little Richard, Chavela, Lindsay Kemp o Ian Dury ¿quién marca la línea?. Escuchar audio

Abel Jaramillo Artista de FACBA 20. Moderador: Antonio Collados Alcaide (Director de Promoción Cultural y Artes Visuales de la Universidad de Granada y Profesor de la Facultad Bellas Artes de Granada) Título: “La historia a tientas” https://facba.info/facba-20-seminario-el-saber-oscuro/ En el marco de FACBA 20 Abel Jaramillo está desarrollando el proyecto Un sonido negro que tendrá como lugar de exposición el Centro Federico García Lorca. La historia a tientas, un caminar a oscuras por la historia, representa como dice, su proceso de trabajo. Abel acusa la forma casual con la que se encuentra con la historia dentro de esos procesos, encuentros con ese saber oscuro, al margen, difícil de acceder o aquello que ha permanecido oculto. Tanto es así que dentro de FACBA, se ha adentrado fortuitamente en el círculo más cercano de Celestino Coronado en Granada, cineasta extremeño cuya vida y obra viene investigando desde hace un tiempo. Objetos que son historias, historias que acaban siendo forma, con esa idea de los tientos flamencos, es decir, a tientas. El artista toca, deduce volúmenes, relaciones, voces y datos de archivos generando una especie de constelación de autores que Antonio Collados y Abel Jaramillo se van intercambiando y compartiendo a lo largo del episodio. Entre ellos, se habla de El teatro y la teoría del duende de Federico García Lorca; del cineasta Celestino Coronado (o la vanguardia del rastrillo); Val del Omar, Lindsay Kemp, Dulce Chacón... Reflexiones en torno a la memoria, de relatos olvidados, historias marginadas y de la manera en que cuidamos los archivos. Pero también de la identidad extremeña, un sentimiento que Abel casi reivindica como un posicionamiento político. Abel Jaramillo (Badajoz, 1993). Graduado en Bellas Artes por la Universidad de Castilla la Mancha y la Universidade de Lisboa (Portugal) y Máster en Arte Contemporáneo, Tecnológico y Performativo por la Universidad del País Vasco. El artista extremeño centra su práctica en las fricciones y disensos que se producen al poner en diálogo sucesos, acciones e imágenes que revelan relaciones históricas, conflictos presentes y especulaciones futuras. Mediante procesos híbridos que incluyen video, instalación, performance, escultura, texto y fotografía, investiga sobre la construcción de la historia desde abajo, la producción de discursos o la relación entre relatos, territorios, márgenes y periferias. https://facba.info/abel-jaramillo/ https://abeljaramillo.es/ ________________________________________________________________ Organiza Facultad de Bellas Artes Universidad de Granada Colabora Vicerrectorado de Extensión Universitaria y Patrimonio Unidad de Cultura Científica y de la Innovación FECYT-Ministerio de Ciencia e Innovación Master Producción e Investigación en Arte. Universidad de Granada Producción de Sonido Andrés Cándido Música José López Montes - Funky Riff https://www.lopezmontes.es/ Identidad Patricia Crespo Robles Divulgación RRSS Raquel Victoria Rodríguez

Robert & Russell meet gallerist Sadie Coles, one of the world’s most respected and successful art dealers. Discover why she set up her gallery in London after managing Jeff Koons’ studio in New York in the mid 1990s; how she first discovered the work of Sarah Lucas and John Currin; the skill of representing new artists on the primary market and the importance of taking a longterm view. We discuss feminism and equality in the workplace and why it's good to be collegiate. Finally we explore childhood trips to visit Tutankhamun at the British Museum, a memorable performance by mime artist/choreographer Lindsay Kemp and a pivotal Nancy Grossman exhibition. See acast.com/privacy for privacy and opt-out information.

Pictured: Lindsay Kemp Julian Worricker on: The dancer and choreographer, Lindsay Kemp, who worked alongside David Bowie and Kate Bush. John Calder, the influential publisher, who championed avant-garde authors and battled censorship. The record-breaking sailor, Hilary Lister, who became the first quadriplegic person to sail across the English Channel. John Calcutt, who shaped the contemporary visual art scene in Scotland at the Glasgow School of Art. And the award-winning American playwright, screenwriter and author, Neil Simon. Interviewed guest: David Haughton Interviewed guest: Kate Bush Interviewed guest: Bill Swainson Interviewed guest: Pauline Rudd Interviewed guest: Francis McKee Interviewed guest: Matt Wolf Archive clips from: Woman's Hour, Radio 4 22/01/1969; Private Passions, Radio 3 25/03/2000; Censorship In Modern Britain: Radio 4 Reports, 12/12/68; Radio 2 Arts Programme: Simply Simon, 27/04/1997; Desert Island Discs, Radio 4 14/05/1995; A Race Against Time: Hilary Lister's Round Britain Dream, BBC Two 14/07/2013; Woman's Hour, Radio 4 11/07/1989; Third Ear, Radio 3 06/05/1991.

LINDSAY KEMP raccontato da Donatella Bertozzi

In this triple interview edition of the Festival City podcast Gareth is joined by Robbie Thompson, who talks about his work as part of Cryptic's Sonica festival, including a club night at Art School where he harnesses the power of the Tesla coil, the 19th century invention that first made electricity visible, to fuse sound and light.Next he dashes to Edinburgh, where Morag Deyes (Artistic Director of Dance Base) and Lindsay Kemp (dancer, teacher and choreographer) discuss past controversial performances, current projects and enjoy an impromptu chorus of 'Nobody Loves a Fairy When She's Old'.Last but not least he meets cartoonist Nick Newman and Private Eye editor Ian Hislop to chat about The Wipers Times, their play based on the true story of the satirical newspaper created on the front line during WWI. The pair discuss the medium of the stage in contrast to TV or print, and the benefits and pleasures of experiencing audience reactions first hand.Show notes:00:00:20 – Introduction00:01:18 – Robbie Thompson00:13:24 – Morag Deyes and Lindsay Kemp 00:33:22 – Nick Newman and Ian Hislop00:51:00 – Outro Credits:Festival City Podcast is co-created by Gareth K Vile (host) and Scott Henderson (producer). Intro music by The Joy Drops. Supported by SGSAH.Please send feedback to podcasts[at]list.co.uk

In Minute 39 of The Whole Shebang, Mike and Jenny continue their trip through the music video for “The Ballad of Maxwell Demon,” this time taking a closer look at the Bowie-reference-laden lyrics to the song and Bowie's taking inspiration from William S. Burroughs in using the “cut-up technique” in his lyrics and performances, the interplay of Apollonian and Dionysian impulses in the persons of haughty fop Brian Slade and the serpentine Maxwell Demon, the origins of the blue reptile in the work of both Lindsay Kemp and Leigh Bowery, the legacy of the Club Kids, and Bowie's tenuous connections to stage magic and illusion. Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.

In Minute 26 of The Whole Shebang, Mike and Jenny are joined by old friend and English grad student Amy Mugglestone who helps them make sense of: Lindsay Kemp's character's fluid gender identity, the aesthetics of sleazy gay sexual awakenings, the history of male impersonation on the British stage as revealed by pantomime posters, the origins and etymology of “luvvie,” Brian's parents' postwar British middle-class decorating style, the unconvincing performance of “Tutti Frutti” by young Brian, the secret gay origins of “Tutti Frutti” and of Little Richard, white appropriation of black music from Pat Boone to David Bowie, the period in the 1950s where music hall and rock and roll shared bills, and the undeniable dramaturgical genius of putative Doctor Who Mr. Pastry. Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.

In Minute 25 of The Whole Shebang, Jenny, Mike, and Brant go deep into Brian Slade's origins, beginning with his ostensible formative years in Birmingham, the cheeky travelogues of Jonathan Meades, the importance of the legacy of British music hall and its decline and fall in the 1950s, the queer coding and possible stereotyping within music hall, British entertainment in general and queer actors' complicity in it, the history of cross-dressing on the British stage, Lindsay Kemp and his influence on young (and old) Bowie, the importance of David Bowie's half-brother Terry Burns to his formative years, and we have our very first ChallengeBowie segment, where listener Laura Darby Singh takes on Bowie in her specialty skill of… saving apes! Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.

In this, the final installment of Spiraken Movie Review's Month of Month of Melodies, Music, and Mostly Mercurial Protagonists, Vinnie from All Geeks Considered returns to convince Xan that the movie we are reviewing is a musical. So sit back and relax as they banter about 1973's , "The Wicker Man" directed by Robin Hardy and starring Edward Woodward, Christopher Lee, Diane Cilento, and Britt Ekland, There is also discussion on if this film is in reality a documentary of Christopher Lee's Life, What is the true concept of nobility, what ways Sgt. Howie could have circumvented his fate and why renting a hotel room for $25 is never a good idea Please send us any comments concerns and ideas on how to make this podcast better. Let us know so we can do something about it. Rate us on iTunes, check out the facebook fangroup Spiraken Movie Review, purchase some stuff from our amazon store in order to fund this podcast and finally, listen to the primary podcast, The Spiraken Manga Review and check out Vinnie's Podcast "All Geeks Considered" for discussion on all things geek related. Hope you enjoy the episode. Music For Episode: Intro Music - Corn Rigs by Paul Giovanni ( The Wicker Man OST), Background Music -The Landlord's Daughter by Roy Bard, John MacGregor, Walter Carr, Lindsay Kemp and Chorus ( The Wicker Man OST), Background Music - Gently Johnny by Paul Giovanni ( The Wicker Man OST), Background Music - Maypole by Walter Carr and Chorus ( The Wicker Man OST), Background Music - Fire Leap by Chorus ( The Wicker Man OST), Background Music - The Tinker of Rye by Diane Cilento and Christopher Lee( The Wicker Man OST), Background Music - Willows Song by Annie Ross ( The Wicker Man OST), Background Music - Procession by Magnet ( The Wicker Man OST), Background Music - Chop Chop by Paul Giovanni ( The Wicker Man OST), Background Music - Lullaby by Paul Giovanni(The Wicker Man OST), Background Music -Sumer is Icumen In by Christopher Lee and Chorus ( The Wicker Man OST), Background Music - Appointment With The Wicker Man by Christopher Lee ( The Wicker Man OST), Ending Music - Sunset by Magnet ( The Wicker Man OST) Our Website http://www.spiraken.com Guest Host's Website http://www.allgeeksconsidered.com Our Email Spirakenmovie@gmail.com My Email xan@spiraken.com Guest Host's Email agcbloggers@gmail.com Our Twitter Spirakenmovie Our facebook fangroup Spiraken Movie Review Our Amazon Store www.amazon.com/shops/Spiraken Xboxlive Gamertag Xan Spiraken Random Question of the Week: What do you think about the ending?

Martin Cullingford and Lindsay Kemp discuss the Baroque Instrumental recordings shortlisted for the 2011 Gramophone Classical Music Awards

In this first of three episodes, Tedd Robinson shares his gradual journey to becoming an artist working in dance and comments on the lasting influence the inspirational teacher of dance and mime Lindsay Kemp has had on his work. Following an audition with Rachel Browne in 1979, Tedd joins Winnipeg's Contemporary Dancers as a dancer. In a span of a few years he launches his choreographic career and becomes the new artistic director of the company.