Podcast appearances and mentions of Martin Newell

Te voy a enumerar todos los objetos que para mí son mágicos. Un Dilo Camilo con musica de Siete Rayos, Chico Electrico, King Coya, La Perla, Maria Daniela y su sonido lasser , Secta Suicida Siglo 20, Robert Fripp, Martin Newell, Lua Gramer, La Hermana de Miguel, Biscote y muchos más.Escuchar audio

This is the last episode of Digging for a while, and we're celebrating with the queen of vegetables… potatoes! Flo is joined by CMAT for her favourite job on the allotment. CMAT is a fast rising singer songwriter from Ireland who has been tirelessly touring Europe and North America with her incredible live show for years now. She's just been nominated for the Mercury Prize, adding that to her list along with Ivor Novello and Brit nominations. The irony of having the only Irish guest of the season harvest potatoes is not lost on CMAT, who considered her superior harvest some form of reparation. In this episode she and Flo talk about pretty much everything, but highlights include CMAT's refreshing love of fame, growing beans in Red Stripe tins and the art of songwriting - all whilst they dig up those unfortunate potatoes. Presenter - Flo Dill, Producer - Lizzy King, Editing - Chantal Adams, Sound Recording & Mix Mastering - Sophie EllisonMusic - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

Flo's joined today by the godfather of Memphis rap, DJ Spanish Fly. Fly is celebrated for his influential role in the early sound of Southern hip-hop, and known for his lo fi, distortion heavy musical style. In this conversation with Flo he recalls his childhood in the church, his arrival in Memphis as a country boy from rural Illinois and his role in the development of bucking, a dance style which emerged from his DJ sets at Club No Name in the late 80s and 90s. It was at these daily DJ sets at Club no Name that DJ Spanish Fly pioneered the Memphis sound, which is, in Flo's words, spooky. The pair discuss the surprising merits of this spooky sound as they plant out cucumbers on the allotment. Presenter - Flo Dill, Producer - Lizzy King, Editing - Omar Serge, Sound Recording - Connor Gani, Sound Design and Mix Mastering - Sophie EllisonA video version of this episode is also available on YouTubeMusic - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

Off the allotment and into a city garden today with musician and composer Rufus Wainwright. Rufus joined Flo fresh from a run of shows and special events, including the performance of his Dream Requiem in Paris, performed by Anna Prohaska, the Philharmonic Orchestra of Radio France, and narrated by Meryl Streep. In this episode of Digging, Flo and Rufus - with the assistance of Siegfried the dog - plant out tomatoes. Whilst they set about the task they discuss Rufus' discovery of opera as a young gay teenager during the peak of the AIDS crisis, his musical lineage, the bruising experience of launching a cutting edge musical on the West End and his new found love of Britney Spears. Presenter - Flo Dill, Producer - Lizzy King, Editing - Femi Oriogun-Williams, Sound Recording and Mastering - Sophie EllisonMusic - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

Back on the allotment today with Lias Saoudi, best known as the frontman of the heavily mythologised South London band Fat White Family. For the uninitiated, FWF are a controversial band born out of a Peckham squat in 2011: they became known initially for their riotous, electric live shows, as well as their unapologetic attitudes - depending on who you talk to, FWF are post punk heroes or “horrible little scrotes”. Now in 2024, the band sit at an interesting juncture, with a new album out but with certain members absent, decades of excessive drug use having taken their toll. During today's episode Lias talks about his experience of growing up in Cookstown Northern Ireland and troubling family ties, as well as new found health and semi-sobriety. Flo and Lias's mutual disdain for musician-turned-cheese magnate, Alex James also comes up, as they successfully plant out butternut squash, which it turns out is Lias' least favourite vegetable. Presenter - Flo Dill, Producer - Lizzy King, Editing - Femi Oriogun-Williams, Sound Recording and Mastering - Sophie EllisonMusic - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

In this episode, Shawn & Craig take listeners on a diverse musical journey, highlighting a range of albums that span various genres and eras. Shawn delves into albums from Punch Brothers, Karate, New Order, Billy Joe Shaver, and Bon Iver, offering insights into each artist's unique sound and influence. He explores the intricate progressive bluegrass of Punch Brothers, the post-hardcore edge of Karate, the iconic synth-pop of New Order, the outlaw country of Billy Joe Shaver, and the ethereal indie folk of Bon Iver. Shawn discusses standout tracks and the enduring impact of these artists on their respective genres.Craig shifts the focus to albums from Supergrass, The Stills, Swervedriver, Idaho, and Martin Newell, highlighting the diverse sounds that these artists bring to the table. He examines the Britpop energy of Supergrass, the atmospheric indie rock of The Stills, the shoegaze brilliance of Swervedriver, the melancholic slowcore of Idaho, and the whimsical pop craftsmanship of Martin Newell. Craig offers deep dives into key tracks and reflects on how these albums have shaped the musical landscape. Join Craig and Shawn as they celebrate these eclectic albums, sharing their passion and insights into the rich tapestry of music they present.

Off the plot today and into the Suffolk garden of writer, critic and lifelong gardener Olivia Laing. Laing's diverse career began with their involvement in road protests in the 1980s & 1990s where they lived completely off grid: this led to training as a herbalist, before moving into the literary world. As the deputy books editor of The Observer they wrote extensively on arts and culture, before authoring award winning auto-fiction novel Crudo, and several celebrated works of non-fiction - the most recent of which, The Garden Against Time, uses today's Suffolk garden setting as a lens through which to explore the concept of paradise and the varied, surprising stories of gardens. Whilst Flo and Olivia pot up geraniums they discuss the concept of the gardens as a queer haven for artists like Derek Jarman, Cedric Morris, Vita Sackville-West and the ladies of Llangollen. Flo has her first go at worm harvesting and Flo and Olivia reflect on the growing urgency for public gardens that provide a refuge from urban stressors as well as the climate crisis. Presenter - Flo Dill, Producer - Lizzy King, Editing - Femi Oriogun-Williams, Sound Recording & Mastering - Sophie EllisonMusic - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

Today on the plot Flo's joined by multidisciplinary artist and musician Duval Timothy. Duval's work blends his musical and cultural influences with the piano at the centre of his practice. His work spans food, painting, sculpture, textiles and more. Recent collaborators include fashion designer Grace Wales Bonner and rapper Kendrick Lamar.Flo and Duval talk about fatherhood, Lewisham's Mr Pink, Duval's commitment to the colour blue, his early experiences of making art, and some of his more recent music. Duval proves himself to be a fantastic digger and planter of courgettes, which was today's task. Presenter - Flo Dill, Producer - Lizzy King, Editing - Femi Oriogun-Williams, Sound Recording and Mastering - Sophie EllisonA video version of this episode is also available on YouTubeMusic - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

This week Flo is joined by artist, activist and founder of Sports Banger, Jonny Banger. Jonny has taken the art of the bootleg and used it to deliver searing take downs of the status quo: his work is subversive and accessible, and encompasses themes of pop culture, politics and fashion, all undercut by a spirit of rave. In this episode Flo and Jonny talk about Jonny's long standing connection to pigeons, the KLF and the buzz he gets when he receives a cease and desist letter: all whilst planting out climbing beans. Presenter - Flo Dill, Producer - Lizzy King, Editing - Femi Oriogun-Williams, Sound Recording & Mastering - Sophie EllisonA video version of this episode is also available on YouTube.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

Flo and her guests are back on the allotment for the summer. In this first episode she's joined by NYC based Molly Lewis, who is probably the world's most famous whistler. In this episode of Digging, Flo and Molly will be planting potatoes whilst chatting about cane toads, the weird and wonderful world of competitive whistling - and Flo gets a whistling lesson. Presenter - Flo Dill, Producer - Lizzy King, Editing - Femi Oriogun-Williams, Sound Recording - Sophie Ellison, Mastering - Felix Stock.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

Robert har lyssnat på fromt kristen (?) akustisk kåntry och blivit positivt överraskad av ett amerikanskt kändisbarn. Love har diggat Style Council och Last Dinner Party. Robert presenterar en sladdrig mashup av Yma Sumac och Lizzy Mercier Descloux samt en spänstig och fräsch mix på klassisk 1975-funk. Love leder oss in på avighet och lofi med Andy Partridge och Martin Newell, vilket för oss vidare till Solid Space och "Bill Holt's Dreamies". Det blir läxförhör om tre Magma-skivor, varpå nya hemläxor utdelas med hjälp av chokladhjul och musikläraranekdoter traderas. Från Roberts Last.fm-historik hör vi åtminstone två sångerskor med 1700-talsinfluenser. I Bisarra hörnan hör vi Love frambringa helt nya ljud, följt av Beatles främsta rivaler och lite folkbildande anti-flat-earth-rapping. Och så har Love gjort en låt. Gör oss sällskap på Discord: ⁠⁠https://discord.gg/Cywtq7vaqZ Gilla, kommentera och recensera på The Facebook: ⁠https://facebook.com/musikensmaktpodcast/⁠ Bidra till Loves fysiska överlevnad och få lite bonusmaterial: ⁠https://www.patreon.com/musikensmakt⁠

Robert har lyssnat på fromt kristen (?) akustisk kåntry och blivit positivt överraskad av ett amerikanskt kändisbarn. Love har diggat Style Council och Last Dinner Party. Robert presenterar en sladdrig mashup av Yma Sumac och Lizzy Mercier Descloux samt en spänstig och fräsch mix på klassisk 1975-funk. Love leder oss in på avighet och lofi med Andy Partridge och Martin Newell, vilket för oss vidare till Solid Space och "Bill Holt's Dreamies". Det blir läxförhör om tre Magma-skivor, varpå nya hemläxor utdelas med hjälp av chokladhjul och musikläraranekdoter traderas. Från Roberts Last.fm-historik hör vi åtminstone två sångerskor med 1700-talsinfluenser. I Bisarra hörnan hör vi Love frambringa helt nya ljud, följt av Beatles främsta rivaler och lite folkbildande anti-flat-earth-rapping. Och så har Love gjort en låt.

This week, in the final episode of Digging Season 2, Flo is with fellow NTS host Shy One. Shy is a producer and DJ who started aged 13 making grime instrumentals for this emerging London scene. Now a celebrated DJ and musician, she's played in clubs and festivals across the world, and is loved for her musically deep, eclectic sets.In this episode Flo and Shy One plant out tiny baby leeks and discuss their very different experiences in the seminal internet chat community MSN, Shy's classy musical upbringing, and her early years watching classic British comedy Smack the Pony with her mum.Presenter - Flo Dill, Producer - Lizzy King, Sound Recording - Jennifer Walton, Audio production - Felix Stock. Special thanks to Dimitris Mylonas.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks.You can hear Shy One on NTS every Wednesday on Soup To Nuts Hosted on Acast. See acast.com/privacy for more information.

Not only are we off the plot today, we aren't really gardening either. In this special edition of Digging, Flo is spending time with Penny Rimbaud in his garden. Penny is a founding member of the anarcho-punk band Crass and performance group EXIT, as well as a poet, writer and philosopher. In this episode Penny gives Flo a tour of the garden and ‘sheds' at Dial House, the radical open house he established in the 1960s. They discuss his approach to meditation and philosophy as well as Penny's various tattoos. They talk about the formative power of Paul Rep's book on Zen, the early influence of the film The Inn of the Sixth Happiness and the fact that Valerie Solanas's Scum Manifesto was the book most often stolen by Dial House guests. Featured track - The Casimir Connection - Forgiveness from the as yet unreleased Caliban Sounds album 'REFLECTION'. Credit to Dianne McLoughlin/soprano sax. Alcyona Mick/piano. Kit Massey/violin. Tim Fairhall/bass. Written and arranged by Diane McLoughlin. Produced by Dianne McLoughlin and Penny Rimbaud.Presenter & editor - Flo Dill, Producer - Lizzy King, Sound Recording - Giulia Campanella, Audio production - Felix Stock. Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

We're back on the plot today with Slauson Malone 1, formerly Slauson Malone, also known as Jasper Marsalis. Jasper is a painter, sculptor and musician who currently lives in Los Angeles. His work in music feels like a form of collage; of narratives, sounds and references.In this episode Flo and Jasper are appealing to Jasper's perfectionist qualities and planting out garlic. They discuss the music that Jasper is currently fake listening to; his respect and fear of cooking and appreciation of dumb but useful items, like the dibber - which is well used in this episode. Jasper is currently reading Cruel Optimism by Lauren Berlant, listening to Abdul Wadud, By Myself; and watching Winter adé as well as Fast X. Presenter & editor - Flo Dill, Producer - Lizzy King, Sound Recording - Fabrice Robinson, Audio production - Felix Stock. Special thanks to Dimitris Mylonas.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks.Listen back to Jasper's shows and guest spots on NTS Hosted on Acast. See acast.com/privacy for more information.

Today Flo's off the plot and into the garden of English musician Tirzah. One of the most enduring exponents of weird and wonderful music, Tirzah has released a string of acclaimed albums, and works in close collaboration with other musicians, namely school friend Mica Levi. In this episode Flo and Tirzah are planting onion seeds and broad beans into seed trays to be grown inside, until they're ready to be planted out on the allotment. Whilst they set about this task they discuss the delicate business of karaoke, the musical impact of exiting Jehovah's Witnesses, motherhood, and the art of collaboration. Discover more of Tirzah on NTSPresenter & editor - Flo Dill, Producer - Lizzy King, Sound Recording - Sophie Ellison, Audio production - Felix Stock. Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

Today's guest digger is rising UK rapper Sainté: originally from Leicester, this charismatic artist is an accidental musician: forced to rethink his promising basketball career due to the pandemic, he uploaded a song born out of a freestyle on the bus on the way to practice, and the internet did the rest. In this episode Flo and Sainté plant out raspberry canes as they discuss Sainté's career so far, his aspirations of opening his own cafe, and early memories of growing the wrong kind of peas at his mum's allotment.Presenter & editor - Flo Dill, Producer - Lizzy King, Sound Recording - Sophie Ellison, Audio production - Felix Stock. Special thanks to Dimitris Mylonas.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

Flo is back on the allotment for another season of Digging. In this first episode, she's joined by English contemporary artist Jeremy Deller. The Turner Prize winner often weaves music and pop culture into his art, which tends to be politically focused and collaborative in nature. In this episode of Digging, Deller and Flo attempt to bridge the gaps between Take That, William Morris and the lost magic of the jumble sale, whilst planting out strawberries to overwinter on the plot. Presenter & editor - Flo Dill, Producer - Lizzy King, Sound Recording - Jennifer Walton, Audio production - Felix Stock. Special thanks to Dimitris Mylonas. Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

It's another on the road special! We were joined by the enigmatic Martin Newell who had lots of strange tales about the sleepy fishing village of Wivenhoe.Martin's music: https://www.cleanersfromvenus.com/Martin's Poetry: https://soundcloud.com/essex-record-office/sets/spoke-n-wordEerie Essex on the road was supported by the Essex County Council Arts and Cultural Fund, who provided funding and support for this undertaking. If you have any more information about these stories or want to share your own experience please contact us via: eerieessexpodcast@gmail.comYou can also find us on Twitter, Facebook & Instagram. Just search for Eerie Essex!You can support us on Ko-Fi and Patreon:https://ko-fi.com/eerieessexhttps://www.patreon.com/EerieEssex....or by leaving us a review.Support the show

25.) Steve & Martin (w/ Steve Roberts, regarding Martin Newell) (Recorded on 31 March 2021.) Martin Newell actually introduced us to Steve Roberts, and sort of set us on our path of interviewing people connected to this show. So when we had Steve on the line, we couldn’t help but ask him a few questions … Continue reading 25.) Steve & Martin (w/ Steve Roberts, regarding Martin Newell)

“Dynamic, Kinetic and Unexpected” So a quick introduction to the principal members of the 3 Clubmen will give you a foundational understanding of what this band is all about. Or will it? It won't, because their sound is so unexpected and fresh and inventive, that a little background can't prepare you for what they sound like, but introductions are part of our job, so let's get that out of the way. Andy Partridge is one of the greatest songwriters to ever walk the planet. His work with XTC pretty much cements that statement, but his work outside of XTC with Robyn Hitchcock and Martin Newell just give further evidence that Partridge is a first-rate talent whose discography is comprised of classic upon classic. The Swindon-Based producer/musician and Professor Stu Rowe has played with everyone from Paul Weller to Future Sound Of London to Shriekback and the L.A.-born Jen Olive has an extensive resume, including writing and recording for A&M Records, putting out her own albums and contributing music to various American Film Institute projects. Okay, so what about the 3 Clubmen? Well, the 3 Clubmen are an energizing and kinetic blend of experimental pop, jagged and racing percussion, bent jazz and inventive production. What does this add up to? Putting it simply, one of the most refreshing EPs of the year. Or, any year. This self-titled four song effort is filled with the unexpected and it keeps delivering pop surprise after pop surprise. The sonic angles of The 3 Clubmen are sharp and dynamic and although the arrangements are textured blasts of idiosyncratic beats and rhythms, there's a shimmering pop center to these songs that makes them utterly irresistible. We feel the same way about this chat. The 3 Clubmen: Instagram: @the3clubmen https://burningshed.com/the-3-clubmen_the-3-clubmen-ep_cd Stereo Embers Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com www.stereoembersmagazine.com www.embersarts.com www.bombshellradio.com

This week Flo is joined by old friend and DJ OK Williams to help harvest potatoes on the plot. As they work in the blazing sunshine they reflect on Londoner OKW's recent ascent in clubland, how she got into DJing, macho club culture, and her past role producing Andrew Weatherall's influential NTS show.Check out OK Williams' monthly NTS showPresenter - Flo Dill, Producer - Lizzy King, Sound Recording - Jennifer Walton,  Editor - Sam Stone, Mastering - Owen Pratt, special thanks to Dimitris Mylonas.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

Flo is off the plot again today, this time at the veg patch of Cosey Fanni Tutti. Cosey is an artist, musician, and writer. She was a co-founder of COUM transmissions and later went on to form industrial music group, Throbbing Gristle. Both groups were highly censored and at one point they were accused by the mainstream press of being ‘wreckers of civilisation' for their shocking and confrontational work. Cosey went on to form Chris and Cosey, and later Carter Tutti Void with her bandmate and partner, Chris Carter. In this episode Cosey talks Flo through her DIY approach to gardening, her recent work scoring the Delia Derbyshire film, and their mutual love of the Rosemary Tonks book, The Bloater. Later in the podcast they discuss Cosey's choice of music to strip to, all whilst they sow carrot seeds and plant out onion sets. Check out Cosey Fanni Tutti's shows on NTSPresenter - Flo Dill, Producer - Lizzy King, Sound Recording - Jennifer Walton,  Editor - Sam Stone, Mastering - Rory Bowens.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

Flo is off the plot today and doing some container gardening on Brix Smith's roof garden. Brix started out at the liberal arts college Bennington, alongside Donna Tartt and Bret Easton Ellis, before going on to join seminal British post-punk band The Fall. She was also married to Mark E Smith. Today she fronts her own band, Brix Smith - a “kind of all-female supergroup”. Between her time in bands, she was the fabulous co-host on Gok's Fashion Fix. Flo and Brix discuss how Brix's acute synesthesia marries up the seemingly disparate worlds of 1970s British post-punk and the mainstream 00s TV fashion competition, whilst they pot up some tomatoes and peas.Presenter - Flo Dill, Producer - Lizzy King, Sound Recording & Editor - Sam Stone, Mastering - Felix Stock. Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

This week on plot Flo is joined by Turner Prize winning artist and non-gardener, Mark Leckey. They chat about nostalgia, living in Las Vegas and how Mark got noticed in the art world all whilst doing Flo's favourite task..  potato planting.Check out Mark Leckey's show on NTS. Music and Video Lab will be taking place in Liverpool this year, follow for updatesPresenter - Flo Dill, Producer - Lizzy King, Editor - Sam Stone, Sound Recording - Rory Bowens, Mastering - Felix Stock, special thanks to Dimitris Mylonas.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & captured tracks. Hosted on Acast. See acast.com/privacy for more information.

Madison James is the frontperson of the New Brunswick, NJ, emo band Ogbert the Nerd. Madison is a Scorpio Sun // Pisces Moon // Pisces Rising. We chat about the music and astrology of Martin Newell of The Cleaners From Venus, Mark Linkous of Sparklehorse, and NLE Choppa.What We Talked About:  Ogbert the Nerd on Tour // Ogbert The Nerd | 30 Rock // Fallout Boy | Simpsons Wiki // No Good With Secrets on Bandcamp // The Cleaners From Venus - I Can't Stop (Holding On) // White Reaper - Only a Shadow (Cleaners From Venus Cover) // "Meet The CONAN Staff": Conor Oberst - Production Assistant (Video) // Sparklehorse ‎– Vivadixiesubmarinetransmissionplot (Album) // Sparklehorse - Rainmaker (Live Video) // NLE Choppa - Capo (Song) // NLE Choppa - Slut Me Out (Song) // The Lemon Twigs - Any Time Of Day (Video) // Liquid Mike - S/T (Album) //  The Dare - Girls (Video) //  Ghetto Brothers - Power-Fuerza (Album) // Halo Bite - Real Guns Fake Holsters (EP) // The Pains of Being Pure at Heart (Self-titled Album) // Wednesday - Rat Saw God (Album) // Throbbing Gristle -  20 Jazz Funk Greats (Album) //  boygenius - Not Strong Enough (Jimmy Kimmel Live 2023) //  Ethel Cain - Crush (Live on KEXP) // Daniel Caesar - NEVER ENOUGH (Album) // Ogbert the Nerd - Get In The Robot (Song) ...  Check out more of Madison's work!  ogbertthenerd.bandcamp.com // @ogbertthenerdnj on Twitter // @quartzmorrigan on Twitter //  @ogbertthenerdtheband on Instagram. Our theme music is from the song, "Come & Get It" by Flamingosis. Follow us on Twitter and Instagram (@musicstr0l0gy) and check out our website at musicstrologypodcast.com.

This week on the plot, Flo gets some help with ground prep from the much loved London musician, Novelist. As they work they discuss his musical upbringing, his new life in Ghana, and Nov's childhood memories of gardening at his Nan's house.  Presenter - Flo Dill, Producer - Lizzy King, Editor - Sam Stone, Sound Recording & Mastering - Felix Stock, special thanks to Dimitris Mylonas.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & captured tracks. Hosted on Acast. See acast.com/privacy for more information.

Gutenburg shipped the first working printing press around 1450 and typeface was born. Before then most books were hand written, often in blackletter calligraphy. And they were expensive.    The next few decades saw Nicolas Jensen develop the Roman typeface, Aldus Manutius and Francesco Griffo create the first italic typeface. This represented a period where people were experimenting with making type that would save space. The 1700s saw the start of a focus on readability. William Caslon created the Old Style typeface in 1734. John Baskerville developed Transitional typefaces in 1757. And Firmin Didot and Giambattista Bodoni created two typefaces that would become the modern family of Serif. Then slab Serif, which we now call Antique, came in 1815 ushering in an era of experimenting with using type for larger formats, suitable for advertisements in various printed materials. These were necessary as more presses were printing more books and made possible by new levels of precision in the metal-casting. People started experimenting with various forms of typewriters in the mid-1860s and by the 1920s we got Frederic Goudy, the first real full-time type designer. Before him, it was part of a job. After him, it was a job. And we still use some of the typefaces he crafted, like Copperplate Gothic. And we saw an explosion of new fonts like Times New Roman in 1931. At the time, most typewriters used typefaces on the end of a metal shaft. Hit a kit, the shaft hammers onto a strip of ink and leaves a letter on the page. Kerning, or the space between characters, and letter placement were often there to reduce the chance that those metal hammers jammed. And replacing a font would have meant replacing tons of precision parts. Then came the IBM Selectric typewriter in 1961. Here we saw precision parts that put all those letters on a ball. Hit a key, the ball rotates and presses the ink onto the paper. And the ball could be replaced. A single document could now have multiple fonts without a ton of work. Xerox exploded that same year with the Xerox 914, one of the most successful products of all time. Now, we could type amazing documents with multiple fonts in the same document quickly - and photocopy them. And some of the numbers on those fancy documents were being spat out by those fancy computers, with their tubes. But as computers became transistorized heading into the 60s, it was only a matter of time before we put fonts on computer screens. Here, we initially used bitmaps to render letters onto a screen. By bitmap we mean that a series, or an array of pixels on a screen is a map of bits and where each should be displayed on a screen. We used to call these raster fonts, but the drawback was that to make characters bigger, we needed a whole new map of bits. To go to a bigger screen, we probably needed a whole new map of bits. As people thought about things like bold, underline, italics, guess what - also a new file. But through the 50s, transistor counts weren't nearly high enough to do something different than bitmaps as they rendered very quickly and you know, displays weren't very high quality so who could tell the difference anyways.  Whirlwind was the first computer to project real-time graphics on the screen and the characters were simple blocky letters. But as the resolution of screens and the speed of interactivity increased, so did what was possible with drawing glyphs on screens.  Rudolf Hell was a German, experimenting with using cathode ray tubes to project a CRT image onto paper that was photosensitive and thus print using CRT. He designed a simple font called Digital Grotesk, in 1968. It looked good on the CRT and the paper. And so that font would not only be used to digitize typesetting, loosely based on Neuzeit Book. And we quickly realized bitmaps weren't efficient to draw fonts to screen and by 1974 moved to outline, or vector, fonts. Here a Bézier curve was drawn onto the screen using an algorithm that created the character, or glyph using an outline and then filling in the space between. These took up less memory and so drew on the screen faster. Those could be defined in an operating system, and were used not only to draw characters but also by some game designers to draw entire screens of information by defining a character as a block and so taking up less memory to do graphics.  These were scalable and by 1979 another German, Peter Karow, used spline algorithms wrote Ikarus, software that allowed a person to draw a shape on a screen and rasterize that. Now we could graphically create fonts that were scalable.  In the meantime, the team at Xerox PARC had been experimenting with different ways to send pages of content to the first laser printers. Bob Sproull and Bill Newman created the Press format for the Star. But this wasn't incredibly flexible like what Karow would create. John Gaffney who was working with Ivan Sutherland at Evans & Sutherland, had been working with John Warnock on an interpreter that could pull information from a database of graphics. When he went to Xerox, he teamed up with Martin Newell to create J&M, which harnessed the latest chips to process graphics and character type onto printers. As it progressed, they renamed it to Interpress. Chuck Geschke started the Imaging Sciences Laboratory at Xerox PARC and eventually left Xerox with Warnock to start a company called Adobe in Warnock's garage, which they named after a creek behind his house. Bill Paxton had worked on “The Mother of All Demos” with Doug Engelbart at Stanford, where he got his PhD and then moved to Xerox PARC. There he worked on bitmap displays, laser printers, and GUIs - and so he joined Adobe as a co-founder in 1983 and worked on the font algorithms and helped ship a page description language, along with Chuck Geschke, Doug Brotz, and Ed Taft.  Steve Jobs tried to buy Adobe in 1982 for $5 million. But instead they sold him just shy of 20% of the company and got a five-year license for PostScript. This allowed them to focus on making the PostScript language more extensible, and creating the Type 1 fonts. These had 2 parts. One that was a set of bit maps And another that was a font file that could be used to send the font to a device.  We see this time and time again. The simpler an interface and the more down-market the science gets, the faster we see innovative industries come out of the work done. There were lots of fonts by now. The original 1984 Mac saw Susan Kare work with Jobs and others to ship a bunch of fonts named after cities like Chicago and San Francisco. She would design the fonts on paper and then conjure up the hex (that's hexadecimal) for graphics and fonts. She would then manually type the hexadecimal notation for each letter of each font.  Previously, custom fonts were reserved for high end marketing and industrial designers. Apple considered licensing existing fonts but decided to go their own route. She painstakingly created new fonts and gave them the names of towns along train stops around Philadelphia where she grew up. Steve Jobs went for the city approach but insisted they be cool cities. And so the Chicago, Monaco, New York, Cairo, Toronto, Venice, Geneva, and Los Angeles fonts were born - with her personally developing Geneva, Chicago, and Cairo. And she did it in 9 x 7.  I can still remember the magic of sitting down at a computer with a graphical interface for the first time. I remember opening MacPaint and changing between the fonts, marveling at the typefaces. I'd certainly seen different fonts in books. But never had I made a document and been able to set my own typeface! Not only that they could be in italics, outline, and bold. Those were all her. And she inspired a whole generation of innovation. Here, we see a clean line from Ivan Sutherland and the pioneering work done at MIT to the University of Utah to Stanford through the oNLine System (or NLS) to Xerox PARC and then to Apple. But with the rise of Windows and other graphical operating systems. As Apple's 5 year license for PostScript came and went they started developing their own font standard as a competitor to Adobe, which they called TrueType. Here we saw Times Roman, Courier, and symbols that could replace the PostScript fonts and updating to Geneva, Monaco, and others. They may not have gotten along with Microsoft, but they licensed TrueType to them nonetheless to make sure it was more widely adopted. And in exchange they got a license for TrueImage, which was a page description language that was compatible with PostScript. Given how high resolution screens had gotten it was time for the birth of anti-aliasing. He we could clean up the blocky “jaggies” as the gamers call them. Vertical and horizontal lines in the 8-bit era looked fine but distorted at higher resolutions and so spatial anti-aliasing and then post-processing anti-aliasing was born. By the 90s, Adobe was looking for the answer to TrueImage. So 1993 brought us PDF, now an international standard in ISO 32000-1:2008. But PDF Reader and other tools were good to Adobe for many years, along with Illustrator and then Photoshop and then the other products in the Adobe portfolio. By this time, even though Steve Jobs was gone, Apple was hard at work on new font technology that resulted in Apple Advanced Typography, or AAT. AAT gave us ligature control, better kerning and the ability to write characters on different axes.  But even though Jobs was gone, negotiations between Apple and Microsoft broke down to license AAT to Microsoft. They were bitter competitors and Windows 95 wasn't even out yet. So Microsoft started work on OpenType, their own font standardized language in 1994 and Adobe joined the project to ship the next generation in 1997. And that would evolve into an open standard by the mid-2000s. And once an open standard, sometimes the de facto standard as opposed to those that need to be licensed. By then the web had become a thing. Early browsers and the wars between them to increment features meant developers had to build and test on potentially 4 or 5 different computers and often be frustrated by the results. So the WC3 began standardizing how a lot of elements worked  in Extensible Markup Language, or XML. Images, layouts, colors, even fonts. SVGs are XML-based vector image. In other words the browser interprets a language that displays the image. That became a way to render Web Open Format or WOFF 1 was published in 2009 with contributions by Dutch educator Erik van Blokland, Jonathan Kew, and Tal Leming. This built on the CSS font styling rules that had shipped in Internet Explorer 4 and would slowly be added to every browser shipped, including Firefox since 3.6, Chrome since 6.0, Internet Explorer since 9, and Apple's Safari since 5.1. Then WOFF 2 added Brotli compression to get sizes down and render faster. WOFF has been a part of the W3C open web standard since 2011.  Out of Apple's TrueType came TrueType GX, which added variable fonts. Here, a single font file could contain a number or range of variants to the initial font. So a family of fonts could be in a single file. OpenType added variable fonts in 2016, with Apple, Microsoft, and Google all announcing support. And of course the company that had been there since the beginning, Adobe, jumped on board as well. Fewer font files, faster page loads.  So here we've looked at the progression of fonts from the printing press, becoming more efficient to conserve paper, through the advent of the electronic typewriter to the early bitmap fonts for screens to the vectorization led by Adobe into the Mac then Windows. We also see rethinking the font entirely so multiple scripts and character sets and axes can be represented and rendered efficiently.  I am now converting all my user names into pig Latin for maximum security. Luckily those are character sets that are pretty widely supported. The ability to add color to pig Latin means that OpenType-SVG will allow me add spiffy color to my glyphs. It makes us wonder what's next for fonts. Maybe being able to design our own, or more to the point, customize those developed by others to make them our own. We didn't touch on emoji yet. But we'll just have to save the evolution of character sets and emoji for another day. In the meantime, let's think on the fact that fonts are such a big deal because Steve Jobs took a caligraphy class from a Trappist monk named Robert Palladino while enrolled at Reed College. Today we can painstakingly choose just the right font with just the right meaning because Palladino left the monastic life to marry and have a son. He taught jobs about serif and san serif and kerning and the art of typography.  That style and attention to detail was one aspect of the original Mac that taught the world that computers could have style and grace as well. It's not hard to imagine if entire computers still only supported one font or even one font per document. Palladino never owned or used a computer though. His influence can be felt through the influence his pupil Jobs had. And it's actually amazing how many people who had such dramatic impacts on computing never really used one. Because so many smaller evolutions came after them. What evolutions do we see on the horizon today? And how many who put a snippet of code on a service like GitHub may never know the impact they have on so many?

Esta semana, en Islas de Robinson, nos movemos en los 90 en clave Pop ("robinsoniano", por supuesto). Suenan: PETER BLEGVAD - "KING STRUT (REPRISE)" ("KING STRUT & OTHER STORIES", 1990) / THE LILAC TIME - "I WENT TO DANCE" ("& LOVE FOR ALL", 1990) / MARTIN NEWELL - "WE'LL BUILD A HOUSE" ("THE GREATEST LIVING ENGLISHMAN", 1993) / XTC - "THEN SHE APPEARED" ("NONSUCH", 1992) / CHRIS STAMEY - "TIME IS RUNNING OUT" ("FIREWORKS", 1991) / ROBYN HITCHCOCK & THE EGYPTIANS - "SO YOU THINK YOU'RE IN LOVE" (1991) / ELVIS COSTELLO - "THE OTHER SIDE OF SUMMER" ("MIGHTY LIKE A ROSE", 1991) / SQUEEZE - "IT'S OVER" ("SOME FANTASTIC PLACE", 1993) / AIMEE MANN - "SAY ANYTHING" ("WHATEVER", 1993) / JULES SHEAR - "THE SAD SOUND OF THE WIND" ("THE GREAT PUZZLE", 1992) / MICHAEL PENN - "STRANGE SEASON" ("FREE-FOR-ALL", 1992) / KIRSTY MACCOLL - "YOU KNOW IT'S YOU" ("TITANIC DAYS", 1994) / WORLD PARTY - "IS IT LIKE TODAY" ("BANG!", 1993) / Escuchar audio

That jangle, tho. It's time for an all-new, all-different Click Vortex livestream with Sam Means (The Format/Hello Merch) and Jason P. Woodbury (Aquarium Drunkard/JPW). This week, the guys (and all our friends in the live chat) discuss Arby's, Two-Lane Blacktop, Cleaners From Venus, Martin Newell, XTC, John Leckie, ulcers, and the tragic and outrageous history of Revolutionary Comics' unauthorized bootleg comics about rock stars. Catch Click Vortex *Live* at Crescent Ballroom, Sunday, March 26 with Elmo and Cris of Meat Puppets. Call us anytime at 1-877-WASTOIDS. More podcasts and videos at WASTOIDS.com | Follow us on Instagram and YouTube.

'Not demonstrably justified in a free and democratic society'. Grounded Kiwis has won its High Court challenge against the Minister of Health after claiming the MIQ lottery system failed New Zealanders living overseas by refusing them the right to return home freely. In a 140-page judgment released this afternoon, Justice Mallon said the MIQ lobby did not allow personal circumstances to be considered or prioritised. She said whilst the system, which operated for 22 months from April 2020, was a critical component of the government's elimination strategy and positive health outcomes, the virtual lobby and narrow emergency criteria meant the rights of kiwis to return freely was infringed. Martin Newell is the spokesperson for Grounded Kiwis. He talks to Nick Truebridge.

Newly released documents show that health officials agreed that MIQ was "no longer justified" for most returnees. However, it took another three and a half months, almost 40,000 MIQ stays and seven voucher lotteries before most incoming travelers could enter freely. The group Grounded Kiwis is still waiting on a judgement at the High Court on the legality of the MIQ system. Martin Newell from Grounded Kiwis says the ministry's memo added "insult to injury" for thousands of people who were unable to travel. However, Otago University Law Professor Andrew Geddis told Karyn Hay it is unlikely to be a smoking gun.

From 11.59 pm tonight, border changes in New Zealand will allow vaccinated Kiwis in Australia to return home and self-isolate – rather than go into MIQ. Grounded Kiwis spokesperson, Martin Newell joined Francesca Rudkin from Melbourne. LISTEN ABOVE 

Issue #34: The Martin Newell Interview Written & Performed Heather from The Sound of Tomorrow & Austin Rich, featuring a conversation with Heather, Austin & Martin Newell. Issue #34, produced in March of 2021, containing some spacey musical stories, Namely: “The Martin Newell Interview.”  https://ia601408.us.archive.org/22/items/20220225-1030-radio-zine-034/20220225%201030%20Radio%20Zine%20034.mp3   Musical Selections (usually in excerpt): Statues * Martin Newell * Penny […]

The group Grounded Kiwis goes to the High Court today to press its case against the MIQ system. They are seeking a judicial review of the system that has seen many thousands of New Zealanders abroad unable to secure a place in the lottery system and therefore unable to return home. Grounded Kiwis says this is unlawful, unreasonable and breaches the Bill of Rights. The case is expected to last two days. Grounded Kiwis' spokesperson Martin Newell spoke to Susie Ferguson.

New Zealanders desperate to return home who feel they've been locked out of the country should have some certainty soon. Cabinet ministers are expected to discuss their plan for re-opening the borders when they meet today and an announcement could be just days away. The latest plan states that from the-end-of-February, vaccinated New Zealanders in Australia, and possibly elsewhere, will be allowed to skip MIQ and isolate at home. Grounded Kiwis spokesperson Martin Newell spoke to Corin Dann.

Episode 14 of Campfire Songs featuring The Chills, Chime School, Martin Newell, The Oranges Band, Tracey Thorn, Nextstopexjock, John Cale, Idaho.

Today the Government announced from mid-January, all fully vaccinated New Zealanders travelling from Australia can skip MIQ and self-isolate for seven days. Martin Newell is in Melbourne and joins Karyn to share his relief and excitement.

A group of New Zealanders stuck overseas have proposed a self isolation system for returnees, which would see more people get home and reduce cost for the government. The Grounded Kiwis plan would take into account the vaccine status of the people returning and where they've come from, as well as the vaccine rates in New Zealand. Grounded Kiwis' spokesperson Martin Newell joins Nita Blake-Persen from Melbourne.  

Continuamos el finde poprockero y tras abrir con el surf agitanado de los Royal Pacifics seguimos emocionados con las chicas de The Checkered Hearts y con Iain Hornal, abusando de sus producciones. Esquela muestran hoy un ambiente country y el alemán Hans Forster con su proyecto Hanemoon, tal vez muy soft, parecido al de Martin Newell con sus The Cleaners From Venus. Cambiamos con los australianos The Chevelles y su homenaje a Steve McQueen aunque la psicodelia 60 se hace presente con los Mark & the Clouds y el punk rock añejo con los Brand New Zeros, antes de soñar con la Reina del Rockabilly Wanda Jackson y su nuevo single (del disco nuevo Encore) acompañada por Joan Jett. Daniel Wyllie es más que psicdélico, es cósmico, así que nos vamnos con el duo italiano Lovesick Duo, simpáticos rockers.The Royal Pacifics, Gypsy Beat (instr)The Checkered Hearts, My Best Friend's GirlThe Checkered Hearts, They Don't KnowIain Hornal, Everybody ElseEsquela, Three Finger JoeEsquela, Two StonesHanemoon, The Way We CameHanemoon, Under CanvasThe Cleaners From Venus, Goodnite AndromedaThe Cleaners From Venus, Standard Day For Bachelor GreyThe Chevelles, Steve Mcqueen (I Wish I Was)Mark & the Clouds, You Wanna Put Me DownMark & the Clouds, All These PlansBrand New Zeros, Angels With GunsBrand New Zeros, Love You If You Let MeWanda Jackson (w Joan Jett), Two ShotsDaniel Wylie's Cosmic Rough Riders, Heaven's Waiting RoomLovesick Duo, All Over NowVisita nuestro Facebook y déjanos tus peticiones, comentarios, canciones...O escríbenos un email aquí.

Issue #34: The Martin Newell Interview Written & Performed Heather from The Sound of Tomorrow & Austin Rich, featuring a conversation with Heather, Austin & Martin Newell. Issue #34, produced in March of 2021, containing some spacey musical stories, Namely: “The Martin Newell Interview.”  https://ia601505.us.archive.org/13/items/20210402-1030-radio-zine-034/20210402%201030%20Radio%20Zine%20034.mp3   Musical Selections (usually in excerpt): Statues * Martin Newell * Penny […]

Aug Stone talks to The Jangling Man himself, Martin Newell, about his upcoming reissue of The Off White Album, the new record he’s just recorded, writing a libretto for Rip Van Winkle, his thoughts on The Kinks, Slade, and White Reaper, the cluelessness of ‘the music biz’, and much more     Twitter: @Cleaners_Venus1  https://thecleanersfromvenus.bandcamp.com/  https://capturedtracks.com/artist/martin-newell/     

Bob and Mike feature songs from The Jam, Cleaners From Venus (aka Martin Newell), Spectrum, Sulka, '80s LA punks Legal Weapon, and Atlanta soul legend Lee Moses. Mike makes a comparison between The Jam and The Replacements; Bob is dubious.

Moira Pentecostal Church

The first of two Christmas episodes features Andy Partridge, Chris Butler and Martin Newell, choosing their favourite festive songs

Young Southpaw chats to Kevin Crace and gets the skinny on his legendary label, Humbug Records. Ignored in their native country, the label was nevertheless home to some of the finest eccentric British songwriters - Captain Sensible, Martin Newell, Simon Turner, Colin Lloyd Tucker, TV Smith... Some excellent records were made, along with homemade jam, early xmas parties, and the conviction/label motto that “two dozen people can’t be wrong”.  https://www.discogs.com/label/29069-Humbug-2   Kevin Crace: I wanted to create my own label and a label that was sort of themed, sort of stylized label. I was really listening to people like él Records. That’s really where I was coming from at that time. Me and my friends were some of the few people sitting around in London listening to él, listening to XTC, listening to this sort of esoteric pop music. And really I felt the world really needed that at that time. And I nicked a couple of the él artists, and was quite pleased to do so. Louis Philippe came and joined me and I did some work with Simon Turner, The King Of Luxembourg. I loved él. There were probably very few people who were ever listening to it, if I’m being honest, it was so specialized. It didn’t represent anything else that was going on in the music world at that time, but it just really worked for me, it was so beautiful. And as much as I’d come from a punk background, and an electronic background, and an indie background, I really like things like The Ink Spots. I love some of those old classic bands that had just been totally forgotten at that stage. So when 1992 came around, I started to look at acts to sign for Humbug Records and I found that there was this whole amazing selection of great, great British singer-songwriters that were homeless. They weren’t able to make money, they weren’t able to get signed, and they certainly weren’t able to get any recognition in the media for how great they were. So to some extent, there was an endless list of people that I could have signed as an independent at that stage.   So I started off, the first signing was Captain Sensible. I love The Damned. For me, they were my childhood band. They were the punks, not the Pistols, they were the real punks. And Captain had split with The Damned at that time, he’d been apart from them for a number of years, he was creating this wonderful, wonderful pop music. Just simply brilliant. That it was almost impossible to get anybody to listen to. That was always the problem. With Captain, with Humbug, with all of these, it was a very difficult time to get the media to support you. Because at that time there wasn’t really the respect shown to the great British artists.  

Moira Pentecostal Church

Martin Newell in conversation with David Eastaugh Martin Newell is an English singer-songwriter, poet, columnist, and author who leads the Cleaners from Venus, a guitar popband with jangly, upbeat arrangements. He is also regarded as a significant figure in the history of cassette culture and DIY music. His most popular work is The Greatest Living Englishman (1993), produced by Andy Partridge of XTC.

Moira Pentecostal Church

Lyra travels further into the marshy mysteries of the fens for the Byanroping of the Gyptians, all the while evading the General Oblation Board's frantic search for her. She learns much of the Gyptian culture, their relations with the ‘landlopers' and their leader - John Faa - who reveals some truths about Lyra's own past.Iain and Amy get enthusiastic about ghost dogs, the Frisian language and Lame-mond van Gerritt.------An excellent introduction to the Frisian language, written by a native Frisian speaker can be found here.Watch this video of Eddie Izzard trying to buy a cow from a Frisian speaker...because, why not?!More information on Black Shuck: Ghost Dog!You can find out more about Black Shuck by Martin Newell here.You can find images of the Astrolabe collection in the History of Science Museum in Oxford, by searching ‘Astrolabe' here.------Music by: Jaymen Persaudwww.thedarkmaterialpodcast.comTwitter: @darkmaterialpodInstagram: @thedarkmaterialpodcastFacebook: www.facebook.com/thedarkmaterialpodcast