Podcasts about Notting Hill Carnival

The future of Notting Hill Carnival is in doubt after a review identified ‘critical public safety concerns' due to vast crowds. The Standard's City Hall and Transport Editor Ross Lydall has the latest.And in part two, to celebrate London's Pride month, Jack Guinness talks about his book ‘The Queer Bible', his love for London and the importance of sharing LGBTQ+ stories. Hosted on Acast. See acast.com/privacy for more information.

Morse code transcription: vvv vvv Princess of Wales pulls out of Royal Ascot appearance Warm Homes Discount Millions on benefits to get 150 off bills After a night of terror in Kyiv, the search for dead goes on Gaza Eleven killed by Israeli fire while seeking aid, rescuers say UK citizen dies from rabies after stray dog contact in Morocco Future of Notting Hill Carnival in jeopardy Temperatures set to soar above 30C across the UK Under fire NHS trust recorded patient ate breakfast three days after he died Los Angeles Lakers to be sold in historic deal reports Cats ruled out as Parliamentary pest controllers

In this deeply personal and inspiring episode, Jeremiah opens up about his incredible journey—from being told he'd never amount to anything to becoming a respected figure in the music world. Along the way, he shares how radio became a lifeline during a time of intense isolation, his near loss of a brother, and the profound role his faith has played throughout his life. Jeremiah reflects on his early years, the influence of his family, and how music—alongside the unwavering support of his church—helped him rise above bullying and self-doubt to become a Radio 1 primetime DJ. With remarkable honesty and generosity, he offers stories that not only inspire, but remind us of the power of passion, perseverance, and purpose. This episode is a testament to how finding something you love can not only lift you from despair, but also become a beacon of hope for others.Follow Jeremiah AsiamahFollow Jayda GFollow Here's Hoping PodcastMore on our guestFollow We Are FriendsListen Radio 1's Soundsystem Party DJ and radio presenter Jeremiah Asiamah, is known for his vibrant, carnival-inspired shows on BBC Radio 1 and 1Xtra. From local clubs to global stages like Glastonbury, Wireless, and Notting Hill Carnival, Jeremiah's talent for getting people dancing has taken him far. In 2023, he made history as the first DJ to perform at the FA Cup Final. He also runs WE ARE FRIENDS, a music event series focused on community and diversity, and supports young talent through his initiative, The Journey. Hosted on Acast. See acast.com/privacy for more information.

Neale is trying to cheer Kev up, who is sitting in a blacked out room in beautiful Malmesbury, counting down the hours, minutes and seconds until he can escape the UK for the sunnier climes of España! On the show, the boys discuss using Pictime as an art gallery, software solutions for back-up, the foto app, fixing up a retiring camera, the best compact camera in the Fujifilm range to travel with, switching to video using an X-T4, and we also feature the Zine work of Adam Ramjean, as he photographs the Notting Hill Carnival. Email the show with your questions: click@fujicast.co.uk  Pic Time: https://www.pic-time.com/ - use FUJICAST when creating an account for discount offers to apply For links go to the showpage.

Send us a textAvoid God's wrath by joining Ben, Jonny, Adam and returning guest James Sholl, pastor of Toronto's Wellspring Worship Centre, as they ask 'why did Jesus (have to) die?' Is penal substitution just divine child abuse? Does Jürgen Moltmann's solidarity theory hold up? And most importantly, how many times can Ben say the words "lick out" before we never want a Caramel Egg again? Plus learn about Saint of the Week, Trevor Carter, the Windrush-generation communist who co-founded Notting Hill Carnival.Content warning: May contain traces of heresySupport the showEverything Bread and Rosaries does will be free for everyone forever, but it does cost money to produce so if you wish to support the show on Patreon, we'd love you forever!Music credits at this link

In this week's Saturday stream clip, we discuss the tragic murder of Cher Maximen at Notting Hill Carnival 2024. The person responsible has now been found guilty. We discuss how someone can carry that level of hate and anger to a family-friendly event and commit such a horrific act in broad daylight. We also have a wider conversation on how situations like this develop in the first place and what fuels this type of mindset. This is a deep look into the the violence creeping into spaces meant for joy and unity.Clip posted here is from our Saturday Morning Stream. To watch the full stream, join our Patreon! We go live every Saturday at 10:30 am, discussing all the latest topics and covering exclusive content you won't find on our YouTube. Don't miss the full discussions—available only to our Patreon community.Join this channel to get access to perks:https://www.youtube.com/channel/UCZ_CNKqpdv2h0zd_chBuM2g/joinTo Support our channel join us on Patreon now starting from £1.00 per month for exclusive content every week plus loads of behind the scenes contenthttps://www.patreon.com/Theexpresstruthshow

This week's guest is Beatdown Sound, the powerhouse duo bringing authentic Jamaican-style sound system culture to the Midwest. Chef Chux and Selectress Kinky P break down their journey from discovering dub and reggae at legendary events like Notting Hill Carnival to building their own handcrafted five-way speaker system, engineered for deep, immersive bass. They share insights into the roots of dub, the influence of icons like King Tubby and Lee “Scratch” Perry, and why their sessions are more than just parties—they're a movement. From curating intimate, high-energy events on Chicago's South Side to serving up homemade patties and espresso at their shows, Beatdown Sound is redefining what a sound system experience can be. Whether you're a reggae enthusiast, a bass lover, or just curious about the culture behind dub music, this episode is packed with knowledge, passion, and plenty of bass therapy.

Chanone talks her relationship with her Dad, and how she used to be too tolerant of people abusing her boundaries. So now... she doesn't do handshakes with strangers! Watch the full episode here: • Dancing helped me be more feminine ft... Leave your thoughts and please subscribe to help us grow! FOLLOW us on INSTAGRAM: @Kilipodcast - / kilipodcast @mizanah - / mizanah

Get ready for an inspiring and entertaining conversation as the Writing Community Chat Show welcomes the incredible Abiola Bello to the stage! Born and raised in Stoke Newington, North London, Abiola is a Nigerian-British author who has been captivating readers since she started writing at just 12 years old. From her acclaimed middle-grade Emily Knight series to her chart-topping YA novels, Abiola's journey is a testament to perseverance, creativity, and passion for storytelling.

This is a free preview of a paid episode. To hear more, visit thewccs.substack.comWatch the trailer for this show here. We share our thoughts on the episode and that is then followed by a clip of Abiola from the show.In our latest episode of the Writing Community Chat Show, we had the privilege of sitting down with the remarkable Abiola Bello—an author whose journey is nothing short of inspiring. For those of you who are paid subscribers, the full episode is available right here for you to watch and listen. If you're not yet a paid member, don't worry! The full episode will be released to the public in two weeks.Abiola's story is one of resilience, grit, and undeniable talent. From writing her first novel at just eight years old to creating the groundbreaking Emily Knight series as a teenager, she has always been a trailblazer. But her success didn't come without its challenges.In our conversation, Abiola shared how she faced countless rejections, battled self-doubt, and navigated an industry that wasn't always open to her voice. As a Nigerian-British author writing stories that celebrate diverse characters and narratives, she was told repeatedly that publishers weren't ready for her vision.But instead of giving up, Abiola took matters into her own hands. She self-published the first Emily Knight book, built a fanbase, and eventually co-founded Hashtag Press to champion diverse stories. Her determination paid off in a big way—when her YA rom-com Love in Winter Wonderland went to auction, it sparked a bidding war between two major publishers. Abiola ultimately landed a six-figure deal with Simon & Schuster, cementing her place as a leading voice in contemporary YA fiction.During the episode, Abiola opened up about:* Overcoming rejection and the self-belief it takes to keep going.* The importance of creating diverse, inclusive stories where everyone can see themselves.* Her process of writing across multiple genres, from middle-grade fantasy to YA romance.* The highs and lows of her publishing journey—from self-publishing to winning major awards.* Her advice for aspiring authors and anyone facing setbacks in their creative journey.We also got a sneak peek into her latest release, The Love Dare—a summer romance filled with humor, heart, and the vibrant energy of Notting Hill Carnival. Abiola's ability to create unforgettable characters and emotionally rich stories is on full display in this book, and we can't wait for you to hear what she has to say about it.Abiola's journey is a powerful reminder that success is rarely a straight line. It's filled with obstacles, rejections, and moments of doubt. But as Abiola proves, if you stay true to your vision, keep working hard, and refuse to give up, the rewards can be life-changing.Watch the Full Episode NowPaid subscribers can enjoy the full episode right here. If you're not a paid member yet, consider subscribing to get early access to this and all our episodes, plus exclusive content. Otherwise, the episode will be available to all in two weeks.Thank you for supporting the Writing Community Chat Show! Let Abiola's story inspire you to keep chasing your creative dreams, no matter how many roadblocks you face.Paid members can see and watch the full video below this paid line.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-writing-community-chat-show--5445493/support.

Think of Katy Perry in her video for This Is How We Do, Madonna in a traditional Berber outfit at the 2018 VMA awards, or Adele with her hair in Bantu knots to mark Notting Hill Carnival, this is cultural appropriation. It's a practice which has caused regular controversy in the world of pop culture. Most often, white artists are accused of using ideas, symbols or other items which come from non-Western minority cultures. The definition of cultural appropriation itself is somewhat controversial, with many saying it is often misapplied by the general public. Its meaning has evolved over time to have negative connotations. t's problematic when someone belonging to a dominant community uses cultural elements from an oppressed people, for their own artistic or commercial benefit. In 1976, art historian Kenneth Coutts-Smith wrote one of the first essays to discuss cultural appropriation. He didn't actually use the term itself, but brought together the ideas of class appropriation and cultural colonialism. What is cultural appropriation? What's wrong with mixing cultures? So what could they do differently? In under 3 minutes, we answer your questions! To listen the last episodes, you can click here: Why do we blow out candles on birthdays? What is the ‘Yes Man' Technique? Which five foods slow ageing? A podcast written and realised by Joseph Chance. Forst broadcast: 21/11/2020. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's topics: • Having a moral code, even if you're living a criminal life • Notting Hill Carnival murder • Liam Gallagher performance at the AJ boxing • Blink Twice movie • Films to add to your watchlist. Including Korean films • Improvising the words to dancehall songs • Murder She Wrote v Bam Bam v No No No v Ring The Alarm • Confusing one Asian for anohter • shxtsngigs / Andrew Schulz controversy around Black women jokes • AJ losing to Daniel Dubois • The state of the heavyweight boxing scene • Diddy getting arrested for allegedly being a dutty bastard • #StavrosSays : Cruise. [https://www.youtube.com/@jointhecruise] food hall was gonna say, but the crown has introduced me now Connect with us at & send your questions & comments to: #ESNpod so we can find your comments www.esnpodcast.com www.facebook.com/ESNpodcasts www.twitter.com/ESNpodcast www.instagram.com/ESNpodcast @esnpodcast on all other social media esnpodcast@gmail.com It's important to subscribe, rate and review us on your apple products. You can do that here... www.bit.ly/esnitunes

The FullyGeeked boys are back with episode 252 and the boys are back from their 1 week hiatus. Discussions included Notting Hill Carnival 2024 and the enjoyment it brings. Summer is coming to an end and the kids are going back to school #BuyingUniform and a good catch up. Marvel is 85 Years old and we look at how they celebrated. Latest Trailer for Sonic the Hedgehog 3. Before we look at the what's been hot this week in TV and Films: The Rings of Power S2 E1-3 (#PrimeVideo) (25:30), Kaos (#Netflix) (38:24), Terminator Zero (#Netflix) (43:11) amongst so much more including thoughts on Deliverance (#Netflix), Trap (#CinemaRelease), The Crow (#CinemaRelease) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#TheFullyGeekedPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Films⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#TV⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Review⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#GuysThatPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Like⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Movies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Follow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Comment⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠

Headlines about wars in Ukraine and Gaza have flooded front pages - yet, the "world's biggest humanitarian crisis" is battling for media attention. Why?  In Sudan, a terrible war is raging. What started as a conflict between the Sudan Armed forces (SAF) and paramilitary Rapid Support Forces (RSF) has exploded into chaos and bloodshed, with countless militias, ethnic massacres, and foreign proxy self-interest. Over 25 million people face acute hunger. Nearly 11 million have been displaced. And the death count is suspected to be as high as five times as high as in Gaza. But if you were to judge by how much international attention Sudan gets - either from the media, politicians, or humanitarian donors - you wouldn't realise this is happening before the world's eyes.  Joining Media Storm this week is Sudanese activist and the man behind the social media platform Sudan Updates, Ameen Mekki. We are also joined by Sudanese refugee, public speaker, and charity worker Gaida Dirar, to discuss how British colonial history played a part in Sudan's present-day difficulties - and why the war is as urgent to Western audiences as any other. Plus, your week's Media Storms: panic about a potential pub garden smoking ban, an extracted anecdote from Jess Phillips that apparently provided proof of a 'two-tier NHS', misleading claims about crime at Notting Hill Carnival, and the voices missing in Israel-Palestine coverage: though they may not be the voices you think.  Hosts: Mathilda Mallinson (@mathildamall) and Helena Wadia (@helenawadia) Music: Samfire (@soundofsamfire) Assistant Producer: Katie Grant Episode research: Camilla Tiana Support Media Storm on Patreon! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Live Recording

Live @ Notting Hill Carnival Monday 2024 by DJ CJay

The podcast is powered by JBL - Click here - https://bit.ly/3VL2khF and use code 90SBABY for 15% off all JBL products.Join this channel to get access to perks:https://www.youtube.com/channel/UCOIOo7ybnNFNdwjSCgYDtOw/joinCheck us out: https://90sbabyshow.komi.io/PLANTMADE: Click here https://bit.ly/44oLLJy and use discount code, “90SBBY15”, which enables customers to receive 15%* off their first order. Information around the specific products received can be found on the information cards provided in the package or on our website.Hello Fresh:HelloFresh has generously provided us with an exclusive offer available for a limited time. Click here http://www.hellofresh.co.uk/HELLO90SBABY to enjoy 60% off your first box, along with 20% off the next two months plus FREE DESSERTS FOR LIFE. Alternatively, you can use our code HELLO90SBABY.AVA ESTELL: Click here http://bit.ly/40zFutt and use discount code, “90SBABY20”, which enables customers to receive 20%* off their order.PO Box 5038 HORNCHURCH RM12 9JX @winnerstalkingpodcast Hosted on Acast. See acast.com/privacy for more information.

On Nick Ferrari at Breakfast, two people have died after separate attacks at Notting Hill Carnival. Single-word Ofsted ratings for schools will be scrapped immediately, the government has announced. Nick speaks to Education Secretary Bridget Phillipson. All of this and more on the Nick Ferrari Whole Show Podcast.

Welcome back to Seasoned Sessions! This week we discuss the response to the Notting Hill Carnival, an update in the Breonna Taylor case, and more. Leave any questions/problems/thoughts you'd like us to discuss in ⁠this form.⁠ Get in touch with us at @seasonedsessionspod, @adaenechi, and @its_hanifahh. Have a great week! 

//The Wire//2200Z August 29, 2024////ROUTINE////BLUF: STABBING ATTACKS CONTINUE IN ENGLAND. VENEZUELAN GANG EXPANDS INFLUENCE IN COLORADO.// -----BEGIN TEARLINE------International Events-United Kingdom: Stabbing attacks continue as before. A disabled man was fatally stabbed in the Clapton area of London yesterday. Another unidentified individual was also located in the vicinity with stab wounds. U.K. authorities have also released crime data on the crimes that occurred at the Notting Hill Carnival event over the weekend. At least 5 stabbings and one acid attack were reported at this event.-HomeFront-Colorado: Concerns are increasing in Aurora regarding the expansion of Tren de Aragua (TdA) operations that have been slowly becoming more significant over the past few months. Over the past few days TdA militants at the Fitzsimons Apartments in Aurora have expanded efforts to control Key Terrain in the vicinity of the apartment complex, with many of the residents who still remain alleging that TdA has in effect “taken over” the entire apartment block.-----END TEARLINE-----Analyst Comments: As a reminder, this issue involving TdA in Colorado is not new by any means, however the actions by gang members to expand operations over the past couple of weeks have given locals increased cause for concern. This situation originated last year when the owners/developers of the complex allowed the tenement building to fall into disarray, prompting the city to attempt to shut the complex down due to health and safety violations. Last year, TdA militants filled the power vacuum that was created, occupying most of the vacant apartments at the complex. A few months ago, a DHS memo was issued to LE sources warning that TdA militants had been given permission to expand operations and target LE if necessary. Moving forward to today, TdA maintains a significant presence at this location. Right now, local LE are claiming that reports of TdA militants are rare, despite the plethora of local reports of armed gang members openly patrolling the area, and even federal involvement via counterterrorism agencies. Though this situation is concerning for locals, more broadly this highlights an unpleasant reality of cartel operations expanding into the US, in coordination with the millions of unvetted populations of military-aged males entering into the US: Once a small criminal element gains a foothold in an area expansion can happen very quickly, turning a small problem into a very large problem in short order. More strategically, this is a case-study that serves as a model for assessing similar situations in most major US cities (but especially smaller cities and towns) where similar power-vacuums are being created; similar efforts by other groups are extremely likely over the next few years in any area where large numbers of foreign migrants/militants are being resettled to.Analyst: S2A1//END REPORT//

On this weeks episode we discuss Notting Hill Carnival, the Love Is Blind UK Reunion, Lily Allen giving her dog away & all the drama surrounding the love triangle between TikTokers Sophia La Corte & Halley Kate Enquiries: podcastpopoff@gmail.com Follow us on socials! YouTube: https://www.youtube.com/@PopOff.Podcast Instagram: https://www.instagram.com/popoffpodcast/ TikTok: https://www.tiktok.com/@popoffpodcast Isla: Instagram: https://www.instagram.com/islaloba/ TikTok: https://www.tiktok.com/@isla Lewys: Instagram: https://www.instagram.com/lookingforlewys/ TikTok: https://www.tiktok.com/@lookingforlewys Timestamps: 00:00 Intro 00:56 Isla's Respone To The Hate 06:56 Boiler Room & Notting Hill Carnival 17:00 Love is Blind UK Reunion 27:05 Justin & Hailey Bieber Welcome a Baby 29:32 Lily Allen vs PETA 34:10 The Halley Kate & Sophia La Corte Drama 42:27 What's Poppin?

The Paralympic Games are underway - and there's plenty to celebrate! More coverage than ever before, a public-participating opening ceremony, and over 160 nations televising the event.  But is it enough? There were 10 million tickets available for the Olympics - and only 3 million for the Paralympics. What does it mean that the Paralympics will be broadcast on Channel 4, rather than our state broadcaster BBC (where extensive Olympics coverage takes place). Is this a question of reduced public interest and 'relatability'? Or an underlying bias against disability? Joining us to discuss perplexing media coverage and perpetuating stereotypes of the Paralympics are two para athletes. Wheelchair tennis silver-medallist-turned-fashion expert Samanta Bullock is in the studio, and two-time Paralympian blind footballer Keryn Seal tunes in from Paris.  Plus, your week's Media Storms: the shocking truth behind attention-grabbing headlines about crime at Notting Hill Carnival, journalists band together to denounce Israel's assault on a free press, and why numbers CAN lie when it come to how much immigrants really cost the country...  Hosts: Mathilda Mallinson (@mathildamall) and Helena Wadia (@helenawadia) Music: Samfire (@soundofsamfire) Assistant Producer: Katie Grant Episode research: Camilla Tiana Support Media Storm on Patreon! Learn more about your ad choices. Visit podcastchoices.com/adchoices

On Nick Ferrari at Breakfast, Nick calls for Notting Hill Carnival to be moved following hundreds of arrests. Sir Keir Starmer vows to 'get a grip' on the UK's problems and 'reverse a decade of decline'. Nick speaks to Cabinet Office Minister Ellie Reeves and Shadow Science and Innovation Secretary Andrew Griffith. All of this and more on the Nick Ferrari Whole Show Podcast.

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Starmer wants 10 years to fix UK! He'll be lucky to last 10 months. MP's get fuel bills paid but pensioners get Winter Allowance cut. They're all the same! Self serving pigs with snouts in the trough. Critics of Notting Hill Carnival are closet racists! Agree? Plus much more. buymeacoffee.com/Jongaunt 

Welcome back to Seasoned Sessions! This week we discuss the upcoming Notting Hill Carnival, a woman who died after having a mummy makeover in Turkey, and more. Leave any questions/problems/thoughts you'd like us to discuss in ⁠this form.⁠ Get in touch with us at @seasonedsessionspod, @adaenechi, and @its_hanifahh. Have a great week! 

The August bank holiday weekend brings a feast of music to west London as Notting Hill Carnival marks its 56th year.The celebration of Caribbean culture runs over three days, with musical styles from calypso to dancehall for over two million expected revellers.Mark Blunden is joined by sound system pioneer and Notting Hill Carnival director Linnet Kamala, whose Lin Kam Art Sound System Futures Programme is developing the next generation of live music talent, from DJs to sound engineers.In part 2, Rachelle Abbott speaks with Joshua Thomson, artistic director of Australian performance art troupe Legs On The Wall.His production Thaw will see members of the daredevil dance troupe suspended above Docklands from a crane atop a 2.5-ton melting block of ice in a bid to urge action on climate change. Hosted on Acast. See acast.com/privacy for more information.

The FullyGeeked boys are back with episode 251 and a different type of episode but still a great one. We discuss the feedback from our Top 10 discussion, look at who is looking forward to going to the Notting Hill Carnival 2024. Latest Trailer for Kraven the Hunter. Discussion of the week: Are there any films that we believe should have got a sequel (20:19). Should any of them be made or are we just old and mad nostalgic. Before we look at the what's been hot this week in TV and Films: Alien Romulus (59:00) (#CinemaRelease) amongst so much more...… ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#TheFullyGeekedPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Films⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#TV⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Review⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#GuysThatPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Like⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Movies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Follow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Comment⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠

"The honesty of my music and poetry comes from church." The South London artist discusses his turn away from religion and his love of sound systems as the city celebrates 56 years of Notting Hill Carnival. The annual Caribbean street parade Notting Hill Carnival has taken place in London since 1966 to celebrate the influx of immigrants brought to the UK during Windrush. Carnival is a celebration of the rich and multifaceted artistic heritage that came with them, especially in the form of Afro-Caribbean music, dance and sound system culture. The South London-born poet, producer and NTS Radio host James Massiah is one of a generation of musicians who has been influenced by the city's Afro-Caribbean cultural legacy. In this interview, he talks to Errol Anderson of the South London-based curatorial platform Touching Bass about his connection to London's sound systems and his own artistic evolution. His output centres around hedonism and what he calls "joyful living"—a reaction to the church community he grew up in. Many of the lyrics on his most recent EPs, like True Romance, paint a picture of drugs, partying, sex, addiction and heartbreak (he's even gone on to name his recurring poetry night Adult Entertainment). Music, he reflects, has provided a powerful and cathartic means to express himself and open up. In his youth, Massiah wasn't just shaped by his church, he says, but by the Afro-Caribbean genres circulating through his neighborhood: '80s funk, raga, garage, grime and a form of Jamaican dancehall called Yardie. Later, as he was exposed to popular rock and house music, he took the sensibilities he heard in pop acts like Fleetwood Mac and applied them to a Caribbean musical framework. His sound palette is an uncanny amalgamation of Stevie Nicks' ethereal voice with the stylings of soca—a sub-genre that fuses calypso, reggae and Caribbean zouk. Listen to the episode in full.

The annual Caribbean street parade Notting Hill Carnival has taken place in London since 1966 to celebrate the influx of immigrants brought to the UK during Windrush. Carnival is a celebration of the rich and multifaceted artistic heritage that came with them, especially in the form of Afro-Caribbean music, dance and sound system culture. The South London-born poet, producer and NTS Radio host James Massiah is one of a generation of musicians who has been influenced by the city's Afro-Caribbean cultural legacy. In this interview, he talks to Errol Anderson of the South London-based curatorial platform Touching Bass about his connection to London's sound systems and his own artistic evolution. His output centres around hedonism and what he calls "joyful living"—a reaction to the church community he grew up in. Many of the lyrics on his most recent EPs, like True Romance, paint a picture of drugs, partying, sex, addiction and heartbreak (he's even gone on to name his recurring poetry night Adult Entertainment). Music, he reflects, has provided a powerful and cathartic means to express himself and open up. In his youth, Massiah wasn't just shaped by his church, he says, but by the Afro-Caribbean genres circulating through his neighborhood: '80s funk, raga, garage, grime and a form of Jamaican dancehall called Yardie. Later, as he was exposed to popular rock and house music, he took the sensibilities he heard in pop acts like Fleetwood Mac and applied them to a Caribbean musical framework. His sound palette is an uncanny amalgamation of Stevie Nicks' ethereal voice with the stylings of soca—a sub-genre that fuses calypso, reggae and Caribbean zouk. Listen to the episode in full.

Who are the future Glastonbury headliners? Have you ever cried at a gig? What's the perfect BBQ playlist? With the end of summer in sight, Annie and Nick answer your questions in a Bank Holiday Q&A special. From portaloos to blueberry vodka they share their wildest memories from Notting Hill Carnival. Plus, a deep dive into whether there's a shortage of festival headliners. Get in touch with Annie and Nick! If you're over 16 WhatsApp 079700 82700 or email sidetracked@bbc.co.uk

A glorious ode to sound system culture. For her RA Podcast, Brooklyn-based DJ Ayanna Heaven celebrates vibrations echoing down the ages, connecting seven decades of trailblazers and trendsetters. It's a soundtrack we've timed with an eye to that golden late summer run of Notting Hill Carnival, Brooklyn's West Indian Day Parade and several crucial dates in the Jamaican calendar. Since 2020, the Brooklyn-based DJ, ethnomusicologist, dancehall advocate and promoter has held down two shows on the city's most popular stations: the monthly "Sounds of Heaven" on The Lot and biweekly "Across 110th Street" on WKCR. That's roughly 72 hours of radio every month. Light work for Heaven, though, whose sound traverses the limitlessly fertile ground of reggae, dancehall, funk, soul and beyond. From Sly & Robbie, Aswad and Vybz Kartel through contemporary heaters and reskins of platinum-plated standards like "No Games" and "Sun Is Shining," RA.950 is a story of a thriving culture, grounded in the past yet with intentions set firmly on the future. @ayanna-heaven Read more at https://ra.co/podcast/950

WILLY WONKA STRIKES BACK WITH A MIX FOR NOTTING HILL CARNIVAL 2024. STARTING THE MIX REPRESENTING BELIZE WITH PUNTA THEN FOLLOWING WITH THE SWEET MUSIC OF DENNERY SEGMENT, JAB JAB, AND BOUYON. THIS ONE IS A CERTIFIED BANGER !!!! BLESS UP AND SMOKE TWO BOB MARLEY ARTWORK IG @LIZZIEBETHHH_ TRACKLIST: 1.INTRO 2.DON'T CALL MY PHONE - SUPA G 3.BOUGUDI - SWEET PAIN 3.0 4.TELL ME - HUBEE FT CHALLO 5.AYO - SWEET PAIN 3.0 6.FLIRTING VIBE - AZIATIC 7.CHATTY CHATTY - AZIATIC 8.CAROLINA - SUPA G 9.JUMP UP - BERNE 10.PIM PIM PUNTA EDIT 11.HAIR PIN ON DONUT - LEONUS X MERKIUS 12.FOUTE LI - MIGHTY X MIKADO 13.ACTION - UMPA FT BLACKBOY 14.POP IT - BLACKBOY 15.SIREN - UMPA 16.COUPE WOULE - FREEZY, BLACKBOY, MESSI 17.SPINNY - LIL RICK 18.SIT ON MY FACE - ZIDO 19.WEB ZEB RIDDIM 20.STRESS FREE - NASSIS 21.GENG AN LE YO - RG SKINNY 22.YOU WANT IT NOW - FREEZY 23.LIKE DAT - KROME 24.RIDDIM LA RIDDIM 25.NOTIFICATION - TALLBOY X SAMO X BOBO X EFO 26.WATER PARK - SHEMMY J 27.MARTINIQUE - FRENCH MAN FT MOTTO 28.ONE MINUTE MAN - FIRE STRPZ 29.FRIDAY FREEUP - EZRA 30.CHOKAY SA - BLACKBOY 31.ALLEZ - PROBLEM CHILD 32.LOOK SOMETHING TO TALK ABOUT - RICKY T 33.START - DAT DQ X SKINNY FABULOUS 34.CHOPPING LINE - JAB KING 35.BAG AH SUGAR - TERRA GOVERNOR X JACK ALMIGHTY 36.EXPLORE - V'GHN 37.JAB JAB FESTIVAL - PUMPA 38.THE FEELING - RUNI JAY 39.HOTSPOT - LYRIKAL 40.NOT FROM HERE - LAVAMAN 41.ADDICTED - JAB KING42. 42.HORN ME - MARLON 43.LOSE WEIGHT - SACKIE 44.HEADWAYS - ESRON 45.ALL THE TIME - BOYZIE 46.WTH - LIL KERRY 47.CARNIVAL JUMBIE - PROBLEM CHILD 48.DROP ALL OF THE LIGHTS BOUYON EDIT 49.GIRL YOU - LITLEBOY 50.SOMEONE ELSE - QUAN SHALEH X LITLEBOY 51.BDYMM - PUDAZ 52.I KNOW Y - REO FT KENNY G , FAITHII 53.NOT ME - PUDAZ 54.COVER UP - PUDAZ 55.ROADKILL 56.BOOSOLAVI - PUDAZ 57.KNOCK KNOKC - MIMII X SHANIKA X MIKADO 58.MI MA LA - RIDDLA X MASS KA KLE 59.XMAS FREESTYLE CHABIN

Send us a text message and tell us your thoughts.With the renowned Notting Hill Carnival coming up at the end of the month, what a better time than now to reshare about the extraordinary life and work of one of its co-founders, activist and intellectual Claudia Jones. Jones was a pioneering Caribbean activist whose contributions have shaped movements for human rights and equality across the globe. From her roots in Trinidad and Tobago to her unyielding fight against racial and gender injustices in both the US and the UK, Claudia Jones's legacy is a vibrant testament to the power of resilience and advocacy.This episode of Strictly Facts is a tribute to her indomitable spirit, exploring her early involvement with the Junior NAACP and the National Urban League, her influential writings for the Communist Party, and her relentless activism even after being deported from the US. Learn about her pivotal role in founding Britain's first major Black newspaper, the West Indian Gazette, her advocacy for the Windrush generation, and her unwavering commitment to equality. Tune in to hear how Claudia Jones not only challenged but transformed the landscape of activism for the Caribbean diaspora and beyond.Support the Show.Connect with Strictly Facts - Instagram | Facebook | Twitter | LinkedIn | YouTube Looking to read more about the topics covered in this episode? Subscribe to the newsletter at www.strictlyfactspod.com to get the Strictly Facts Syllabus to your email!Want to Support Strictly Facts? Rate the Show Leave a review on your favorite podcast platform Share this episode with someone who loves Caribbean history and culture Send us a DM or voice note to have your thoughts featured on an upcoming episode Share the episode on social media and tag us Donate to help us continue empowering listeners with Caribbean history and education Produced by Breadfruit Media

Step inside comedian Aurie Styla's newly dreamed up pub, Left of the Lick, and have a drink. Here you'll find chat about what it takes to be a good voice over artist, reminiscences about Notting Hill Carnival, and revelations about Aurie's mum wanting him to get drunk.Aurie and Robbie also face off in Dan's pub quiz, this time testing their knowledge of games that have been turned into films.This is the 2nd part of our chat with Aurie. You can listen to this episode on its own if you like, but we'd recommend listening to the first episode to get the full experience. In the first part of our chats our guests build their pub.Want to share anything with The Moon Under Water? Well it can feature on our weekly Pub Notice Boards. Just email robbie@moonunderpod.com to get in touch. Hosted on Acast. See acast.com/privacy for more information.

HEAVY RAIN - Chord Song - Heavy Rain (1973, re: Guerssen, 2023)CHRISTIANS - Blue Revelation (Cruelty) - S/Z (Fort Evil Fruit, 2024)SIX PESTOS - Hollandaise In the Sun - Never Mind the Bolognese, Here's the Six Pestos (NL)22 BEACHES - Talent Show - Dust: Recordings 1980-84 (Seated, 2024)MEMORIALS - Acceptable Experience - Acceptable Experience (Fire, 2024)THE REBEL - Excerpt - 2223 (NL, 2024)SILICA GEL - Wasted - Swan Pond (Sweet Wreath, 2024)RP BOO w/ARMAND HAMMER - Blood Running High - V/A: Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra (Red Hot Org, 2024)UNKNOWN - Excerpt - Soundsystems at Notting Hill Carnival, 1984-1988 (cs, Death Is Not the End, 2024)LEATHER NUN - No Rule - Slow Death EP (Industrial, 1979)THE FALL - I Feel Voxish - Live Hacienda, Manchester 7/27/83SIX PESTOS - BLT - Never Mind the Bolognese, Here's the Six Pestos (NL)RIDER/HORSE - Combing the Horse - Matted (Ever/Never, 2024)KNICKERS - Bored In the Supermarket - Collection (cs, Xtro, 2024)KRAUM - Hur Gör Man - Dorf (Les Disques Magnétiques, 2024)CEDRIC - I'm Leavin - 7" (Derrick, 1970)SUZANNES - Organization - New Disease Sells 2000 Copies In Europe! 7" (De 1000 Idioten)CERGIO PRUDENCIO - Otra Ciudad II - Antología 1: Obras para la Orquesta Experimental de Instrumentos Nativos (Buh, 2024)GARTH ERASMUS - Lucelle: Sista of the Soil - Threnody for the KhoiSan (TAL, 2024)UNKNOWN - Prayer/Festival (excerpts) - Mexican Firecrackers (Road, 1956)ORGANZA RAY - Other Call Answered, Held Tight - Circle of Kiono (Discus Music, 2024)ORGANS OBSOLETE - Sugar Sweet - Sense (BC, 2024)DUN-DUN BAND - No. 20 (Once Raw: The Aging G) - Pita Parka, Pt. I: Xam Egdub (Kanada 70, 2024)ANDY MOOR / MARTA WARELIS - Highway Trajectory - Escape (Relative Pitch, 2024)KINKY FRIEDMAN - Sold American - Bi-Polar Tour: Live From Woodstock (Avenue A, 2

Viv Yau had the pleasure of speaking with legendary artist, Keith Khan about whether South Asian and ESEA communities are interconnected, whether it's better to eat with chopsticks or your hands, how Shanghainese people dress so cool and of course, his upcoming show The Accountants, being shown at Factory International at Aviva Studios!  In partnership with Factory International, we have a limited amount of £3 tickets to attend the show across 4th, 5th, and 7th-11th of May 2024 at Aviva Studios, Manchester.  Discount code: ACTVIV3 Dates applicable: 4th, 5th, and 7th-11th of May 2024   2 tickets per transaction Booking fee applies  Location: Factory International at Avivia Studios, Manchester  Book here: https://bit.ly/FactoryInternationalTheAccountants    Follow Keith Khan: https://www.keithkhanassociates.com/  https://www.instagram.com/keithkhanlondon/  About The AccountantsExperience an electrifying encounter of cultures as China and India take centre stage in this awe-inspiring theatrical event from visionary artist Keith Khan, choreographed by Xiexin Dance Theatre and Terence Lewis Contemporary Dance Company. This dance extravaganza challenges our notions of identity and cultural dominance. Main characters Kash and Liam – voiced by the talented Josh Hart and actor and author Shobna Gulati – are of British-Chinese and British-Indian heritage. Delivered via texts and voice notes, their banter and soul-searching dialogues playfully debate which cultural superpower reigns supreme – from food to iconic landmarks and spiritual beliefs. This battle is enriched by a high-tech visual and acoustic feast crafted by the ARIA-nominated sound artist Somatic and the award-winning design studio idontloveyouanymore providing stunning immersive visuals, plus lighting design from the award-winning Simon Corder and dramaturgy by Jude Christian. Brought to you by Keith Khan, whose grand artistic creations have adorned events from the Notting Hill Carnival to the London 2012 Olympic Games, The Accountants invites you on a global journey right from your seat. Follow besean and slide into our DMs and keep the conversation going! https://www.instagram.com/besea.n/ Support the podcast by buying besean a coffee, 100% of the donations now go towards besean! http://bit.ly/Kofibesean Sign petitions: STAND WITH MYANMAR AND TAKE ACTION https://linktr.ee/meemalee ESEA HERITAGE MONTH: Sign the petition to support the launch of East & South East Asian Heritage Month in the UK https://www.change.org/ESEAHeritageMonth Credits: Jingle by John Clapper: https://www.instagram.com/john_clapper/

This week's topics: • Not trusting people • Having your woman around slippers • Sleeping less than 5 hours constantly • Diet's effect on everything • The restrictions after removing a cyst • Exercise one can do to avoid sweating • Letting your child hurt themselves a little so you don't hurt a lot • Letting children learn from their mistakes • 16 year old girls with 19 year old boys • Being around the bad crew without being bad • Types of women feel they can't approach • Intermittent fasting and counting calories • Notting Hill Carnival kicking out 4 floats from the next carnival for breaking rules • Notting Hill Carnival's music changing with the times • #AITA for not accepting my stepmother as a mother • #StavrosSays : Kizazi Moto: Generation Fire [https://www.disneyplus.com/en-gb/series/kizazi-moto-generation-fire/58adLe8sXzLz] Connect with us at & send your questions & comments to: #ESNpod so we can find your comments www.esnpodcast.com www.facebook.com/ESNpodcasts www.twitter.com/ESNpodcast www.instagram.com/ESNpodcast @esnpodcast on all other social media esnpodcast@gmail.com It's important to subscribe, rate and review us on your apple products. You can do that here... www.bit.ly/esnitunes

"I didn't see myself in French electronic music." The Parisian artist talks about representation, Southern rap and Notting Hill Carnival's enduring influence on her music live from C2C Festival. Crystelle Oyiri, the artist otherwise known as Crystallmess, has had a circuitous route through dance music. In this Exchange recorded live at C2C Festival with Whitney Wei, the Ivoirian-Guadeloupean artist discusses how she never saw herself represented in French techno, where artists like Daft Punk reigned supreme. "When you don't see yourself, you can't tell yourself that [music] is what you want to do," she reflects. Instead, she fell in love with Southern rap and artists like DJ Screw, who ignited her passion for music before she began experimenting with beats for the dance floor. Today, Oyiri is a full-time electronic music artist. A resident of NTS radio, she's also released on labels like PAN and created original productions for films and fashion brands, including Ottolinger. Her unique production style combines melodic techno, afro-trance, abrasive dancehall and what she calls "synthetic music"—genre-fluid mixes that switch effortlessly between pummeling techno cuts, high-speed electro and melodic trance. Listen to the conversation in full.

Photographer Armet Francis documents African diasporic cultures across ‘The Black Triangle', and captures the co-founding of the Association of Black Photographers in London, now Autograph ABP, 35 years ago. For over four decades, Jamaican-British photographer Armet Francis has taken portraits that celebrate the resilience and survival of African diasporic cultures. Having immigrated with his family as a young child in the 1950s, he was part of the post-Windrush generation, acutely aware of his ‘cultural displacement' and ‘political alienation' as the only Black child in his school in London Docklands. Drawing on the transatlantic slave trade route, between Africa, the Americas, and Europe, Armet developed the idea of ‘The Black Triangle' to guide his photographic practice from 1969, as a means to connect with the rich and diverse pan-African communities. Armet details his ‘social documentary' approach, his experiences as one of the first Black photographers to shoot fashion, and how he challenged exotic tropes in commercial, white photography and advertising. He shares images of Notting Hill Carnival, Brixton Market, and tributes to those who protested the injustice of the New Cross Fire in 1981. Armet retells the unlikely story of taking Angela Davis' photograph at the Keskidee Centre, his engagement with activists like Malcolm X and Stuart Hall, and how he had to ‘become Black' before he could becoming politically conscious and active in civil rights movements. Armet was also the first Black photographer to have a solo exhibition at The Photographers' Gallery in London when The Black Triangle series was exhibited there in 1983. Five years later, he co-founded the Association of Black Photographers, now Autograph ABP, where he has represented the series in 2023. To mark both anniversaries, he talks about what it was like founding the institution, working with the likes of David A Bailey, Mark Sealy, and Charlie Phillips, and his ongoing practice in the archives, keeping record of the important contributions - and canons - of British history. Armet Francis: Beyond The Black Triangle runs at Autograph ABP in London until 20 January 2024. Hear from many more artists and photographers who've worked with Autograph on EMPIRE LINES: Ingrid Pollard on Carbon Slowly Turning (2022) at Turner Contemporary in Margate: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 Curator Florence Ostende on Carrie Mae Weems' series, From Here I Saw What Happened and I Cried (1995–1996), at the Barbican in London: pod.link/1533637675/episode/b4e1a077367a0636c47dee51bcbbd3da And curator Alice Wilke on Carrie Mae Weems' Africa Series (1993), at the Kunstmuseum Basel: pod.link/1533637675/episode/d63af25b239253878ec68180cd8e5880 Johny Pitts on Home is Not a Place (2021-Now) at The Photographers' Gallery in London: pod.link/1533637675/episode/70fd7f9adfd2e5e30b91dc77ee811613 John Akomfrah on Arcadia (2023) at The Box in Plymouth: pod.link/1533637675/episode/31cdf80a5d524e4f369140ef3283a6cd For more from Autograph's contemporary programme, hear photographer Hélène Amouzou and curator Bindi Vora on Voyages (2023), on EMPIRE LINES: pod.link/1533637675/episode/a97c0ce53756ecaac99ffd0c24f8a870 WITH: Armet Francis, Jamaican-British photographer. He is a co-founder of the Association of Black Photographers in London, now Autograph ABP. ART: ‘The Black Triangle, Armet Francis (1969) (EMPIRE LINES x Autograph)'. PRODUCER: Jelena Sofronijevic. Editor: Nada Smiljanic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Labour's Shadow Foreign Secretary David Lammy reveals what it was like in Westminster when the news broke that a parliamentary researcher, with close links to leading Tory politicians, had been arrested on suspicion of spying for China. Mr Lammy tells Nish and Coco that the atmosphere at Westminster is “febrile”, with MPs having to think carefully about who they rely on for advice and research. He also sets out Labour's position on the threat posed by China. Plus as Vladimir Putin and Kim Jung Un hold an “evil bro hangout”, just how worried should we be?Find out what UK Apprentice presenter Lord Sugar did to become our inadvertent hero of the week, while Coco calls out the Daily Mail for trying to use a black writer to publish critical views of the Notting Hill Carnival. Plus, British v Indian cold remedies - who comes out on top?Pod Save the UK is a Reduced Listening production for Crooked Media. Contact us via email: PSUK@reducedlistening.co.ukWhatsApp: 07514 644572 (UK) or + 44 7514 644572Insta: https://instagram.com/podsavetheukTwitter: https://twitter.com/podsavetheukTikTok: https://www.tiktok.com/@podsavetheukFacebook: https://facebook.com/podsavetheukYouTube: https://www.youtube.com/podsavetheworld Guest:David Lammy, Shadow Secretary of State for Foreign, Commonwealth and Development Affairs, and Labour MP for TottenhamAudio credit:parliamentlive.tv

On today's #NCFNewspeak, NCF Director Peter Whittle and Senior Fellow Rafe Heydel-Mankoo are once again joined by Amy Gallagher of Stand Up To Woke to discuss: * A major survey of Anglican clergy finds that a majority of clergy believe Britain is no longer a Christian country and want the Church to abandon traditional teaching and adopt modern social trends. * Sadiq Khan's ULEZ -- is it a war on cars and the poor? * Notting Hill Carnival: With this year's carnival resulting in the arrest of 245 and incidents ranging from stabbings to biting of police -- and with the Police Federation stating the event is getting out of control and a nightmare to police -- is it time to call time on the Notting Hill Carnival? --------------- SUBSCRIBE: If you are enjoying the show, please subscribe to our channel on YouTube (click the Subscribe Button underneath the video and then Click on the Bell icon next to it to make sure you Receive All Notifications) AUDIO: If you prefer Audio you can subscribe on itunes or Soundcloud. Soundcloud: https://soundcloud.com/user-923838732 itunes: https://itunes.apple.com/gb/podcast/s... SUPPORT/DONATE: PAYPAL/ CARD PAYMENTS - ONE TIME & MONTHLY: You can donate in a variety of ways via our website: http://www.newcultureforum.org.uk/#do... It is set up to accept one time and monthly donations. JOIN US ON SOCIAL MEDIA: Web: http://www.newcultureforum.org.uk F: https://www.facebook.com/NCultureForum/ Y: https://www.youtube.com/@NewCultureForum T: http://www.twitter.com/NewCultureForum (@NewCultureForum)

The new season of Celebs Go Dating has begun and we have a lot of opinions! We reveal whether we think Chloe Burrows should be talking about her break up with Toby Aromolaran on TV and we discuss Lottie Moss and Adam Collard. We also get into whether we think Justin Bieber has crossed the line in SZA's new music video and we chat about Adele's decision to stop her concert halfway through… Plus, we catch up about Notting Hill Carnival and Lost Village! Hosted on Acast. See acast.com/privacy for more information.

Carl and Stelios discuss the reaction to Trump's mug shot, how California is out of control, and what happened at the Notting Hill Carnival.

Former MEP Ann Widdecombe kicks off today's show by delving into the morning's top headlines as Britain can no longer be described as a Christian country, three quarters of Church of England priests believe, according to a landmark survey conducted by The Times. Former Met Police Chief Superintendent Parm Sandhu joins shortly after to discuss the weekend of carnage at Notting Hill carnival as Stabbings at the Notting Hill Carnival reached the highest level in seven years at the weekend with violence, sexual offences and assaults on police officers marring the spectacle. Minister for London Paul Scully returns to The Independent Republic to discuss further this week's ULEZ expansion. Drivers must pay a charge of £12.50 per day to drive a non-compliant vehicle anywhere in the zone under the controversial clean-air plan. A £160m scrappage scheme is still available for all Londoners to claim from, with a maximum of £2,000 being offered per vehicle, and Annabel Denham from The Telegraph returns for her weekly takedown of the week's headlines. All that and so much more, so tune in! Hosted on Acast. See acast.com/privacy for more information.

Over a million people are set to attend Notting Hill Carnival this bank holiday weekend, as the event marks Windrush 75, but could train strikes dampen the festivities?The Evening Standard's Arts Correspondent, Robert Dex, explains why this year's carnival is extra special, how the train strikes could potentially impact the festivities, and reveals what the Mayor of London had to say in his exclusive op ed for the newspaper about the event. Hosted on Acast. See acast.com/privacy for more information.

Alvaro Barrington talks to Ben Luke about his influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped his life and work. For Barrington—who was born in Caracas, Venezuela, in 1983, but grew up in Grenada and Brooklyn—painting is the bedrock of a practice that incorporates installation, sculpture and found objects, textiles, the written word and community events. He weaves together broad references, drawing on his personal and cultural background, and hugely diverse influences—particularly from art history, literature, political thought, and music—to create arresting and often exuberant constellations of imagery and materials. He discusses his early interest in the Akira manga, his admiration for artists as diverse as Louise Bourgeois, Jeff Koons and Johannes Vermeer, the significance of Audre Lorde's essay Poetry is Not a Luxury, and why he feels the hip-hop legend Tupac is the most significant artist of the last 40 years. He gives insight into life in the studio, and reflects on the importance of his move to London from New York in the 2010s. Plus, he answers our usual questions, including the ultimate: what is art for?Alvaro's work will be at the Notting Hill Carnival on 27 and 28 August. Grandma's Land, Sadie Coles HQ, London, 2 September-21 October; They Got Time, Thaddaeus Ropac, Paris Pantin, 18 October-27 January 2024; Nicola Vassell, New York, November-December, dates to be confirmed; Tate Britain commission, Tate Britain, London, spring 2024. Alvaro discusses Vermeer at the Rijksmuseum, Amsterdam, on the The Week in Art's Vermeer Special. Hosted on Acast. See acast.com/privacy for more information.

Levi Roots, the creator of the iconic Reggae Reggae Sauce, has a truly inspirational story that has captivated audiences around the world. From his humble beginnings in Jamaica to his appearance on Dragons' Den, Levi's journey is a testament to the power of perseverance and the importance of surrounding yourself with the right people. Levi Roots shares his incredible journey from a troubled childhood in Jamaica to becoming a successful entrepreneur and musician in the UK. Raised by his grandmother, Levi learned the art of cooking and making sauces, which would later become the foundation of his business. After participating in the Notting Hill Carnival, Levi realized the demand for Caribbean flavors and decided to start his own sauce business. Despite initial setbacks, he persevered and eventually secured investment on Dragon's Den, propelling his brand to new heights. Levi emphasizes the importance of surrounding yourself with like-minded people and seeking mentorship to overcome challenges and achieve success. Levi Roots' journey from a troubled youth to a successful entrepreneur and cultural icon is a testament to the power of resilience and the importance of surrounding oneself with the right people. His story serves as an inspiration to individuals facing challenges and seeking to make a positive impact in their communities.   Get your Business Growth Secrets SUCCESS PLANNER for FREE and profit like a pro: https://adamstottplanner.com/free-book47315172 Adams website: https://adamstott.com/?el=Pod Watch the Episode on Adam's YouTube Channel: https://www.youtube.com/adamstottcoach?el=Pod Connect with Adam on Instagram: https://www.instagram.com/adamstottcoach/?el=Pod Join Adam's network on LinkedIn: https://www.linkedin.com/in/adam-stott-coach/?el=Pod Business owners: Monetise social media, get more clients, increase your following, and make more sales: https://socialmediamonetisation.com/unlockfb?el=Pod Coaches, Consultants, and Speakers: lower your marketing costs, increase ticket prices, and get more high-ticket clients: https://personalbrandunlocked.com/fb-event-reg?el=Pod

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

Bilawal Bhutto Zardari said the devastation was on a scale he had never seen before, with tens of millions of people displaced and more destruction likely to come. Also: Angola lays to rest the leader who ended the civil war; and Europe's biggest street festival, the Notting Hill Carnival, returns to London.