Podcasts about Peggy Guggenheim

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your hosts are Paul Marden and Andy Povey.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. Show references:  Anna Preedy, Director M+H Showhttps://show.museumsandheritage.com/https://www.linkedin.com/in/annapreedy/Jon Horsfield, CRO at Centegra, a Cinchio Solutions Partnerhttps://cinchio.com/uk/https://www.linkedin.com/in/jon-horsfield-957b3a4/Dom Jones, CEO, Mary Rose Trust https://maryrose.org/https://www.linkedin.com/in/dominicejones/https://www.skipthequeue.fm/episodes/dominic-jonesPaul Woolf, Trustee at Mary Rose Trusthttps://maryrose.org/https://www.linkedin.com/in/paul-woolf/Stephen Spencer, Ambience Director, Stephen Spencer + Associateshttps://www.stephenspencerassociates.com/https://www.linkedin.com/in/customerexperiencespecialist/https://www.skipthequeue.fm/episodes/stephen-spencerSarah Bagg, Founder, ReWork Consultinghttps://reworkconsulting.co.uk/https://www.linkedin.com/in/sarahbagg/https://www.skipthequeue.fm/episodes/sarah-baggJeremy Mitchell, Chair of Petersfield Museum and Art Galleryhttps://www.petersfieldmuseum.co.uk/https://www.linkedin.com/in/jeremy-mitchell-frsa-4529b95/Rachel Kuhn, Associate Director, BOP Consultinghttps://www.bop.co.uk/https://www.linkedin.com/in/kuhnrachel/  Transcriptions:Paul Marden: Welcome to Skip the Queue, the podcast for people working in and working with visitor attractions. You join me today, out and about yet again. This time I am in London at Olympia for the Museums and Heritage Show. Hotly anticipated event in everybody's diary. We all look forward to it. Two days of talks and exhibitions and workshops. Just a whole lot of networking and fun. And of course, we've got the M and H awards as well. So in this episode, I am going to be joined by a number of different people from across the sector, museum and cultural institution professionals, we've got some consultants, we've got some suppliers to the industry, all pretty much giving us their take on what they've seen, what they're doing and what their thoughts are for the year ahead. So, without further ado, let's meet our first guest. Andy Povey: Hi, Anna. Welcome to Skip the Queue. Thank you for giving us some of your time on what must be a massively busy day for you. I wonder if you could just tell the audience who you are, what you do, a little bit about what museums and heritage is, because not everyone listening to the podcast comes from the museum sector. Anna Preedy: Andy, thanks. This is a great opportunity and always really lovely to see your happy smiley face at the Museums and Heritage Show. So M and H, as we're often referred to as, stands for Museums and Heritage and we're a small business that organises the principal trade exhibition for the Museums and Heritage sector that could be broadened, I suppose, into the cultural sector. We also have the awards ceremony for the sector and an online magazine. So we are Museums and Heritage, but we're often referred to as M and H and we've been around for a very long time, 30 plus years. Andy Povey: Oh, my word. Anna Preedy: I know. Andy Povey: And what's your role within the organisation? Your badge says Event Director today. That's one of many hats. Anna Preedy: I'm sure it is one of many hats because we're a very small team. So I own and manage the events, if you like. M and H is my baby. I've been doing it for a very long time. I feel like I'm truly immersed in the world of museums and heritage and would like to think that as a result of that, I kind of understand and appreciate some of the issues and then bring everyone together to actually get in the same room and to talk them through at the show. So, yeah, that's what we're about, really. Andy Povey: In a shorthand and obviously the show. We're in the middle of West London. It's a beautifully sunny day here at Olympia. The show is the culmination, I suppose of 12 months of work. So what actually goes in? What does a normal day look like for you on any month other than May? Anna Preedy: Yeah, it was funny actually. Sometimes people, I think, well, what do you do for the rest of the year? You just turn up to London for a couple of days, just turn up delivering an event like this. And also our award scheme is literally three, six, five days of the year job. So the moment we leave Olympia in London, we're already planning the next event. So it really is all encompassing. So I get involved in a lot. As I say, we're a small team, so I'm the person that tends to do most of the programming for the show. So we have 70 free talks. Everything at the show is free to attend, is free to visit. So we have an extensive programme of talks. We have about 170 exhibitors. Anna Preedy: So I'm, although I have a sales team for that, I'm managing them and looking after that and working with some of those exhibitors and then I'm very much involved in our awards. So the Museums and Heritage Awards look to celebrate and reward the very best in our sector and shine the spotlight on that not just in the UK but around the world. So we have a judging panel and I coordinate that. So pretty much every decision, I mean you look at the colour of the carpet, that which incidentally is bright pink, you look at the colour of the carpet here, who made the decision what colour it would be in the aisles this year it was me. So I, you know, I do get heavily involved in all the nitty gritty as well as the biggest strategic decisions. Andy Povey: Fantastic. Here on the show floor today it is really busy, there are an awful lot of people there. So this is all testament to everything that you've done to make this the success that it is. I'm sure that every exhibitor is going to walk away with maybe not a full order book, but definitely a fistful of business cards. Anna Preedy: I think that's it, what we really want. And we sort of build this event as the big catch up and we do that for a reason. And that is really to kind of give two days of the year people put those in their diary. It's a space where people can come together. So you know, there'll be people here standing on stands who obviously and understandably want to promote their product or service and are looking to generate new business. And then our visitors are looking for those services and enjoying the talks and everyone comes together and it's an opportunity to learn and network and connect and to do business in the broadest possible sense. Really. Andy Povey: No, I think that the line, the big catch up really sums the show up for me. I've been. I think I worked out on the way in this morning. It's the 15th time I've been to the show. It's one of my favourite in the year because it is a fantastic mix of the curatorial, the commercial, everything that goes into running a successful museum or heritage venue. Anna Preedy: I mean, it's funny when people ask me to summarise. I mean, for a start, it's quite difficult. You know, really, it should be museums, galleries, heritage, visitor, attractions, culture. You know, it is a very diverse sector and if you think about everything that goes into making a museum or a gallery or a historic house function, operate, engage, it's as diverse as the organisational types are themselves and we try and bring all of that together. So, you know, whether you are the person that's responsible for generating income in your organisation, and perhaps that might be retail or it might be catering, it could be any. Any stream of income generation, there's going to be content for you here just as much as there's going to be content for you here. Anna Preedy: If you are head of exhibitions or if you are perhaps wearing the marketing hat and actually your job is, you know, communications or audience development, we try and represent the sector in its broadest scope. So there is something for everyone, quite. Andy Povey: Literally, and that's apparent just from looking on the show floor. So with all of your experience in the museum sector, and I suppose you get to see. See quite an awful lot of new stuff, new products. So what are you anticipating happening in the next sort of 6 to 12 months in our sector? Anna Preedy: I mean, that's a big question because, you know, going back to what were just saying, and the kind of different verticals, if you like, that sit within the sector, but I think the obvious one probably has to be AI, and the influence of that. I'm not saying that's going to change everything overnight. It won't, but it's. You can see the ripples already and you can see that reflected out here on the exhibition floor with exhibitors, and you can also see it in our programme. So this sort of AI is only, you know, one aspect of, you know, the bigger, wider digital story. But I just think it's probably more about the sector evolving than it is about, you know, grand sweeping changes in any one direction. Anna Preedy: But the other thing to say, of course, is that as funding gets more the sort of the economic landscape, you know, is tough. Undeniably so. So generating revenue and finding new ways to do that and prioritising it within your organisation, but not at the expense of everything else that's done. And it should never be at the expense of everything else that's done. And it's perfectly possible to do both. Nobody's suggesting that it's easy, nothing's easy but, you know, it's possible. Anna Preedy: And I think the show here, and also what we do online in terms of, you know, news and features, all of that, and what other organisations are doing in this sector, of course, and the partners we work with, but I think just helping kind of bridge that gap really, and to provide solutions and to provide inspiration and actually, you know, there's no need to reinvent the wheel constantly. Actually, I think it was somebody that worked in the sector. I'm reluctant to names, but there was somebody I remember once saying, well, know, stealing with glee is kind of, you know, and I think actually, you know, if you see somebody else is doing something great and actually we see that in our wards, you know, that's the whole point. Let's shine a spotlight on good work. Well, that might inspire someone else. Anna Preedy: It's not about ripping something off and it's not absolute replication. But actually, you know, scalable changes in your organisation that may have been inspired by somebody else's is only a good thing as well. Andy Povey: It's all that evolutionary process, isn't it? So, great experience. Thank you on behalf of everybody that's come to the show today. Anna Preedy: Well, thank you very much. I love doing it, I really genuinely do and there is nothing like the buzz of a busy event. Jon Horsfield: Yeah, My name is Jon Horsfield, I'm the Chief Revenue Officer of Cincio Solutions. Andy Povey: And what does Cincio do? Jon Horsfield: We provide F and B technology, so kiosks, point of sale payments, kitchen systems, inventory, self checkout to the museums, heritage zoos, aquariums and hospitality industries. Andy Povey: Oh, fantastic. So I understand this is your first time here at the Museums and Heritage Show. Jon Horsfield: It is our first time. It's been an interesting learning curve. Andy Povey: Tell me more. Jon Horsfield: Well, our background is very much within the hospitality. We've been operating for about 20 to 23 years within the sort of high street hospitality side of things. Some of our London based listeners may have heard of Leon Restaurants or Coco Di Mama, we've been working with them for over 20 years. But we're looking at ways of bringing that high street technology into other industries and other Verticals and the museums and heritage is a vertical that we've identified as somewhere that could probably do with coming into the 21st century with some of the technology solutions available. Andy Povey: I hear what you're saying. So what do you think of the show? What are your first impressions? Give me your top three tips. Learning points. Jon Horsfield: Firstly, this industry takes a long time to get to know people. It seems to be long lead times. That's the first learning that we've had. Our traditional industry in hospitality, people will buy in this industry. It's going to take some time and we're happy about that. We understand that. So for us, this is about learning about know about how the industry works. Everybody's really friendly. Andy Povey: We try. Yeah. Jon Horsfield: That's one of the first things that we found out with this. This industry is everybody is really friendly and that's quite nice. Even some of our competitors, we're having nice conversations with people. Everybody is really lovely. The third point is the fact that I didn't know that there were so many niche markets and I found out where my mother buys her scarves and Christmas presents from. So it's been really interesting seeing the different types of things that people are looking for. We've sort of noticed that it's really about preservation. That's one of the main areas. There's a lot of things about preservation. Another one is about the display, how things are being displayed, and lots of innovative ways of doing that. But also the bit that we're really interested in is the commercialization. Jon Horsfield: There's a real push within the industry to start to commercialise things and bring in more revenue from the same people. Andy Povey: Yeah, yeah. I mean, that's all about securing the destiny so that you're not reliant on funding from external parties or government and you taking that control. So what do you do at Centrio that helps? Jon Horsfield: Well, first of all. First of all, I would say the efficiencies that we can bring with back office systems integrations. We're very well aware of what we do, we're also aware of what we don't do. So, for example, we're not a ticketing provider, we're a specialist retail and F and B supplier. So it's about building those relationships and actually integrating. We've got a lot of integrations available and we're very open to that. So that's the first thing. But one of the key things that we're trying to bring to this industry is the way that you can use technology to increase revenue. So the kiosks that we've got here, it's proven that you'll get a minimum average transaction value increase of 10 to 15%. Andy Povey: And what do you put that down to? Jon Horsfield: The ability to upsell. Okay, with kiosks, as long as, if you put, for example, with a burger, if you just have a nice little button, say would you like the bacon fries with that? It's an extra few pounds. Well, actually if you've got an extra few pounds on every single transaction, that makes an incredible difference to the bottom line. From the same number of customers. Some of our clients over in the USA have seen an ATV increase above to 60% with the use of kiosks. Andy Povey: And that's just through selling additional fries. Jon Horsfield: Exactly. People will. I went to a talk many years ago when people started to adopt kiosks and the traditional thing is the fact that people will order two Big Macs and a fries to a kiosk, but when you go face to face, they will not order two Big Macs and a fries. Andy Povey: So you're saying I'm a shy fatty who's basically. Jon Horsfield: Absolutely not. Absolutely not, Andy. Absolutely not. So that's really what it's about. It's about using the sort of the high street technology and applying that to a different industry and trying to bring everybody along with us. Dominic Jones: And you need to listen to the Skip the Queue. It's the best podcast series ever. It'll give you this industry. Paul Marden: Perfect. That was a lovely little sound bite. Dom, welcome. Dominic Jones: It's the truth. It's the truth. I love Skip the Queue. Paul Marden: Welcome back to Skip the Queue. Paul, welcome. For your first time, let's just start with a quick introduction. Dom, tell everybody about yourself. Dominic Jones: So I'm Dominic Jones, I'm the chief executive of the Mary Rose Trust and I'm probably one of Skip the Queue's biggest fans. Paul Marden: I love it. And biggest stars. Dominic Jones: Well, I don't know. At one point I was number one. Paul Marden: And Paul, what about yourself? What's your world? Paul Woolf: Well, I'm Paul Woolf, I've just joined the Mary Rose as a trustee. Dom's been kind of hunting me down politely for a little bit of time. When he found out that I left the King's Theatre, he was very kind and said, right, you know, now you've got time on your hands, you know, would you come over and help? So yeah, so my role is to support Dom and to just help zhuzh things up a bit, which is kind of what I do and just bring some new insights into the business and to develop It a bit. And look at the brand, which is where my skills. Dominic Jones: Paul is underselling himself. He is incredible. And the Mary Rose Trust is amazing. You haven't visited. You should visit. We're in Portsmouth Historic Dock blog. But what's great about it is it's about attracting great people. I'm a trustee, so I'm a trustee for good whites. I'm a trustee for pomp in the community. I know you're a trustee for kids in museums. I love your posts and the fact that you come visit us, but it's about getting the right team and the right people and Paul has single handedly made such a difference to performance art in the country, but also in Portsmouth and before that had a massive career in the entertainment. So we're getting a talent. It's like getting a Premiership player. And we got Paul Woolf so I am delighted. Dominic Jones: And we brought him here to the Museum Heritage show to say this is our industry because we want him to get sucked into it because he is going to be incredible. You honestly, you'll have a whole episode on him one day. Paul Marden: And this is the place to come, isn't it? Such a buzz about the place. Paul Woolf: I've gone red. I've gone red. Embarrassed. Paul Marden: So have you seen some talks already? What's been impressive for you so far, Paul? Paul Woolf: Well, we did actually with the first talk we were listening to was all about touring and reducing your environmental impact on touring, which is quite interesting. And what I said there was that, you know, as time gone by and we had this a little bit at theatre actually. But if you want to go for grant funding today, the first question on the grant funding form, almost the first question after the company name and how much money you want is environmental impact. Paul Marden: Yeah, yeah. Paul Woolf: And so if you're going tour and we're looking now, you know, one of the things that Dom and I have been talking about is, you know, Mary Rose is brilliant. It's fantastic. You know, it's great. It's in the dockyard in Portsmouth and you know, so. And, and the Andes, New York, you know, everywhere. Dominic Jones: Take her on tour. Paul Woolf: Why isn't it on tour? Yeah. Now I know there are issues around on tour. You know, we've got the collections team going. Yeah, don't touch. But nonetheless it was interesting listening to that because obviously you've got to. Now you can't do that. You can't just put in a lorry, send it off and. And so I thought that was quite interesting. Dominic Jones: Two, it's all the industry coming together. It's not about status. You can come here as a student or as a CEO and you're all welcome. In fact, I introduced Kelly from Rubber Cheese, your company, into Andy Povey and now you guys have a business together. And I introduced them here in this spot outside the men's toilets at Museum and Heritage. Paul Woolf: Which is where we're standing, by the way. Everybody, we're outside the toilet. Dominic Jones: It's the networking, it's the talks. And we're about to see Bernard from ALVA in a minute, who'll be brilliant. Paul Marden: Yes. Dominic Jones: But all of these talks inspire you and then the conversations and just seeing you Andy today, I'm so delighted. And Skip the Queue. He's going from strength to strength. I love the new format. I love how you're taking it on tour. You need to bring it to the May Rose next. Right. Paul Marden: I think we might be coming sometimes soon for a conference near you. Dominic Jones: What? The Association of Independent Museums? Paul Marden: You might be doing an AIM conference with you. Dominic Jones: Excellent. Paul Marden: Look, guys, it's been lovely to talk to you. Enjoy the rest of your day here at M and H. Paul Marden: Stephen, welcome back to Skip the Queue. Stephen Spencer: Thank you very much. Paul Marden: For listeners, remind them what you do. Stephen Spencer: So I'm Stephen Spencer. My company, Stephen Spencer Associates, we call ourselves the Ambience Architects because we try to help every organisation gain deeper insight into the visitor experience as it's actually experienced by the visitor. I know it sounds a crazy idea, really, to achieve better impact and engagement from visitors and then ultimately better sustainability in all senses for the organisation. Paul Marden: For listeners, the Ambience Lounge here at M and H is absolutely rammed at the moment. Stephen Spencer: I'm trying to get in myself. Paul Marden: I know, it's amazing. So what are you hoping for this networking lounge? Stephen Spencer: Well, what we're aiming to do is create a space for quality conversations, for people to meet friends and contacts old and new, to discover new technologies, new ideas or just really to come and have a sounding board. So we're offering free one to one advice clinic. Paul Marden: Oh, really? Stephen Spencer: Across a whole range of aspects of the visitor journey, from core mission to revenue generation and storytelling. Because I think, you know, one of the things we see most powerfully being exploited by the successful organisations is that kind of narrative thread that runs through the whole thing. What am I about? Why is that important? Why should you support me? How do I deliver that and more of it in every interaction? Paul Marden: So you're Having those sorts of conversations here with people on a one to one basis. Stephen Spencer: Then we also are hosting the structured networking event. So all of the sector support organisations that are here, they have scheduled networking events when really people can just come and meet their peers and swap experiences and again find new people to lean on and be part of an enriched network. Paul Marden: Absolutely. So we are only half a day in, not even quite half a day into a two day programme. So it's very early to say, but exciting conversations, things are going in the direction that you hoped for. Stephen Spencer: Yes, I think, I mean, we know that the sector is really challenged at the moment, really, the fact that we're in now such a crazy world of total constant disruption and uncertainty. But equally we offer something that is reassuring, that is enriching, it's life enhancing. We just need to find better ways to, to do that and reach audiences and reach new audiences and just keep them coming back. And the conversations that I've heard so far have been very much around that. So it's very exciting. Paul Marden: Excellent. One of themes of this episode that we'll be talking to lots of people about is a little bit of crystal ball gazing. You're right, the world is a hugely, massively disrupted place at the moment. But what do you see the next six or 12 months looking like and then what does it look like for the sector in maybe a five year time horizon? Stephen Spencer: Okay, well, you don't ask easy questions. So I think there will be a bit of a kind of shaking down in what we understand to be the right uses of digital technology, AI. I think we see all the mistakes that were made with social media and what it's literally done to the world. And whilst there are always examples of, let's say, museums using social media very cleverly and intelligently, we know that's against the backdrop of a lot of negativity and harm. So why would we want to repeat that, for example, with generative AI? Paul Marden: Indeed. Stephen Spencer: So I heard a talk about two years ago at the VAT conference about using AI to help the visitor to do the stuff that is difficult for them to do. In other words, to help them build an itinerary that is right for them. And I think until everyone is doing that, then they should be very wary of stepping off the carpet to try and do other things with it. Meanwhile, whilst it's an immersive experience, it is not just sitting in, you know, with all respect to those that do this, A, you know, surround sound visual box, it is actually what it's always been, which is meeting real people in authentic spaces and places, you know, using all the senses to tell stories. So I think we will need to see. Stephen Spencer: I've just been given a great coffee because that's the other thing we're offering in the coffee. It's good coffee. Not saying you can't get anywhere else in the show, just saying it's good here. Yeah. I think just some realism and common sense creeping into what we really should be using these technologies for and not leaving our visitors behind. I mean, for example, you know, a huge amount of the natural audience for the cultural sector. You know, people might not want to hear it, but we all know it's true. It's older people. And they aren't necessarily wanting to have to become digital natives to consume culture. So we shouldn't just say, you know, basically, unless you'll download our app, unless you'll do everything online, you're just going to be left behind. That's crazy. It doesn't make good business sense and it's not right. Stephen Spencer: So I just think some common sense and some. Maybe some regulation that will happen around uses of AI that might help and also, you know, around digital harms and just getting back to some basics. I was talking to a very old colleague earlier today who had just come back from a family holiday to Disney World, and he said, you know, you can't beat it, you cannot beat it. For that is immersive. Paul Marden: Yeah, absolutely. But it's not sealed in a box. Stephen Spencer: No, no. And it really. It's a bit like Selfridges. I always took out. My favourite store is Selfridges. It still does what Harry Gordon Selfridge set out to do. He said, "Excite the mind and the hand will reach for the pocket." I always say. He didn't say excite the eye, he said, excite the mind. Paul Marden: Yeah. Stephen Spencer: The way you do that is through all the senses. Paul Marden: Amazing. Stephen Spencer: And so, you know, digital. I'm sure he'd be embracing that. He would be saying, what about the rest of it? Paul Marden: How do you add the human touch to that? Yeah. I was at Big Pit last week. Stephen Spencer: As they reopened, to see this. Yeah. Paul Marden: And it was such an amazing experience walking through that gift shop. They have so subtly brought the museum into the gift shop and blended the two really well. Stephen Spencer: Yes. And I think that raises the bar. And again, if you want to make more money as a museum, you need to be embracing that kind of approach, because if you just carry on doing what you've always done, your revenue will go down. Paul Marden: Yes. Stephen Spencer: And we all know your revenue needs to go up because other. Other sources of income will be going down. Paul Marden: Sarah, welcome back to Skip the Queue last time you were here, there was a much better looking presenter than, you were in the Kelly era. Sarah Bagg: Yes, we were. Paul Marden: It's almost as if there was a demarcation line before Kelly and after Kelly. Why don't you just introduce yourself for me? Tell the listeners what it is that you do. Sarah Bagg: So I'm Sarah Bagg. I'm the founder of Rework Consulting. The last time I spoke, it wasn't that long after our launch. I think like two and a half years ago. We've just had our third birthday. Paul Marden: Wow. Sarah Bagg: Which is completely incredible. When we first launched rework, were specifically for the visitor attractions industry and focused on ticketing. Paul Marden: Yep. Sarah Bagg: So obviously we are a tech ticketing consultancy business. In the last three and a half years we've grown and now have five verticals. So attractions are one of them. Paul Marden: And who else do you work with then? Sarah Bagg: So the art, the leisure industry. So whether it be activity centres, cinemas, bowling centres and then live entertainment. So it could be anything from sports, festivals etc and the arts, like theatres or. Paul Marden: So closely aligned to your attractions. Then things that people go and do but different kinds of things loosely. Sarah Bagg: Say they're like live entertainment. Paul Marden: I like that. That's a nice description. So this must be Mecca for you to have all of these people brought together telling amazing stories. Sarah Bagg: I think how I would sum up museum and heritage today is that I think we're kind of going through a period of like being transformed, almost like back. People are reconstructing, connecting with real experiences and with people. Paul Marden: Yeah. Sarah Bagg: And I would like to think that tech is invisible and they're just to support the experience. I think there's a lot of things that are going on at the moment around, you know, bit nostalgia and people dragging themselves back to the 90s. And there's a lot of conversations about people and customer service and experience. And although technology plays a huge part in that, I would still like to think that people come first and foremost, always slightly weird from a technology consultant. Paul Marden: Well, nobody goes to a visitor attraction to be there on their own and interact with technology. That's not the point of being there. Yeah. Interesting talks that you've been today. Sarah Bagg: I think one of my favourite was actually one of the first of the day, which was about. Of how do you enhance the visitor experience through either like music and your emotions and really tapping into how you feel through, like all your different senses. Which was one of Stephen's talks which I really enjoyed. Paul Marden: That's really interesting. Sarah Bagg: I think if people like look at the visitor industry and across the board, that's why I'm so keen to stay, like across four different sectors, we can learn so much pulling ideas from like hospitality and restaurants and bars.Paul Marden: Completely. Sarah Bagg: Even if you think about like your best, there's a new bar there, so you can not very far from my home in Brighton and the service is an amazing. And the design of the space really caters for whether you're in there with 10 people or whether you're sat at the bar on your own. It doesn't exclude people, depending on what age you are or why you gone into the bar. And I think we can learn a lot in the visitor attractions industry because there's been a lot of talk about families today. I don't have children and I think that there, you need. Sarah Bagg: We need to think more about actually that lots of other people go to visitor attractions Paul Marden: Completely. Sarah Bagg: And they don't necessarily take children and they might want to go on their own. Yes, but what are we doing to cater for all of those people? There's nothing. Paul Marden: How do you make them feel welcome? How do you make them feel like they're a first class guest? The same as everybody else. Yeah. So where do you see the sector going over the next few years based on what you've seen today? Sarah Bagg: I think there'll be a lot more diversification between sectors. There's definitely a trend where people have got their assets. You know, like if you're looking at things like safari parks and zoos, places that have already got accommodation, but maybe like stately houses where there used to be workers that were living in those cottages or whatever, that they're sweating their assets. I think it would be interesting to see where tech takes us with that because there has been a tradition in the past that if you've got like, if your number one priority to sell is being like your hotel, then you would have like a PMS solution. But if it's the other way around, your number one priority is the attraction or the venue and you happen to have some accommodation, then how is that connecting to your online journey? Sarah Bagg: Because the last thing you want is like somebody having to do two separate transactions. Paul Marden: Oh, completely drives me crazy. Sarah Bagg: One thing I would also love to see is attractions thinking beyond their 10 till 6 opening hours completely. Because some days, like restaurants, I've seen it, you know, maybe they now close on Mondays and Tuesdays so they can give their staff a day off and they have different opening hours. Why are attractions still fixated in like keeping these standard opening hours? Because actually you might attract a completely different audience. There used to be a bit of a trend for like doing museum late. So I was speaking to a museum not very long ago about, you know, do they do like morning tours, like behind the scenes, kind of before it even opens. And I think the museum particularly said to me, like, "Oh, we're fine as we are.". Paul Marden: I've never met a museum that feels fine where it is at the moment. Sarah Bagg: But I guess the one thing I would love to see if I could sprinkle my fairy dus. Paul Marden: Come the revolution and you're in charge. Sarah Bagg: And it's not like, it's not even like rocket science, it's more investment into training and staff because the people that work in our industry are like the gold, you know, it's not tech, it's not pretty set works, it's not like fancy display cases. Yes, the artefacts and stuff are amazing. Paul Marden: But the stories, the people stuff. Yeah. Sarah Bagg: Give them empowerment and training and make the customer feel special. Paul Marden: Yes. Sarah Bagg: When you leave, like you've had that experience, you're only ever going to get that from through the people that you interact with completely. Paul Marden: Jeremy, hello. Welcome to Skip the Queue. We are, we are being slightly distracted by a dinosaur walking behind us. Such is life at M and H show. Jeremy Mitchell: Yeah. Paul Marden: So. Jeremy Mitchell: Well, anything to do with museums and dinosaurs, always great crowd pleasers. Paul Marden: Exactly, exactly. So is this your first time at M and H or have you been before? Jeremy Mitchell: Been before, but probably not for 10 years or more. It was, yes. I remember last time I came the theatres were enclosed so they were partitioned all the way around. Paul Marden: Right. Jeremy Mitchell: But because it's so popular now that would not just not would not work. It's a long time ago. It shows how long I've been volunteering. Paul Marden: In museums, doesn't it? So for our listeners, Jeremy, just introduce yourself and tell everyone about the role that you've got at the Petersfield Museum. Jeremy Mitchell: Okay, so I'm Jeremy Mitchell. I'm a trustee at Petersfield Museum now Petersfield Museum and Art Gallery. I'm actually now chair of trustees. Paul Marden: Paint a little picture for us of Petersfield Museum then. What could someone expect if they came to you? Apart from, as I understand, a very good cup of coffee. Jeremy Mitchell: A very good cup of coffee. Best in Petersfield. And that's not bad when there are 32 competitors. You'll get a little bit of everything you'll get a bit of. You'll get the story of Petersfield, but you'll get so much more. We've got collections of costume going back to the mid 18th century. We've got work of a local artist, Flora Torte, one of those forgotten female artists from between the wars. She's a story that we will be exploring. We've got, in partnership with the Edward Thomas Fellowship, a big archive of books and other artefacts by and about Edward Thomas, who was a poet, writer, literary critic. He's one of the poets killed in the First World War. But he's not well known as a war poet because he was writing about the impact of war on life at home. Jeremy Mitchell: So he's now more well known as a nature poet. Paul Marden: So you're telling the story not just of the place, you're telling the story of the people that have produced great art or had an impact on Petersfield. Jeremy Mitchell: Yes. And their networks and how they might relate to Petersfield in turn. And we've got the costume collection I mentioned going back to the mid 18th century, which came from Bedale School. They've all got stories to them. Paul Marden: Interesting. Jeremy Mitchell: This came from Bedale School, which is a private school on the edge of Petersfield. It was actually collected by their drama teacher between the 1950s and the 1970s. Paul Marden: Wow. Jeremy Mitchell: Because she believed in authenticity. So if she was putting on a 19th century production, she would want genuine 19th century clothes. Paul Marden: Let me tell you, my drama productions in a 1980s comprehensive did not include authentic 19th century costumes. Jeremy Mitchell: If were doing something like that at school, their parents would have been, all right, go down to the jumble sale, buy some material, make something that looks something like it. Paul Marden: Yeah. Jeremy Mitchell: But no, she was, well, if you haven't got anything in your attic that's suitable, please send me some money because there's a sale at Sotheby's in three months. Time off costume from the period. Paul Marden: Excellent. Jeremy Mitchell: And we've got some lovely pieces in there. When we put on the Peggy Guggenheim exhibition, which is what were talking about earlier today here, were able to bring in costume from the 1930s, Chanel dress, other high quality, not. Not necessarily worn by Peggy Guggenheim, but her. Paul Marden: Authentic of the period. Jeremy Mitchell: Authentic of the period. But her son was at Bedale, so she could have been asked to donate. Paul Marden: So. Okay. Jeremy Mitchell: Highly unlikely, but it was similar to items that she had been photographed in or would have been. Would have been wearing. Paul Marden: So tell me about the. The presentation. How was that? Jeremy Mitchell: It went so quickly. Paul Marden: Oh, yes. You get in the zone don't you? Jeremy Mitchell: You get in the zone. But it flowed and Louise was great. Louise had done the bulk of the. The work. She prepared the presentation that visually told the story of the exhibition and its outcomes and impacts. And I filled in the boring book, I call it the BBC, the boring but crucial. How we funded it, how we organised the project, management around it, the planning and getting buy in from the rest of the trustees at the beginning, because it was potentially a big financial commitment if we hadn't been able to fund it. Paul Marden: Isn't it interesting? So coming to an event like this is always. There's always so much to learn, it's always an enriching experience to come. But it's a great opportunity, isn't it, for a small museum and art gallery such as Petersfield? It feels a little bit like you're punching above your weight, doesn't it, to be invited onto this stage to talk about it. But really you're telling this amazing story and it's of interest to everybody that's here. Jeremy Mitchell: We want to share it. If we've been able to do it, then why can't they? Why can't you? Why can't we all do it? And yes, you need the story, but if you dig deep enough, those stories are there. Paul Marden: Absolutely, Absolutely. One of the things that is a real common conversation here, M and H, is looking forward, crystal ball gazing, talking. There's challenges in the sector, isn't there? There's lots of challenges around funding and I guess as a small museum, you must feel those choppy waters quite acutely. Jeremy Mitchell: Definitely. I mean, we're an independent museum, so we're not affected by spending cuts because we don't get any funding from that area. But the biggest challenge is from the funding perspective. Yes, we have a big income gap every year that we need to bridge. And now that so much more of the sector is losing what was its original core funding, they're all fishing in the same pond as us and they've got. Invariably they've got a fundraising team probably bigger than our entire museum team, let alone the volunteer fundraiser that we've got. So, yes, it is a challenge and you are having to run faster just to stand still. The ability to put on an exhibition like Peggy Guggenheim shows that we are worth it. Paul Marden: Yes, absolutely. Jeremy Mitchell: And the Guggenheim was funded by Art Fund Western loan programme and an Arts Council project grant. And it was a large Arts Council project grant. Paul Marden: So although everyone's fishing in the same pond as you're managing to yeah. To stretch my analogy just a little bit too far, you are managing to. To get some grant funding and. Jeremy Mitchell: Yes. Paul Marden: And lift some tiddlers out the pond. Jeremy Mitchell: Yes. But it was quite clear that with Peggy it was a story that had to be told. Paul Marden: So we talked a little bit about challenging times. But one of the big opportunities at M and H is to be inspired to think about where the opportunities are going forwards. You've had a day here today. What are you thinking as inspiration as next big things for Petersfield Museum. Jeremy Mitchell: I'm finding that really difficult because we're small, we're a small site, Arkansas, I think has got to be a way forward. I miss the talk. But they're all being recorded. Paul Marden: Yes. Jeremy Mitchell: So I shall be picking that one up with interest. But AR is something. We've got police cells. Well, we've got a police cell. Paul Marden: Okay. Jeremy Mitchell: Now, wouldn't it be great to tell an augmented reality story of Victorian justice to kids? Paul Marden: Yes. Jeremy Mitchell: While they're sat in a victory in a Victorian police cell on a hard wooden bench. That is the original bench that this prisoners would have slept on. Paul Marden: I've done enough school visits to know there's enough kids that I could put in a jail just to keep them happy or to at least keep them quiet whilst the rest of us enjoy our visit. Yes. I feel like I need to come to Petersfield and talk more about Peggy because I think there might be an entire episode of Skip the Queue to talk just about putting on a big exhibition like that. Jeremy Mitchell: Yeah, no, definitely. If you drop me an email you can skip the queue and I'll take you around. Paul Marden: Oh lovely, Rachel, welcome to Skip the Queue. You join me here at M and H show. And we've taken over someone's stand, haven't we? I know, it feels a bit weird, doesn't it? Rachel Kuhn: I feel like we're squatting but I. Paul Marden: Feel a little bit like the Two Ronnies, cuz we're sat behind the desk. It's very strange. Which one are you? Anyway, just for listeners. Introduce yourself for me. Tell listeners what it is that you do at BOP Consulting. Rachel Kuhn: Yeah, so I'm Rachel Kuhn, I'm an associate director at BOP and we specialise in culture and the creative economy and kind of working across everything that is to do with culture and creative economy globally. But I lead most of our strategy and planning projects, particularly in the UK and Ireland, generally working with arts, heritage, cultural organisations, from the very earliest big picture strategy through to real nitty gritty sort of operational plans and outside of bop. I'm a trustee for Kids in Museums, where we love to hang, and also a new trustee with the Postal Museum. Paul Marden: Given what you do at bop, this must be like the highlight of the year for you to just soak up what everybody is doing. Rachel Kuhn: I love it. I mean, it's so lovely just going around, chatting to everybody, listening in on the talks and I think that spirit of generosity, you know, like, it just comes across, doesn't it? And it just reminds me why I love this sector, why I'm here. You know, everyone wants to, you know, contribute and it's that whole sort of spirit of what do they say? We know when the tide rises, so do all the boats or all the ships. And I feel like that's the spirit here and it's lovely. Paul Marden: It is such a happy place and it's such a busy, vibrant space, isn't it? What have been the standout things for you that you've seen today? Rachel Kuhn: I think probably on that spirit of generosity. Rosie Baker at the founding museum talking about the incredible work they've done with their events, hires, programmes. Obviously got to give a shout out to the Association of Cultural Enterprise. I've been doing a lot of hanging out there at their stage day. So Gurdon gave us the rundown of the benchmarking this morning. Some really good takeaways from that and Rachel Mackay, I mean, like, obviously. Paul Marden: Want to go into. Rachel Kuhn: You always want to see her. Really good fun, but lovely to hear. She's talking about her strategy, the Visitor Experience strategy. And you know what, I spend so much time going into places looking at these sub strategies, like visual experience strategies that just haven't been written in alignment with the overall strategy. So it's lovely to see that linking through, you know, and obviously I'm from a Visitor Experience background, so hugely passionate about the way that Visitor Experience teams can make visitors feel the organization's values. And that alignment was really impressive. So, yeah, really lovely and loads of great takeaways from all those talks. Paul Marden: I will just say for listeners, all of these talks have been recorded, so everyone's going to be able to download the materials. It take a couple of weeks before they were actually published. But one of the questions that I've asked everybody in these vox pops has been, let's do some crystal ball gazing. It's. It stinks at the moment, doesn't it? The, the, the economy is fluctuating, there is so much going on. What do you see 6 to 12 month view look like? And then let's really push the boat out. Can we crystal ball gaze maybe in five years? Rachel Kuhn: Yeah.  I mean, look, I think the whole problem at the moment and what's causing that sort of nervousness is there's just a complete lack of surety about loads of things. You know, in some ways, you know, many organisations have welcomed the extension for the MPO round, the current round, but for many, you know, that's just pushed back the opportunity to get in on that round that little bit further away. It's caused that sort of nervousness with organisations are having to ride on with the same funding that they asked for some years ago that just doesn't, you know, match, you know, and it's actually a real time cut for them. Paul Marden: Absolutely. Rachel Kuhn: So I think, very hard to say, I don't know that there's much I can say. I feel like as at sea as everyone else, I think about what the landscape looks like in the next six months, but I think that never has there been, you know, a better time than something like this like the M and H show. You know, this is about coming together and being generous and sharing that information and I think reaching out to each other and making sure that we're sort of cross pollinating there. There's so much good stuff going on and we've always been really good at that and I think sometimes when we're feeling a bit down, it feels like, oh, I just don't want to go to something like this and meet others and, you know, get into a bit of a misery cycle. Rachel Kuhn: But actually it's so uplifting to be at something like this. And I think, you know, what we've seen here is at the show today, I think, is organisations being really generous with their experience and their expertise. Suppliers and consultants and supporters of the sector being really generous with their time and their expertise and actually just shows just spending a bit of time with each other, asking things of each other. We've just got loads of stuff to share and we're all really up for it. And I think that generosity is so critical and I mean, obviously I'm going to plug, I've got to plug it. Rachel Kuhn: So, you know, if you are a supplier, if you are a commercial business working in this sector, it might be tough times for you, but it's certainly nowhere near as hard as it is for the arts and cultural heritage organisations in the sector. You know, reach out to them and see how you can support them and help them. I mean, you and I have both been on a bit of a drive recently to try and drum up some sponsorship and corporate support for kids in museums who, you know, an Arts council MPO who we're incredible, incredibly proud to represent and, you know, do reach out to us. If you've been thinking, oh, I just want to sponsor something and I'd love to sponsor us. Paul Marden: Exactly. I mean, there's loads of opportunities when you take kids in museums as an example, loads of opportunities for. And this is what Arts Council wants us to do. They want us to be more independent, to generate more of our own funding and we've got a great brand, we do some amazing work and there's lots of opportunities for those commercial organisations who align with our values to help to support us. Rachel Kuhn: So I think you asked me there about what's in the next year. So next year, six months, I don't know is the answer. I think it's just a difficult time. So my advice is simply get out there, connect, learn from each other, energise each other, bring each other up. Let's not get into that sort of doom cycle. That's very easy next five years. You know what, I've had some really interesting meetings and conversations over the last. Well, one particularly interesting one today, some other ones about some funds that might be opening up, which I think is really exciting. You know, we've seen this really big challenge with funding, you know, slowing funding going in much larger amounts to a smaller number of large organisations and that causes real problems. But I think there might be a small turnaround on that. Rachel Kuhn: I'm not crumbs in the earth. I think it's still tough times. But that was really exciting to hear about. I'm also seeing here at the show today. I've been speaking to a lot of suppliers whose their models seem to be shifting a lot. So a lot more opportunities here where it requires no investment from the attraction and a lot more sort of interesting and different types of profit share models, which I think is really interesting. So I think the other thing I'd say is if you're an attraction, don't discount partnering some of these organisations because actually, you know, go and talk to them. Rachel Kuhn: Don't just, don't just count them out because you think you haven't got anything to invest because many of them are visiting new models and the couple that I've spoken to who aren't, learn from your competitors and start doing some different models. And I think that's been really interesting to hear some very different models here for some of the products, which is really exciting. Paul Marden: It is really hard sitting on the other side of the fence, as a supplier, we need cash flow as well. We've got to pay bills and all of those sorts of things. But you're right, there are interesting ways in which we all want to have a conversation. As you say, don't sit back afraid to engage in the conversation because you've got nothing to invest, you've got an important brand, you've got an audience. Those are valuable assets that a supplier like us would want to partner with you to help you to bring a project to life. And that might be on a rev share model, it might be on a service model. There's lots of different ways you can slice it and dice it. Rachel Kuhn: And going back, on a closing note, I suppose, going back to that generosity thing, don't think because you haven't got any money to commission, you know, a supplier to the sector or a commercial company, that you can't reach out to them. Like, you know, we are in this because we really want to support these organisations. This is our passion. You know, many of us are from the sector. You know, I will always connect somebody or introduce somebody or find a way to get a little bit of pro bono happening, or, you know, many of my colleagues are on advisory committees, we're board members. And I think that's the same for so many of the companies that are, like, working with the sector. You know, reach out and ask for freebie, you know, don't ask, don't get. Paul Marden: Yeah, exactly. Rachel, it is delightful to talk to you as always. Thank you for joining us on Skip the Queue and I am sure, I'm sure we'll make this into a full episode one day soon. I do say that to everybody. Rachel Kuhn: Thanks so much. Lovely to speak to you. Paul Marden: Andy. Andy Povey: Paul.Paul Marden: We've just walked out of the M and H show for another year. What are your thoughts? Andy Povey: First, I'm exhausted, absolutely exhausted. I'm not sure that I can talk anymore because I've spent 48 hours having some of the most interesting conversations I've had all year. Paul Marden: No offence, Tonkin. Andy Povey: You were part of some of those conversations, obviously, Paul. Paul Marden: I was bowled over again by just the sheer number of people that were there and all those lovely conversations and everybody was just buzzing for the whole two days. Andy Povey: The energy was phenomenal. I worked out that something like the 15th show, M & H show that I've been to, and I don't know whether it's just recency because it's sitting in the far front of my mind at the moment, but it seems like this was the busiest one there's ever been. Paul Marden: Yeah, I can believe it. The one thing that didn't change, they're still working on Olympia. Andy Povey: I think that just goes on forever. It's like the fourth Bridge. Paul Marden: Talks that stood out to you. Andy Povey: I really enjoyed interpretation One led by the guy from the sign language education company whose name I can't remember right now. Paul Marden: Yeah, Nate. That was an amazing talk, listeners. We will be getting him on for a full interview. I'm going to solve the problem of how do I make a inherently audio podcast into something that's accessible for deaf people? By translating the podcast medium into some sort of BSL approach. So that was the conversation that we had yesterday after the talk. Andy Povey: I know. I really look forward to that. Then, of course, there was the George and Elise from Complete Works. Paul Marden: I know. They were amazing, weren't they? You couldn't tell at all that they were actors. Do you know, it was really strange when George. So there was a point in that talk that George gave where we all had a collective breathing exercise and it was just. It was. It was so brilliantly done and were all just captivated. There must have been. I rechon there was 100 people at theatre at that point. Absolutely. Because it was standing room only at the back. And were all just captivated by George. Just doing his click. Very, very clever. Andy Povey: But massively useful. I've seen the same thing from George before and I still use it to this day before going on to make a presentation myself. Paul Marden: Yeah, yeah. Andy Povey: Just grounding yourself, centering yourself. Well, it's fantastic. Paul Marden: Yeah. But the whole thing that they were talking about of how do we create opportunities to have meaningful conversations with guests when they arrive or throughout their entire experience at an attraction so that we don't just talk about the weather like we're typical English people. Andy Povey: That's great, isn't it? Go and tell a Brit not to talk. Talk about the weather. Paul Marden: But training your staff makes absolute sense. Training your staff to have the skills and the confidence to not talk about the weather. I thought that was really interesting. Andy Povey: It's an eye opener, isn't it? Something really simple, but could be groundbreaking. Paul Marden: Yeah. Andy Povey: Then what was your view on all of the exhibitors? What did you take away from all the stands and everybody? Paul Marden: Well, I loved having my conversation yesterday with Alan Turing. There was an AI model of Alan Turing that you could interact with and ask questions. And it was really interesting. There was a slight latency, so it didn't feel quite yet like a natural conversation because I would say something. And then there was a pause as Alan was thinking about it. But the things that he answered were absolutely spot on, the questions that I asked. So I thought that was quite interesting. Other exhibitors. Oh, there was a lovely point yesterday where I was admiring, there was a stand doing custom designed socks and I was admiring a design of a Jane Austen sock and there was just somebody stood next to me and I just said, "Oh, Jane Austen socks." Paul Marden: Very on Trend for the 250th anniversary of Jane Austen, that all of the museums in Hampshire will be buying those up. And should funnily you should say that I'm the chief executive of Chawton Park House, which is one of the museums in the last place that Jane Austen lived. So very interesting, very small world moment at that point. Andy Povey: I do, it's almost an oxymoron to talk about Jane Austen socks. I don't imagine her having worn anything with nylon or Lycra in it. Paul Marden: Very true. I hadn't tweaked that. Andy Povey: There was a lot of AI there wasn't there AI this, AI that. Paul Marden: And there were some really good examples of where that is being used in real life. Yeah, yeah. So there were some examples where there's AI being used to help with visitor counts around your attraction, to help you to optimise where you need to put people. I thought that Neil at Symantec just talking about what he called answer engine optimisation. That was interesting. There were some brilliant questions. There was one question from an audience member asking, are there any tools available for you to figure out whether how well your organisation is doing at being the source of truth for AI tools? Andy Povey: Yeah, yeah. So almost like your Google search engine ranking. Paul Marden: But exactly for ChatGPT. Andy Povey: And have you found one yet? Paul Marden: No, not yet. There's also quite a lot of people talking about ideas that have yet to find a home. Andy Povey: Yes. What a very beautiful way of putting it. Paul Marden: The people that have. That are presenting a topic that has yet to get a real life case study associated with it. So the rubber hasn't yet hit the road. I don't think on that. Andy Povey: No. I think that's true for an awful lot of AI, isn't it? Not just in our sector. Paul Marden: No. Andy Povey: It's very interesting to see where that's all going to go. And what are we going to think when we look back on this in two or three years time? Was it just another chocolate teapot or a problem looking for a solution? Or was it the revolution that we all anticipate. Paul Marden: And I think it will make fundamentals change. I think it's changing rapidly. But we need more real case studies of how you can do something interesting that is beyond just using ChatGPT to write your marketing copy for you. Andy Povey: Yeah, I mean it's all about putting the guest at the front of it, isn't it? Let's not obsess about the technology, let's look at what the technology is going to enable us to do. And back to the first part of this conversation, looking at accessibility, then are there tools within AI that are going to help with that? Paul Marden: Yeah, absolutely. So there was definitely. There was an interesting talk by Vox. The people that provide, they provide all of the radio boxes for everybody to wear at M and H that provides you with the voiceover of all of the speakers. But they use this technology across all manner of different attractions and they were talking about using AI to do real time translation of tours. So you could. Andy Povey: Very interesting. Paul Marden: Yeah. So you could have an English speaker wandering around doing your tour and it could real time translate up to. I think it was up to four languages. Andy Povey: BSL not being one of those languages. Paul Marden: Well, no, they were talking about real time in app being able to see subtitles. Now, I don't know whether they went on to say you could do BSL. And we know from the other presentation that not everybody that is deaf is able to read subtitles as fast as they can consume sign language. So it's important to have BSL. But there were some parts of that Vox product that did it address deaf people. It wasn't just multilingual content. Andy Povey: So AI people, if you're listening, you can take the idea of translating into BSL in real time and call it your own. Paul Marden: Yeah, we very much enjoyed hosting our theatre, didn't we? That was a lot. And Anna, if you are listening, and I hope you are, because lots of people have said very nice things in this episode about M and H. Andy and I would love to come back next year. Andy Povey: Absolutely. Paul Marden: And host a theatre for you. Any other thoughts? Andy Povey: Just really looking forward to the rest of the week off. Yeah, it's a sign of a good show when you walk away with all that positive feeling and that positive exhaustion and you probably need a week to reflect on all of the conversations that we've had. Paul Marden: Yeah, absolutely. Next up we is AIM Conference at Mary Rose in June. I can't wait very much. Looking forward to that. Thank you ever so much for listening. We will join you again in a few weeks. See you soon. Bye Bye. Andy Povey: Draw.Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

Lundi 24 février 2025Peggy GuggenheimRencotre avec Magali Croset-Calisto autour de son livre Le monde selon Peggy g. - éditions Livres du mondeEn collaboration avec l'Institut Français Centre Saint-LouisLe monde selon Peggy g. - éditions Livres du mondeNew York, Londres, Paris, Annecy, Venise. Cocteau, Kandinsky, Ernst, Pollock, Brancusi. L'art, la fortune, l'amour, la liberté. La création à Venise de son légendaire musée... Peggy Guggenheim (1898-1979) est une mécène américaine dont la vie et les aventures bien réelles dépassent toute fiction. Ou presque.Magali Croset-Calisto est sexologue, psychologue et addictologue. Titulaire d'un doctorat de lettres consacré au surréalisme, elle a un parcours professionnel et universitaire résolument pluridisciplinaire. Ses thèmes de recherche portent principalement sur l'art, la littérature, la psychanalyse, les grandes figures féminines du XXe-XXIe siècle, l'érotisme et la sexualité. Elle est l'auteure d'une douzaine d'ouvrages dont Les Révolutions de l'orgasme (Editions de l'Observatoire), La révolution du No Sex (Editions de l'Observatoire), Une fin de vie volée (Le Bord de l'eau), Fragments d'un discours polyamoureux (Editions Michalon)

When Mary Dearborn finished her doctorate at Columbia University she knew she wanted to write biography. She went on to a forty-plus year career in writing biographies whose subjects including Peggy Guggenheim, Norman Mailer, Henry Miller, Ernest Hemingway, Anzia Yezierska, and most recently Carson McCullers. We talk about the challenges of writing biography for trade press publications; writing the trade press book proposal; changes in the publishing industry; reaching a broader readership; struggling with self-promotion and changing social media norms; and why it's invigorating to remember that presses actually need good writers. Don't forget to rate and review our show and follow us on all social media platforms here: https://linktr.ee/writingitpodcast Contact us with questions, possible future topics/guests, or comments here: https://writingit.fireside.fm/contact

Des de fa uns anys, el cognom Guggenheim

Tenemos la impresión de que los crímenes novelescos siempre tienen que ocurrir en grandes ciudades, como Madrid, Barcelona, Nueva York, París, Los Ángeles… Y hay autores que se empeñan todos los años en quitarnos la razón, en hacernos ver que estamos equivocados. Segovia, con su Acueducto imponiendo su silueta majestuosa, parece la ciudad perfecto para pasear y ser feliz, una ciudad de esas que no dejan espacio para el mal. Pero Juan Carlos Galindo nos ha demostrado que en Segovia también se mata. Al menos, en sus novelas. La última es Muerte privada, en la que una pista reabre el caso de Leticia Santos, una chica desaparecida hace veinte años en los alrededores del Alcázar. Y se ponen a trabajar el periodista Jean Ezequiel y la detective Teresa Trajano. El libro viene de la mano de Salamandra. El proceso de escritura tiene mucho de alquimia. De mezclar unos materiales con otros, transformándolos en algo diferente, un algo diferente que nos proporciona muchas horas de placer. Álvaro Colomer es un profesional de la información cultural al que un puñado de autores de primer nivel le han confiado sus secretos. Aprende a escribir es un libro lleno de revelaciones, de esas intimidades de los escritores. Lo ha publicado Debate. Llevamos casi un siglo esperando a Godot gracias a Samuel Beckett, un irlandés que fue muy amigo de James Joyce, pero que no solo dedicó su vida a la escritura. Tuvo varias amantes: una de ellas, la multimillonaria Peggy Guggenheim. Repasamos su vida, la pública y la privada. Y entre las novedades que llegan a las librerías, el regreso de Bevilacqua y Chamorro, treinta años después de que llegaran a nuestras vidas por obra y gracias de Lorenzo Silva. Y hasta tenemos la visita del conde Drácula.

"My motive was simple and hedonistic: I was looking for beauty" - Alain de Botton, The Art of TravelWelcome to Episode #103I have mused over limoncello, Liguria, Milano and Roma, the streets of Genova and once wrote a love letter to Padova. I have revered Giotto and Botticelli and cried over Santa Chiara in Assisi. I have interviewed many beautiful women about their lives in Italy, their stories, their cookbooks and their passions for a bountiful table and the beauty of the artist's life. I have researched Sardegna and even had a good laugh with the one and only Luca Spaghetti. I went deep down the rabbit hole on the iconic Peggy Guggenheim and I dreamt about returning to Italy to do it all over again. I inspired women to go solo traveling in Italy and I insisted my husband take me again for my 50th birthday. And finally I published my travel memoir - In the Shadow of a Cypress - An Italian Adventure. And so over 103 episodes I have mused and I have definitely felt the call, that magnetic lure of Italy, it has been a beautiful life expanding journey and a wonderful daring chapter of my life - Enjoy my next share In Bocca al lupo - a few of the many stories that happened along the way ❤️The Italian affair continues through travel, books, art and lifestyle. In truth, there are many portals to enjoy Italy and many ways to connect the dots of living a beautiful life. They all make for a sumptuous connection to Italy and one that has given so much beauty and magic.  Thank you for joining me and making this journey what it is for without the beautiful listeners and you whom I have connected with along the way in conversation and in spirit, it has made it just so much fun!!Michelle xo"In bocca al lupo (pronounced [im ˈbokka al ˈlupo]; lit. "into the wolf's mouth") is an Italian Idiom originally used in opera and theatre to wish a performer good luck prior to a performance.The standard response is crepi il lupo!  - "may the wolf die" or, more commonly, simply crepi! ("may it die").Equivalent to the English actor's idiom "break a leg", the expression reflects a theatrical superstition in which wishing a person "good luck" is considered bad luck. The expression is commonly used in Italy off stage, as superstitions and customs travel through other professions and then into common use, and it can sometimes be heard outside of Italy".  (Wikipedia 2024)Find all Shownotes at  michellejohnston.lifeBuy my new book:  In the Shadow of a Cypress - An Italian Adventure Book Link for my MichelleJohnston.life© 2024  A Writer In Italy - travel, books, art and lifeMusic Composed by Richard Johnston © 2024Support the show

Luis Herrero y Ayanta Barilli hablan sobre la exposición de la Fundación Mapfre.

The novel Peggy fictionalizes the life of art collector Peggy Guggenheim and is Rebecca Godfrey's final project. Rebecca worked on Peggy for ten years before she died from lung cancer, leaving behind an unfinished manuscript and notes. Her close friend, writer Leslie Jamison, stepped in to fulfill Rebecca's wishes and complete the book. Leslie talks to Mattea Roach about bringing Peggy's story to life and honouring her friend's legacy.

Det första surrealistiska manifestet skrevs 1924, men rörelsen överlevde sig själv och återfinns inom konst och reklam. Men även inom politiken, där den dock bytt sida, konstaterar Thomas Steinfeld. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Den 23 januari 2016 stod Donald Trump, vid denna tid en av flera kandidater till posten som Förenta Staternas president, framför en jublande folkmassa i Sioux City, Iowa, och utropade: “Jag skulle kunna stå i mitten av Femte avenyn och skjuta någon, och jag skulle inte förlora några väljare, okej?” Det var ett utrop som ekade av kulturhistoria, även om han själv inte visste om det: ”Den enklaste surrealistiska handlingen“, hade den franske författaren André Breton hävdat år 1929, ”skulle bestå i att gå ut i gatan, med pistol i hand, och blint skjuta in i folksamlingen, så snabbt du kan trycka på avtryckaren.”Surrealismen bestod bara några år som en någorlunda enhetlig konstnärlig rörelse, från det första manifestet som publicerades den 15 oktober 1924 till det andra manifestet från år 1929. Därefter splittrades gruppen. De ena ville göra revolution, på gatorna, de andra ville leta efter nya sätt att uttrycka sig inom konsten. André Breton, rörelsens ledare, uppförde sig som en nyckfull envåldshärskare, och så fortsatte var och en på egen hand. Under den korta tid de höll ihop hann surrealisterna dock göra så mycket av sig väsen, att deras gärningar ger ett eko än idag.En målning av en mjuk klocka, som verkar rinna iväg som ett halvstekt ägg, en bild av en pipa med en text, som berättar att pipan inte är någon pipa, ett fotografi av en kvinnas nakna rygg, med violinens f-hål målade på kroppen: Det är sådana verk som man kommer ihåg, när man tänker på surrealismen. Och så minns man en film från år 1928, skapad av regissören Luis Buñuel tillsammans med konstnären Salvador Dalì, där en rakkniv skär genom ett öga. Och så tänker man kanske på Bretons självbiografiska bok om ”l'amour fou” samt på en rad andra mer eller mindre galna kärlekshistorier. Så är det, men så är det också inte: Ingen rörelse inom konsten, någonsin, har haft en verkan som surrealismen, fram till idag.Surrealismen hade ett program, men knappast en teori. Den viktigaste idén hade man lånat från Sigmund Freud och psykoanalysen: att den egentliga sanningen om tillvaron finns i det omedvetna, i en dimmig sfär där drifter, smärtor och begär, drömmar och erfarenheter blandas med varandra, och att man borde uppdaga denna undervärld, i alla dess fantastiska beståndsdelar. Sigmund Freud själv var inte särskilt imponerad av surrealisternas som efterföljare: ”Hittills hade jag varit benägen att betrakta surrealisterna, som uppenbarligen valt mig till beskyddare, som absoluta narrar“, skrev han efter han i juli 1938 hade tagit emot Salvador Dalì i London. Han fortsatte: ”Numera lutar jag mot en annan värdering. […] allvarliga psykologiska problem”. Läser man rörelsens manifest, förstår man Freuds förbehåll. Surrealisterna hade inte för avsikt att förstå någonting. De var aktivister, de ville ”flytta gränserna för den så kallade verkligheten”, så som de uttryckte det.Surrealismen överlevde själva rörelsen, inte bara som en bildskatt eller som en samling exemplariska konstnärsliv - utan framför allt som en teknik som används för alla sorters estetiska yttranden. René Magrittes målning av en man med ett grönt äpple framför ansiktet blev en populär affisch, så som flera andra surrealistiska bildverk. Frida Kahlos smärtfyllda liv upphöjdes till ett exemplariskt människooffer inför konstens altare, och i Venedig iscensatte sig Peggy Guggenheim, sittandes i en gondol bakom stjärnförmiga glasögon, som de galna geniernas drottning. Men visst kunde gränserna för den så kallade verkligheten flyttas även utan medverkan av en livslevande surrealist: Frank Zappa missade visserligen ett personligt möte med Salvador Dalì. Surrealismen blev ändå en av musikerns främsta inspirationskällor. På samma sätt är det med regissören David Lynch: Det avklippta örat i början av filmen ”Blue Velvet” från år 1986 är en replik på Luis Buñuel sönderskurna ögonglob. Och står den stora, filosoferande spindeln, som den svenske regissören Johan Renck låter uppträda i filmen ”Spaceman” från 2024, inte i en tradition som leder tillbaka till Dalìs målning ”Spider in the Evening” från år 1940?Surrealismens största effekter går dock förbi obemärkta. Folk har vant sig vid att bilder, toner, till och med meningar följer på varandra, utan att de verkar stå i ett sammanhang, och att de växlar i allt snabbare takt, och att det enda som håller ihop dem är strävan efter någonting oerhört, sensationellt, efter en chock. ”Brainstorming” heter det förmodligen första försöket att överföra surrealismen till en social teknik. Den lär visserligen ha uppfunnits av en amerikansk reklamman under det sena trettiotalet. Men till grund ligger surrealisternas ”écriture automatique”, det automatiska skrivandet som skulle ske utan inblandning av ett kritiskt jag. I stället skulle det associeras fritt, utan mål eller uppsikt, medan verksamheten drevs av sökandet efter någonting alldeles nytt och överraskande. Denna teknik spriddes så småningom till brukskonsten, först till reklamen och till modet, sedan till musikvideon och därifrån åt alla möjliga håll. ”När du får oväntat besök” låter det numera, varthän man ser eller hör.Medan surrealismen sjunkit in i vardagen, eller bättre sagt: medan surrealismen blev vardagen, begravdes minnet av att rörelsen hade börjat som ett politiskt företag. Och inte bara det: som det sista revolutionära projekt som föddes inom borgerligheten. Ett dussin välbärgade män från Paris skulle göra revolt, inte bara i konsten, utan också i det verkliga livet. De vägrade utopin, förkastade kompromisser, avskydde återhållsamhet, avböjde priser och stipendier. De vill inte ens ha ett yrke. I stället vördade de våldet som en form av praktisk poesi. Den moderna världen, menade de, består av dåliga kompromisser, som bara blir värre. Man måste kapa åt sig denna värld, för att visa att verkligheten kan förändras. Konsekvent nog fick de i egen person uppleva historien i all sin brutalitet, de fick gå i exil, hamnade i fängelset, blev åtalade för högförräderi, och till sist skingrades deras dödsbon över hela klotet.Konsthistorien, denna knappt dolda form av likplundring, som Breton betecknade den, hann trots allt ifatt dem. Surrealismen i sin ursprungliga betydelse finns dock kvar. Men den har bytt politisk sida. ”Everything is wrong”, kunde man höra Donald Trump säga, ”allting är fel.” Surrealisterna kunde inte sagt det bättre.Thomas Steinfeldförfattare, kulturhistoriker och översättare

Fresh from the success of the Peggy Guggenheim exhibition - a Petersfield Award Winner, and attended by almost 9,000 people - the museum is hosting an exhibition about the colours and scenes of the South Downs until the beginning of February, 2025. It also brought many people into Petersfield for day trips. 120 local artists are on display. Molly Schmidt, from the museum told Mike Waddington about it the exhibition, the success of the Guggenheim event, Christmas events and dangles hints about what's coming in 2025.See omnystudio.com/listener for privacy information.

Si hay un nombre que resuena con fuerza en el mundo del arte moderno, es el de Peggy Guggenheim. Nacida en 1898 en Nueva York, Peggy no solo fue una coleccionista de arte excepcional, sino también una figura clave en la promoción de artistas vanguardistas del siglo XX. Su vida estuvo marcada por su pasión por el arte y su deseo de compartirlo con el mundo. En 1948, Peggy se trasladó a Venecia, donde encontró su hogar en el Palazzo Venier dei Leoni, un magnífico palacio que se convirtió en su museo personal. Este lugar no solo alberga su impresionante colección de obras de arte, que incluye piezas de artistas como Jackson Pollock, Salvador Dalí y Pablo Picasso, sino que también refleja su estilo de vida bohemio y su amo por la cultura. La colección de Peggy es un testimonio de su visión única y su compromiso con el arte contemporáneo. El Museo Guggenheim de Venecia, que lleva su nombre, es un destino imperdible para los amantes del arte. Al recorrer sus salas, los visitantes pueden sumergirse en la historia del arte moderno y contemporáneo, mientras descubren la influencia de Peggy en la escena artística. Su legado va más allá de las obras que coleccionó; ella fue una mentora y amiga de muchos artistas, brindándoles apoyo en momentos cruciales de sus carreras. Además de su contribución al arte, la vida de Peggy estuvo llena de aventuras y relaciones fascinantes, lo que la convierte en una figura intrigante. Su historia es un recordatorio de que el arte no solo se trata de las obras, sino también de las personas que las crean y las aprecian. Así que esta vez JF os viene a contar su historia. Divertiros con la historia y no olvidéis comentarnos en redes.

Before she died tragically young of cancer, author Rebecca Godfrey was working on a novel about the life of Peggy Guggenheim, famous art collector. Godfrey asked her friend, fellow author Leslie Jamison, to finish the novel after her death. Jamison discusses the novel, Peggy, and the complications and challenges of finishing a dear friend's work. Jamison will be speaking tomorrow night at The Center for Fiction.

Su lema “ comprar un cuadro al día” , la ha inmortalizado hasta la fecha como la mecenas más vanguardista que ha existido.

W tym odcinku podcastu opowiem Wam o Wenecji - mieście na wodzie. Opowiem o weneckim Biennale, ale też o festiwalu filmowym, Homo Faber i karnawale.  O tym dlaczego to miasto jest tak wyjątkowe, o acqua alta, o weneckich malarzach, o gondolierach i Casanowie. Polecam wyjątkowe hotele, miejsca, gdzie warto zjeść oraz te które warto odwiedzić. Z tego odcinka dowiecie się co ma wspólnego Peggy Guggenheim z Titaniciem, dlaczego domy na Burano mienią się feerią barw, gdzie wymyślono lustro weneckie oraz o pożyczce bez której nie byłoby Bellini. Opowiadam o moich ukochanych miejscach jak Lido i Zattere, a na końcu dzielę się wrażeniami z tegorocznego Biennale. Będzie to opowieść pełna sztuki, architektury, ciekawostek i barwnych historii o minionych wiekach.TRAVELICIOUSZobacz więcej inspiracji podróżniczych na moim blogu travelicious.plZobacz mój album SZTUKA PODRÓZYProfil na Instagramie

Wheeler, Claudia www.deutschlandfunkkultur.de, Fazit

El dibujante Pep Domingo (Nadar) y Xavier Betaucourt firman 'Regreso a Garden City', un comic sobre aquel marzo de 1967 en el que Truman Capote, escritor, volvió al lugar del crimen de su 'A sangre fría' para visitar el rodaje de la película que adaptaba su novela y después de regresar a Garden City. Con Mery Cuesta visitamos la exposición '31 mujeres. Una exposición de Peggy Guggenheim' que comisaria Patricia Mayayo en Fundación Mapfre. Se inspira en una muestra que la coleccionista Peggy Guggenheim organizó en 1943 y que se recrea hoy en 2024.Hoy ha muerto, a los 88 años, Kris Kristofferson, que no sólo es uno de los nombres indispensables de la música del siglo XX. Para muestra su Me and Bobby Mcgee que popularizó Janis Joplin. Sino que también dejó su huella en medio centenar de películas.Viajamos ahora a Londres en un viaje físico y temporal, hacía los finales del siglo XIX, principios del XX. Londres era entonces la ciudad más poblada del mundo y la capital de la revolución industrial y ahí estaba Claude Monet, a las orillas del Támesis, pintando, capturando, los cambios de luz sobre el río londinense. Ahí nació una de las famosas series del maestro impresionista francés: "Vistas sobre el Támesis". Parte de estas obras se exponen hasta enero en la Galería Courtauld de Londres.Escuchar audio

Mirada de Chef con Jesús Sánchez, los espacios de calma para personas con autismo, Joyas malditas de Ana Trigo y Peggy Guggenheim con Isabel SanJuan.

'Segundo premio', la película de Isaki Lacuesta y Pol Rodríguez sobre la creación de uno de los discos más importantes de Los planetas será la cinta que represente a España en los Oscar. Será la que opte a entrar, o no, en esa shortlist de películas que después pueden estar nominadas. Hemos felicitado a Isaki Lacuesta, director y guionista.Charlamos sobre pijos, sobre serlo y creérselo, con Raquel Peláez, autora de 'Quiero y no puedo. Historia de los pijos en España'. Un ensayo que trata a explicar los porqués de este grupo de nuestra sociedad.Vamos a la Fundación MAPFRE y nos paramos en la exposición que le dedica a la mecenas Peggy Guggenheim y a las 31 mujeres que expuso en su galería neoyorquina en los años 40. Fue una de las primeras muestras en reivindicar a las artistas. La fundación MAPFRE recrea aquel acontecimiento historico y nos lo cuenta Ángela Núñez.Y nos vamos con Martín Llade y una sesión de música clásica dedicada a las mascotas. Escuchar audio

This week, biographers and novelists share what it is like to write about other writers. Mary V. Dearborn covers Carson McCullers, George Getschow covers Larry McMurtry, Harold Holzer covers Abraham Lincoln, and Monika Zgutsova covers Véra Nabokov. Moderated by Peter Coviello. This conversation took place May 19, 2024 and was recorded live at the American Writers Festival.AWM PODCAST NETWORK HOMEThe books:Carson McCullers: A Life by Mary V. Dearborn — The first major biography in more than twenty years of one of America's greatest writers, based on newly available letters and journals.Pastures of the Empty Page: Fellow Writers on the Life and Legacy of Larry McMurtry edited by George Getschow — A collection of essays that offers an intimate view of Larry McMurtry, America's preeminent western novelist, through the eyes of a pantheon of writers he helped shape through his work over the course of his unparalleled literary life.Brought Forth on This Continent: Abraham Lincoln and American Immigration by Harold Holzer — From acclaimed Abraham Lincoln historian Harold Holzer, a groundbreaking account of Lincoln's grappling with the politics of immigration against the backdrop of the Civil War.A Revolver to Carry at Night by Monika Zgustova — A captivating, nuanced portrait of the life of Véra Nabokov, who dedicated herself to advancing her husband's writing career, playing a vital role in the creation of his greatest works.Is There God After Prince?: Dispatches from an Age of Last Things by Peter Coviello — Essays considering what it means to love art, culture, and people in an age of accelerating disaster.The writers:MARY V. DEARBORN holds a doctorate in English and comparative literature from Columbia University, where she was a Mellon Fellow in the Humanities. She is the author of seven books—among them, Mistress of Modernism: The Life of Peggy Guggenheim and Ernest Hemingway. Dearborn has been a fellow at the Dorothy and Lewis B. Cullman Center for Scholars and Writers at the New York Public Library. She lives in Buckland, Massachusetts.GEORGE GETSCHOW is a Pulitzer Prize finalist for National Reporting and winner of the Robert F. Kennedy Award for distinguished writing about the underprivileged. He has earned numerous other awards for his writing and was inducted into the Texas Institute of Letters in 2012 for "distinctive literary achievement." Today, as director of the Archer City Writers Workshop, he helps organize and conduct annual writing workshops in Archer City for professional writers and college and high school students from across the country.HAROLD HOLZER is the recipient of the 2015 Gilder-Lehrman Lincoln Prize. One of the country's leading authorities on Abraham Lincoln and the political culture of the Civil War era, Holzer was appointed chairman of the US Abraham Lincoln Bicentennial Commission by President Bill Clinton and awarded the National Humanities Medal by President George W. Bush. He currently serves as the director of the Roosevelt House Public Policy Institute at Hunter College, City University of New York.MONIKA ZGUSTOVA is an award-winning author whose works have been published in ten languages. She was born in Prague and studied comparative literature in the United States. She then moved to Barcelona, where she writes for El País, The Nation, and CounterPunch, among others. As a translator of Czech and Russian literature into Spanish and Catalan—including the writing of Havel, Kundera, Hrabal, Hašek, Dostoyevsky, Akhmatova, Tsvetaeva, and Babel—Zgustova is credited with bringing major twentieth-century writers to Spain. Her most recent book, A Revolver to Carry at Night is published by Other Press.PETER COVIELLO is the author of six books, including Make Yourselves Gods, a finalist for the 2020 John Whitmer Historical Association Best Book Prize, and Long Players, a memoir selected as one of ARTFORUM's Best Books of 2018. His newest book, Is There God After Prince?: Dispatches from an Age of Last Things, was selected for The Millions' "Most Anticipated" list for 2023. He is Professor and Head of English at the University of Illinois-Chicago.

This week - in the first of his summer solo specials - Phil speaks to writer Mary Dearborn about her biography of the remarkable Peggy Guggenheim. Peggy was probably the most significant collector of - and advocate for - the visual art of the 20th Century and she helped launch the careers of numerous internationally famous artists. She was also as renowned for her sexual exploits as her artistic ones, with a string of lovers and husbands that included some of the most famous men of the 20th Century, from Samuel Beckett to Max Ernst.It's a fascinating insight into a tempestuous, scandalous but also hugely important life. You can buy Mary's book here... https://www.amazon.co.uk/Peggy-Guggenheim-Modernism-Mary-Dearborn/dp/1844080609/ref=monarch_sidesheet_title***We now have a Thank You button (next to the 'three dots') for small donations that help support our work***Looking for the perfect gift for a special scandalous someone - or someone you'd like to get scandalous with? We're here to help...https://www.etsy.com/uk/shop/ScandalMongers*** If you enjoy our work please consider clicking the YouTube subscribe button, even if you listen to us on an audio app. It will help our brand to grow and our content to reach new ears.THE SCANDAL MONGERS PODCAST is also available to watch on YouTube...https://www.youtube.com/@thescandalmongerspodcast/videosAndrew Lownie...https://twitter.com/andrewlowniePhil Craig...https://twitter.com/philmcraigThe Scandal Mongers...https://twitter.com/MongersPodcastYou can get in touch with the show hosts via...team@podcastworld.org(place 'Scandal Mongers' in the heading)Produced byTheo XKerem IsikPodcastWorld.org Hosted on Acast. See acast.com/privacy for more information.

This is a major exhibition about renowned art collector Peggy Guggenheim and her connection to Petersfield. It runs till October; tickets on line or from the Museum Shop The Museum's Molly Schmidt tells us more.See omnystudio.com/listener for privacy information.

Join Zak and Lianne as they dive into the charmed yet tragic life of heiress turned influential art collector. We'll follow the New York debutante as she traipses through WWII Europe, evading Nazis as she brushes shoulders with the likes of Marcel Duchamp and Man Ray. Perennially unlucky in love (you'll have to listen to find out how many husbands), Guggenheim still cements her own name as a renowned gallerist. Follow us on Instagram: @notarthistorians Sources https://www.youtube.com/watch?v=7xgks5jJ4jQ  https://www.phaidon.com/agenda/art/articles/2015/august/26/how-peggy-guggenheim-made-jackson-pollock/ https://www.atlasobscura.com/places/peggy-guggenheims-grave https://www.guggenheim-venice.it/en/art/in-depth/peggy-guggenheim/about-peggy/ https://newrepublic.com/article/122968/artistic-outrageous-life-peggy-guggenheim https://www.guggenheim.org/history/peggy-guggenheim https://www.britannica.com/biography/Peggy-Guggenheim https://www.icaboston.org/articles/7-things-you-didnt-know-about-peggy-guggenheim/ https://www.usnews.com/photos/2024/02/15/a-new-golden-rooster-perches-atop-of-notre-dame-cathedral https://www.cnn.com/style/notre-dame-cathedral-restoration/index.html https://www.artnews.com/art-news/news/notre-dame-cathedrals-reconstructed-spire-gains-golden-rooster-weathervane-1234699315/ "Danse Macabre" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

Welcome to the Instant Trivia podcast episode 1200, where we ask the best trivia on the Internet. Round 1. Category: Map Happy 1: Its name says where it's at. South Africa. 2: "Zone" in on this country important to world commerce. Panama. 3: Zone in on this country, important to world commerce. Panama. 4: A bit of serendipity will lead you to this country's name. Sri Lanka. 5: Nation where Bolivar is buried. Venezuela. Round 2. Category: Tea Time Movie 1: Disney's "Johnny Tremain" takes part in this Dec. 16, 1773 incident. the Boston Tea Party. 2: Johnny Depp is at least eccentric as this tea party guest in 2010's "Alice in Wonderland". the Mad Hatter. 3: The title character of "Rikyu" teaches this painstaking routine to the fierce warlord Hideyoshi. the Japanese tea ceremony. 4: Jack Black as this character has tea with the dolls of a Brobdingnagian girl. Gulliver. 5: In "Tea with Mussolini", Cher plays a character based on this American art patron who spent a lot of time in Italy. Peggy Guggenheim. Round 3. Category: Phrases That Sell 1: "Obey your thirst" and drink this. Sprite. 2: "Be all that you can be" in this military branch. the Army. 3: This network says it's "The most trusted name in news". CNN. 4: This shipping company asks, "What can Brown do for you?". UPS. 5: It's the popular query in Verizon's TV ads. Can you hear me now?. Round 4. Category: Pat. With Pat in quotation marks 1: Let's take our drinks outside onto this paved lounge area. patio. 2: Adjective meaning characteristic of being a father. paternal. 3: Want a good pastry? Go to this French type of store that specializes in them. a patisserie. 4: A regional form of a language, not necessarily French. patois. 5: It's the murder of one's own father. patricide. Round 5. Category: Babes 1: In his career, he walked a record 2,056 times. Babe Ruth. 2: If Paul Bunyan sang "I Got You Babe", he'd be referring to one of these animals. an ox. 3: It's where Victor Herbert set his "Babes". Toyland. 4: She set records in the 1932 Olympics in the javelin throw and the 80-meter hurdles. Babe Didrikson. 5: Nicknamed "Babe", this early film comedian played The Tin Woodsman in 1925's "The Wizard of Oz". Oliver Hardy. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Né en 1907, le journaliste américain Varian Fry est connu pour avoir sauvé, durant la Seconde Guerre mondiale, de nombreux juifs réfugiés en France. Correspondant d'un journal américain à Berlin, il est témoin, en 1935, des violences que font subir aux juifs les nazis. Il assiste alors à des scènes choquantes, qui vont le marquer durablement. En août 1940, il débarque à Marseille. Officiellement, il est là comme journaliste. En fait, il est mandaté par l'"Emergency rescue comity", un organisme de secours parrainé par Eleanor Roosevelt, l'épouse du Président américain. Le but de ce comité est d'organiser la fuite vers les États-Unis des juifs menacés par les nazis, en Allemagne ou dans d'autres pays d'Europe. En principe, la mission de sauvetage confiée a Varian Fry ne concerne pas tous les réfugiés juifs. En effet, il doit permettre à des intellectuels, des écrivains ou des artistes, de s'échapper vers l'Amérique. Il arrive à Marseille avec une valise et une somme assez modeste en poche, environ 3.000 dollars. En principe, il est là pour trois mois, mais son séjour va durer plus d'un an. Il reçoit l'aide d'un syndicat américain et de certaines organisations juives. Le vice-consul américain à Marseille lui est d'un grand secours, ainsi que la riche collectionneuse d'art Peggy Guggenheim, qui lui apporte un soutien financier appréciable. Varian Fry fonde bientôt le Centre américain de secours (CAS), où une soixantaine de personnes viennent chaque jour demander de l'aide. Dans la vaste villa Air-Bel, située dans la banlieue de Marseille, se pressent des intellectuels renommés, pressés de quitter l'Europe. On y côtoie en effet des poètes, comme Tristan Tzara ou Benjamin Perret, ou des artistes, comme André Masson, Max Ernst, Marcel Duchamp ou encore Marc Chagall. Au total, plus de 2.000 personnes réussirent à fuir l'Europe grâce à l'intervention de Varian Fry. Le gouvernement de Vichy, qui appréciait peu ses activités, obtient son départ en septembre 1941. Tardivement reconnue, son action lui vaut pourtant, à titre posthume, le titre de Juste parmi les nations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Né en 1907, le journaliste américain Varian Fry est connu pour avoir sauvé, durant la Seconde Guerre mondiale, de nombreux juifs réfugiés en France. Correspondant d'un journal américain à Berlin, il est témoin, en 1935, des violences que font subir aux juifs les nazis.Il assiste alors à des scènes choquantes, qui vont le marquer durablement. En août 1940, il débarque à Marseille. Officiellement, il est là comme journaliste. En fait, il est mandaté par l'"Emergency rescue comity", un organisme de secours parrainé par Eleanor Roosevelt, l'épouse du Président américain.Le but de ce comité est d'organiser la fuite vers les États-Unis des juifs menacés par les nazis, en Allemagne ou dans d'autres pays d'Europe.En principe, la mission de sauvetage confiée a Varian Fry ne concerne pas tous les réfugiés juifs. En effet, il doit permettre à des intellectuels, des écrivains ou des artistes, de s'échapper vers l'Amérique.Il arrive à Marseille avec une valise et une somme assez modeste en poche, environ 3.000 dollars. En principe, il est là pour trois mois, mais son séjour va durer plus d'un an.Il reçoit l'aide d'un syndicat américain et de certaines organisations juives. Le vice-consul américain à Marseille lui est d'un grand secours, ainsi que la riche collectionneuse d'art Peggy Guggenheim, qui lui apporte un soutien financier appréciable.Varian Fry fonde bientôt le Centre américain de secours (CAS), où une soixantaine de personnes viennent chaque jour demander de l'aide. Dans la vaste villa Air-Bel, située dans la banlieue de Marseille, se pressent des intellectuels renommés, pressés de quitter l'Europe.On y côtoie en effet des poètes, comme Tristan Tzara ou Benjamin Perret, ou des artistes, comme André Masson, Max Ernst, Marcel Duchamp ou encore Marc Chagall.Au total, plus de 2.000 personnes réussirent à fuir l'Europe grâce à l'intervention de Varian Fry. Le gouvernement de Vichy, qui appréciait peu ses activités, obtient son départ en septembre 1941.Tardivement reconnue, son action lui vaut pourtant, à titre posthume, le titre de Juste parmi les nations. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

La vida de Peggy Guggenheim, una mecenas y millonaria, fue clave en la evolución del arte moderno. Fue una de las principales promotoras del arte abstracto surrealista y su legado como promotora del arte contemporáneo es infinito. Te contamos su historia. Y descubre más historias curiosas en el canal National Geographic y en Disney +.

Marcel Duchamp liked to portray himself as a rebel and an outsider courting controversy. While he was bold and pushing boundaries, he also came from a family of artists and he served as an advisor to the likes of Peggy Guggenheim and MoMA. Two of Duchamp's best known pieces were Nude Descending a Staircase 2 and Fountain. Check out my other podcasts  Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. 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/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th

Come along for this WILD ride as we tell the story of a tragic heiress forever captivated by ART! There will be removable dicks, lots of lovers, and scandal scandal scandal!Love you!Xoxo - The Baroque B's

durée : 00:11:57 - Peggy Guggenheim : de l'Art aux hommes, l'insatiable collectionneuse - par : Marianne Vourch - De son vrai nom Marguerite, Peggy Guggenheim est née à New York en août 1898, dans une richissime famille. Interdite d'école et confinée en son palais de Central Park, elle semble en concevoir ce que l'on nomme une véritable « terreur de l'ennui ». A 21 ans, elle part découvrir le monde... - réalisé par : Sophie Pichon

In the early 20th century, there was one woman who put herself in the center of the world of modern art.  She didn't just collect art. She befriended many starving artists, she discovered many unknown artists, and she had affairs with many great artists.  Her obsession with modern art resulted in one of the greatest collections of modern art ever assembled in the 20th century.  Learn more about Peggy Guggenheim and her obsession with modern art on this episode of Everything Everywhere Daily. Sponsors Draft Kings Step into the thrilling world of sports and entertainment with DraftKings, where every day is game day! Join the millions of fans who have already discovered the ultimate destination for fantasy sports and sports betting. Download the DraftKings Sportsbook app and use code EVERYTHING to score two hundred dollars in bonus bets instantly when you bet just five dollars! Newspapers.com Newspapers.com is like a time machine. Dive into their extensive online archives to explore history as it happened. With over 800 million digitized newspaper pages spanning three centuries, Newspapers.com provides an unparalleled gateway to the past, with papers from the US, UK, Canada, Australia and beyond. Use the code “EverythingEverywhere” at checkout to get 20% off a publisher extra subscription at newspapers.com. Noom  Noom is not just another diet or fitness app. It's a comprehensive lifestyle program designed to empower you to make lasting changes and achieve your health goals. With Noom, you'll embark on a personalized journey that considers your unique needs, preferences, and challenges. Their innovative approach combines cutting-edge technology with the support of a dedicated team of experts, including registered dietitians, nutritionists, and behavior change specialists. Noom's changing how the world thinks about weight loss. Go to noom.com to sign up for your trial today!   ButcherBox ButcherBox is the perfect solution for anyone looking to eat high-quality, sustainably sourced meat without the hassle of going to the grocery store. With ButcherBox, you can enjoy a variety of grass-fed beef, heritage pork, free-range chicken, and wild-caught seafood delivered straight to your door every month. ButcherBox.com/Daily  Subscribe to the podcast!  https://link.chtbl.com/EverythingEverywhere?sid=ShowNotes -------------------------------- Executive Producer: Charles Daniel Associate Producers: Peter Bennett & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Update your podcast app at newpodcastapps.com Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Peggy Guggenheim was eccentric, inquisitive, and a self-proclaimed art addict. Now, more than forty years after her death, find out why her enduring legacy lives on. Support the show

In this episode Monica is talking to Renato Carrain, Venetian hotelier from Angelo Art Hotel in Venice. All' Angelo Art hotel is an hotel with a difference: art is at the forefront. For countless years, art has been the undisputed star of the Angelo Art Hotel: since 1924, in fact, it has been an art archive and home to important artists such as Matisse, Braque, Picasso, Pizzinato, Vedova, Guttuso, Santomaso (winner of the Biennale del 1954) and many others. The Hotel, which was later renovated over time, still retains many of their works and prints which can still be admired in the common areas and in the rooms where they are exhibited.With Renato we also talked about how Venice has changed and what steps whould be taken to help the city with over tourism.Step into the enchanting world of art and history with our latest podcast episode! Join us as we explore the mesmerizing charm of Venice, the city that has inspired countless legendary artists. Get ready to be captivated by the stories of renowned artistic geniuses who found solace and inspiration in this extraordinary place. And that's not all! We'll also dive into the fascinating life of Peggy Guggenheim, whose passion for art led her to create one of the most iconic museums in the world. Don't miss out on this incredible journey! Tune in now and let your imagination soar!

In this episode, translator Laura Radosh introduces us to the fascinating and troubled writer Djuna Barnes.  The journalist, novelist, and artist mixed with everyone from James Joyce to Peggy Guggenheim, and was at the center of Bohemian life in 1920s New York and Paris, though perhaps not quite as much as she would like. Best known (if at all) for her modernist novel “Nightwood,” Djuna once called herself  ''the most famous unknown in the world.''  DLS co-founder Florian Duijsens joins producer/host Susan Stone to muse about Djuna and her circle of modernist Dead Ladies.  Find out more about Djuna and her work, and see her polka-dot portrait here: https://deadladiesshow.com/2023/05/11/podcast-63-djuna-barnes Djuna Barnes intersects with a great number of our previously presented Dead Ladies, including: photographer Berenice Abbott (who took the above mentioned portrait): https://deadladiesshow.com/2023/01/20/podcast-59-berenice-abbott/ and  dadaist Elsa von Freytag Loringhoven: https://deadladiesshow.com/2021/10/16/podcast-47-elsa-von-freytag-loringhoven/ Here's the documentary Laura cited where you can see Natalie Barney's Parisian home and garden with its Temple of Friendship: https://youtu.be/ihzoLrUkNoc The documentary we mentioned is “Paris Was a Woman” by Greta Schiller  https://jezebelproductions.org/paris-was-a-woman/ And Will Self's radio segment on “Nightwood” can be found here: https://youtu.be/5cy3-uOTTfE Our theme music is “Little Lily Swing” by Tri-Tachyon. Want to suggest a Dead Lady for us?  Drop us a line to info@deadladiesshow.com or tell us on social media @deadladiesshow If you'd like to get advance tickets for our May show in Berlin they are here: https://www.eventbrite.com/e/dead-ladies-show-34-tickets-632679640837 DLS NYC tickets can be purchased here:  https://www.eventbrite.com/e/dead-ladies-show-nyc-no-23-tickets-628717840987 Thanks for listening! We'll be back with a new episode next month. **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history. The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire. The podcast is created, produced, edited, and presented by Susan Stone. Don't forget, we have a Patreon! Thanks to all of our current supporters! Please consider supporting our transcripts project and our ongoing work: www.patreon.com/deadladiesshowpodcast

Hoy me acompaña Ignacio Rubio, responsable del departamento de Arte Contemporáneo en Durán Arte y Subastas en Madrid, para hablar de las casas de subastas locales. En esta conversación Ignacio nos explica como es su día a día en Durán, las diferencias entre una casa de subastas internacional y una local y cómo se lleva a cabo la gestión de clientes y ventas. También nos explica su faceta como subastador, hablamos de la adrenalina de las subastas y qué pasa los días antes y después de una sesión. Comentamos la importancia de perder el miedo a comprar en subasta, nos da consejos para comprar una obra de arte y nos explica las oportunidades y artistas que podemos encontrar en subasta para empezar a coleccionar. Ignacio estudió Historia del Arte en la Universidad Complutense de Madrid e hizo el Máster en Historia del Arte Contemporáneo y Cultura Visual. Hizo prácticas en Sotheby's Madrid y Londres, el Peggy Guggenheim de Venecia y la Fundación Juan March. Trabaja en Durán Arte y Subastas, fundada en 1969, desde 2017. Puedes seguirme en @elmundodelartepod para estar al día de invitados y temas!

What you'll learn in this episode:   How Thereza helps art collectors enter the world of contemporary jewelry. Why contemporary jewelry shouldn't be a niche, but a part of the larger art and design scene. How Thereza defines contemporary jewelry, and how she became interested in it. How she selects artists for her art and jewelry gallery, Thereza Pedrosa Gallery. Why even delicate art shouldn't be hidden away. Why quality matters just as much as aesthetics in a piece of jewelry.   About Thereza Pedrosa   Thereza Pedrosa (Rio de Janeiro, 1985) is an art historian, independent curator and gallery owner. She graduated in Conservation of Cultural Heritage at Ca' Foscari University in Venice with a thesis on art works on paper belonging to the Peggy Guggenheim Collection. She continued her studies and obtained a MA in Management and Conservation of Cultural Heritage at Ca' Foscari University in Venice with a thesis on the use of niello in contemporary European jewelry. In 2009 she collaborated as assistant registrar at the Peggy Guggenheim Collection, cataloging all the museum's works on paper. Her work led to the exhibition Revealing Papers: The Hidden Treasures of the Peggy Guggenheim Collection, for which Thereza was the scientific coordinator (Lucca Center of Contemporary Art). Since 2011 she has been working as an curator, creating exhibitions, catalogues and projects for artists and galleries in Italy, Switzerland, Germany, France and the Netherlands. In 2012 she founded the blog Beautiful People Live Art, dedicated to art, design, architecture, photography and art jewelly. In 2019 she established with her business partner Elinor Garnero a contemporary art gallery with a focus on art jewelry, the “Thereza Pedrosa Gallery”. In 2021 she joined as an expert the examining committee of the Alchimia Contemporary Jewellery School in Florence. She brings a genuinely international perspective to her curatorial activity also thanks to her residencies in Switzerland, Germany and, since 2015, the Netherlands. Additional Resources: Thereza Pedrosa Gallery  Instagram Facebook LinkedIN Photos Available on TheJewelryJourney.com Transcript: For Thereza Pedrosa, no form of art is more important than another. At her gallery, contemporary jewelry, sculpture, paintings and other fine art are all given equal standing, and she's helped numerous art collectors discover jewelry for the first time. She joined the Jewelry Journey Podcast to talk about why contemporary jewelry is still unknown to most art collectors and why that should change; how she balances raising children with owning a gallery; and what she discovered at this year's jewelry fairs. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    Today, my guest is Thereza Pedrosa of Thereza Pedrosa Gallery. Thereza is speaking to us from Asolo, Italy—I don't know if I said that right—which is near Florence. It's supposed to be a very lovely medieval village. She and her partner and friend, Elinor Garnero, founded the gallery in 2019, and it features art and art jewelry. Thereza has been in many countries studying, curating and exhibiting. She just took part in Schmuck, which, if you don't know, is one of the world's biggest art jewelry exhibits. Everybody in the world is there. We'll hear all about her jewelry journey today. Thereza, welcome to the program.   Thereza: Thank you for having me, Sharon.   Sharon: So glad to have you. Tell us about your jewelry journey. Were you considered artistic? Are people surprised when you tell them what you do?   Thereza: I think someone who knows me from when I was a child would not be surprised that I work with art and jewelry right now. I grew up in the family as an artist. My father is an artist, and I always went with him to exhibitions and art fairs. I loved to go with him when he was making Murano glasses and blown sculptures. I would go to the studio with him and take photos of him working. So, I think those who saw me growing up will not be really surprised that I love art and work with art.   Sharon: It doesn't sound surprising at all. I didn't know you were really exposed to art. Tell us about your jewelry education, then. How did you learn about jewelry?   Thereza: I started out with my father because he's a plastic artist, mainly a painter and sculptor. Sometimes during the 55 years of his career, he made Murano glasses, sculptures, mosaics, paper, iron, brass; any kind of media. Around 2000, when I was around 15 years old, he made a collection of jewelry. To make this collection of jewelry, he bought a machine for soldering. He did this beautiful collection, and then he moved back to painting and other kinds of sculptures. I asked him, “Well, you have the machine. You know how to do it. Why don't you teach me how to solder so I can make some jewelry for myself?” He taught me the basics and I made some jewelry for myself. Then some design shops sold my pieces and they wanted to start selling them. This is how I started to get involved with contemporary jewelry.    I grew up less than one hour from Padua, where there is a really important jewelry school, the Selvatico, where Babetto and Pavan and many others are from. Growing up, I saw some exhibitions of Giampaolo Babetto and Annamaria Zanella. I saw their works and I got to love their work. That's how everything started.   Sharon: So, you didn't learn classically, right? You didn't go to school and learn. That's not the way you learned.   Thereza: No, when I needed to decide what to study in university, I said, “O.K., I want to stay in the field of art,” but I didn't see myself as an artist. I didn't think I had it in me to make things except for designing my jewelry. I said, “O.K., what can I study? If I study history of art, then I can go into teaching; otherwise, what do I do with history of art?”    In Paris, in the university environment, there is this interesting course called conservation of cultural heritage. In conservation of cultural heritage, we had exams about the laws of art when you work in a museum or salon. Nationally and internationally for an exhibition, there are a lot of laws involving how long the piece can stay away from the museum and these kinds of things. I studied chemistry of conservation for paintings, drawings, and sculptures, and museography, which is what kind of temperature you need in the rooms and the lighting. So, everything you need for the economics, how to find funding for the exhibition. Everything you needed to be a curator or a registrar in a museum, that was what I studied.    I thought I would love to work in a museum as a registrar because I'm shy. I didn't see myself as a curator that needed to be the first in line. I said, “A registrar, he's more in contact with the art pieces, but a little bit in the background.” That was my dream at the beginning, but then I started moving around so much that it was difficult to find a permanent position in a museum. I started organizing exhibitions as a freelance curator for galleries in collaboration with some museums.    Sharon: You did that on your own with a museum? Did you come up with the idea, or did they come up with the idea for the exhibitions you did?   Thereza: The exhibition I did was a coordination with the drawings of the Peggy Guggenheim Collection, a collection in Venice, and I did the coordination with the Lucca Center for Contemporary Art in Tuscany. The idea for the exhibition was mine, and it was based on my bachelor's thesis. When I was writing my bachelor's thesis, I decided I wanted to write about the Guggenheim Museum in Venice, but I wanted to write about something new. I told them I wanted to write about the drawings, and I asked if could study the archives. They said, “Yes, I'm sure it would be lovely, but we never made a catalog of the drawings of the museum.”    So, my thesis became the cataloging of all the drawings in the museum. It covered how they arrived in the museum, how they received them as a gift from the artist. She bought them from the artist or from some galleries, so that's how they arrived in the collection. I also cataloged which exhibitions they participated in, which books they were published in, the state of conservation, everything you needed to know about the drawings of the collection. Then we made the Peggy Guggenheim Collection, which was at the Lucca Center of Contemporary Art and was only about the drawings of the museum.   Sharon: That sounds like a huge thing, the Peggy Guggenheim drawings. How many were there?   Thereza: I think there were around 80. More than 70, around 80. Drawings are sometimes considered less important artworks, but I've always loved paper media. Actually, in the collection, there are many works that are not just a preparation for a big painting. They are actually works in themselves. Klee, Kandinsky, many important artists from the collections also have works on paper. It really was a beautiful collection.   Sharon: How did you come to own an art gallery, you and your friend Elinor? How did you start an art jewelry gallery, I should say. What happened?   Thereza: I was organizing exhibitions for other galleries. I opened some exhibition galleries in Germany, in the Netherlands, in France. At the same time, I was still making my own jewelry. Then I got pregnant with my first son, and I decided to take a break from my jewelry to organize exhibitions. When my second child, my daughter, was around six months old, Elinor and I were talking and I was saying, “I would love to open my own gallery one day, but I cannot do it now because my kids are two and six months old.” They were too young, and I wanted to be there for them. I said, “I can do it in the future, but right now, I want to be flexible to stay with my kids. If I open a gallery, I need to be there.”    She told me, “Well, I don't feel like I can open a gallery alone,” because her background is architectural. She was in architecture and then art management, but she didn't study history of art as a main course. She was thinking, “O.K., I could be at the gallery, but I don't feel like I can organize the exhibitions myself and do everything by myself.” So, we complement each other very well because she's the one to actually stay at the gallery all the time, and I am the one that organizes the exhibitions and makes the selection of the artists for the gallery and the online shop, the online website. She's the one who stays at the gallery and deals with the collectors.   Sharon: How did you come to art jewelry? It doesn't sound like that was your initial interest. Did your father do art jewelry when he showed you jewelry? Would you call it art jewelry?   Thereza: Yes, he was an artist that made jewelry during some periods of his life, like many other artists like Picasso and Talbert. It was not their main thing, but between other things, they also made some jewelry. Also, in 2012, I opened a blog. The name was Beautiful People Love Art.   Sharon: Beautiful People Love Art.   Thereza: Yes, Beautiful People Love Art. I went on with this blog for seven, eight years. The main thing of the blog was to show how all forms of art are important and interconnected. All sides are the same thing. I don't see drawings as less important than paintings, or sculptures as more important than jewelry. I think they are all important, just different media. When I opened my own gallery, I decided we would be an art gallery. We'll have paintings and sculptures, but I was already showing a lot of contemporary jewelry with my blog.    I fell in love with contemporary jewelry while I was visiting Schmuck and Joya Barcelona and getting to know the artists. Actually, when I was finishing my master's degree, I wrote a thesis about contemporary jewelry and the use of niello in contemporary jewelry. I got in contact with many artists, Giampaolo Babetto, Annamaria Zanella, Phillipe Cizetta. I got to know the field better and I really fell in love with it.    When I decided to open my open my own gallery, I wanted contemporary jewelry to be part of it. I truly believe the contemporary jewelry field should be more open. Not a niche, but more open to art lovers in general. I think to be an art gallery, it helps to make contemporary jewelry be known to people that love art. Really often, they don't even know that contemporary jewelry exists. So, with the gallery we try to get the field of contemporary jewelry to be known outside of the field and the collectors of the field, to get it known to art collectors, design collectors, people that love art in general.   Sharon: Do you find a lot of resistance where people say, “I like the art, but the jewelry is just jewelry”? What do you find?   Thereza: We find everything. My experience at Schmuck was really interesting in this way, because we organized a contemporary jewelry exhibition with 15 artists we represent at the gallery. We were guests of Petenbone Auction House. They were having an auction week with design and glass, so a lot of people that were coming during the week weren't there for the contemporary jewelry exhibition. They would just come inside the auction house and look at the jewelry and go out. There were people coming to see the purview of the auction house and the design and glass. They were just there to see the pieces of the auction and go out without looking at the jewelry.    But there were also a lot of people that came inside to see the jewelry, and they looked at me and were like, “Oh my God, these Murano glass pieces are amazing,” or “Look at this piece from the 70s or this lamp from the 60s. There are so many beautiful pieces here.” There were some people that came to see the purview of the design auction and discovered our exhibition, and they were like, “Oh wow, we've never seen contemporary jewelry before. We didn't know it existed,” but they asked a lot of questions and were interested in understanding the different artists. There are some people that collect one kind of thing, and they want only that. Then there are people that love art in general and get excited about everything. It was very nice last week to see people going around and discovering contemporary jewelry or glass and design. It was a good mix.   Sharon: How do you choose your artists? When you have an exhibit, how do you decide which ones to have?   Thereza: For example, last week, we had an exhibition for Schmuck. We represent around 45 artists at the gallery, but we had limited space to show pieces. I wanted to show them as well as I could. I also wanted some space so you could enjoy each piece and show a little bit more of each artist, so even if you didn't know that piece, you could have an idea of his work. I decided to invite 15 artists and not bring all the artists we have at the gallery to permit people to enjoy the ones with small pieces and finalize the decision about, “O.K., I want to show a little bit of what we have at the gallery.”    It was the first time for us at Schmuck, so I invited some artists that are really well-established, who showed that we have masters of the field. I also wanted to show that we have young artists with careers and artists that work with traditional materials, and others that work with different materials like paper or food or plastic, resin and anything else. I really liked the mix. I don't like to show all pieces from the same artist here and five pieces of the other artist there. I like to mix them, and I like to have a dialogue between the pieces. I wanted the artists of the exhibition to have harmony when you saw it together. That was the important thing I wanted to get across with the exhibition, and I hope people enjoy it.   Sharon: It sounds like they would enjoy it and be exposed to things they wouldn't see a lot. Tell us a little more about who buys from your gallery.   Thereza: All kinds of people. We have contemporary jewelry collectors that love contemporary jewelry, and they come back all the time nationally and internationally. We work in an area where there were many important contemporary jewelry galleries in the past. In the last 10 years, they all closed. They closed more than 10 years ago, because the gallerists retired one after the other. For example, in Padua, there aren't any galleries specializing in contemporary jewelry anymore. We have a lot of collectors that live there who don't have a gallery close by anymore to find contemporary jewelry, so now they come to us.   We also have art collectors that love paintings and sculptures. They come inside to see the paintings, but then they discover contemporary jewelry. They get involved with contemporary jewelry and start buying contemporary jewelry also. That's very nice. We like it when that happens.   Sharon: When you say people are collectors of contemporary jewelry and art, are they people who might say to you, “I want a Babetto piece. Call me any time you get one,” or do they just come in and look around?   Thereza: Both. Sometimes there is someone who is really looking for a Babetto piece, and they come to us because they are looking for a specific piece or a specific artist. We also have collectors that just come inside because they want to have a look, or they come every two or three months to see what is new at the gallery.    With the internet, now we are working a lot online also. It happens often that whoever comes to the gallery was already checking our website, especially our Instagram page. So, when they come to the gallery—because we publish almost every day—often they come to the gallery and already know what they want to see in real life. They come and say, “Oh, I saw this artist and that artist on your Instagram page or on your website. I want to see this and that piece in real life and decide between them.”    There are people that come inside without knowing what they are looking for. There are people that come to have a look at specific pieces, and there are people that really collect. They decide before, “I want a piece of this artist,” and they come to see what we have of this specific artist.    Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Peggy Guggenheim was a self-described “art addict” who sought to distinguish herself from her business-oriented relatives and make her mark on the world through collecting and traveling in avant-garde circles. Peggy's lived her life out loud. She wasn't shy about her promiscuous lifestyle, attempted plastic surgery, or love for all things different and modern. Born to the wealthy New York City Guggenheim family, she was the daughter of Benjamin Guggenheim, who went down with the Titanic in 1912, and the niece of Solomon R. Guggenheim, who established the Solomon R. Guggenheim Foundation. Get your Homance apparel: etsy.com/shop/nicolebonneville Follow us on IG: @homance_chronicles Connect with us: linktr.ee/homance Send us a Hoe of History request: homancepodcast@gmail.com

Volvemos con la segunda parte de las mujeres fuera de la norma, sus espacios seguros y el odio online. Retomamos "Ausencia y exceso" de Francina Ribes para hablar de dos películas míticas: Mujer blanca soltera busca y Lazos ardientes. Hablamos de la lesbiana patológica y la amiga narcisista y por fin encontramos un final feliz en el neonoir. Hablando de narcisistas: no te pierdas Sick of myself. Además vuelve Peggy Guggenheim, su enamoramiento con Samuel Beckett y, por fin, su relación con el arte, que durará para siempre. Acabamos con momentos estelares de Peggy: su matrimonio con Max Ernst, la aparición de Leonora Carrington y el palazzo que alojó a los artistas más importantes del siglo XX. Sinceramente, no te lo pierdas, qué tontería. Learn more about your ad choices. Visit megaphone.fm/adchoices

"In writing about Peggy, it's important to listen to one's own instincts. Don't listen to critics.  What do they know? What one should say about Peggy is, simply, that she did it. That no matter what her motivations were, she did it"  - Lee KrasnerWelcome to Part 2 of my epic share on the 20th Century Art Collector and Art Patron Peggy Guggenheim...Here is the story of Peggy's life in Venice..... and what happened next!EnjoyFind all Show Notes and details mentioned at: michellejohnston.lifeYou can now Support the Podcast and send your encouragement.© 2023  A Writer In Italy - travel, books, art and lifeMusic Composed by Richard Johnston © 2023* Note: The Picasso art mentioned in the podcast in the gallery detail (18.30min)  is - On the Beach, 1937....Support the show

“I have never been in a city that gave me the same sense of freedom” - Peggy Guggenheim, Out of this Century: Confessions of an Art AddictWelcome to Episode #69:Are you dreaming of visiting Venice and one of the iconic galleries  on the Grand Canal - The Peggy Guggenheim Collection?If you would like to know more about Peggy Guggenheim (1898-1979) listen to the story of her life and how she found herself searching for a palazzo and a place to share her art collection with the world. Here is the kaleidoscope of Peggy's life and how she became a 20th Century icon in the art world. Find all Show Notes and details mentioned at: michellejohnston.lifeYou can now Support the Podcast and send your encouragement.© 2023  A Writer In Italy - travel, books, art and lifeMusic Composed by Richard Johnston © 2023Support the show

Coucou everyone! We've seen the pictures, and yes she looks incredible on her gondola! This week we discuss the life of American Peggy Guggenheim in France and Italy. Famous for her extensive and inventive art collecting, she also had the most wild life! It's rumored to be said that she had been with 1,000 lovers! Cat then tells Kate a little bit about Marchesa Luisa Casati! Andiamo to Venezia we go! Don't forget to follow us on Instagram :) Main topic sources: Incredible Life of Peggy Guggenheim Sex and Art by the Grand Canal NYT: The Collector Minitopic sources: MARCHESA CASATI official site Marchesa Luisa Casati wiki Recommendations: Kate's recommendation - "Under the Riccione/Amalfi Sun" Netflix film series Cat's recommendation - Alison Roman's Amatriciana Cover art and logo by Kate Walker Mixed and edited by Catherine Roehre Theme song by Lumehill Thank you all - ciao!

Marcel Duchamp liked to portray himself as a rebel and an outsider courting controversy. While he was bold and pushing boundaries, he also came from a family of artists and he served as an advisor to the likes of Peggy Guggenheim and MoMA. Two of Duchamp's best known pieces were Nude Descending a Staircase 2 and Fountain. Arts Madness Tournament links: Check out the Brackets Tell me which artist you think will win this year's tournament Give a shoutout to your favorite teacher (the teacher who gets the most shoutouts on this form by Feb 27 will get a $50 Amazon gift card) Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Patronage has long been a vital part of enabling artists to create their work. I think of historical examples like Lorenzo de' Medici who funded artists as Leonardo da Vinci, Sandro Botticelli and Michelangelo. I think of Peggy Guggenheim whose patronage gave us Jackson Pollock and Mark Rothko. In this brief bonus episode, I share with you how you can help Makers & Mystics continue our work of fostering conversations on art, faith and culture. Support The PodcastJoin The Creative Collective

di Massimo Temporelli Questo episodio è realizzato in collaborazione con BPER Banca. Andiamo alla scoperta di una delle donne più influenti del XX Secolo, la geniale Peggy Guggenheim! Un'anima appassionata e anticonformista la cui vita si è intrecciata con gli eventi e le personalità che hanno plasmato il Novecento. Una collezionista visionaria e una mecenate che ha investito il suo patrimonio nella scoperta e nel sostegno delle avanguardie artistiche, facendo al mondo un regalo dal valore inestimabile.

The sounds of Venice's legendary Grand Canal, as heard from the palazzo of the equally legendary Peggy Guggenheim art gallery - the classic sounds of Venetian boat traffic. Recorded by Cities and Memory, August 2022. 

This week, we're revisiting an episode with one of our favorite guests from 2021: New Orleans-based artist Ashley Longshore. Ashley recently created the album artwork for Rhett's forthcoming solo record, The Misfit (used here in the episode graphic). The album drops on September 16, which makes it a perfect time to revisit Ashley's brilliant creative spirit. Pre-order Rhett's new album, The Misfit, here.“You could decide to start a creative journey or find yourself when you're sixty years old. I think that really happens when you decide you're going to be your own best friend and your own biggest cheerleader.” - Ashley LongshorePop artist Ashley Longshore joins Rhett in this episode to talk about growing up in Alabama, discovering her path and how she approaches the business side of being an artist. Ashley and Rhett talk about the things that inspire their work, and how to handle the fear and anxiety that comes with living a creative life.Ashley Longshore is a New Orleans-based, self taught artist. She has built an empire in the art world and challenges the traditional business model of art galleries. As a powerhouse artist and pioneer in social media marketing, she has exploded into a global brand and uses her platform to encourage positivity and authenticity. Longshore aspires to “Have a career like Andy Warhol and leave a legacy like Peggy Guggenheim.” Upcoming episodes of Wheels Off include musician David Wax, composer/playwright Masi Asare, author Lily Brooks-Dalton, and more. Revisit Season One of Wheels Off with Rosanne Cash, Rob Thomas, Will Forte, Lydia Loveless, Allison Moorer, Ted Leo, Paul F. Tompkins, Jen Kirkman, and more. Wheels Off is brought to you by Osiris Media. Hosted by Rhett Miller. Produced by Rhett Miller, Kirsten Cluthe, and Nick Ruffini. Editing by Matt Dwyer and Justin Thomas. Music by OLD 97's. Episode artwork by Katherine Boils. Show logo by Tim Skirven.This podcast is available on Apple Podcasts, Stitcher, Spotify, or wherever you get your podcasts. If you like this podcast, please leave us a rating or review on iTunes. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

The story of Alice Prin, aka Kiki—who captivated 1920s Paris—and her tumultuous relationship with photographer Man Ray Though many have never heard her name, Alice Prin—Kiki de Montparnasse—was the icon of 1920s Paris. She captivated as a ground-breaking nightclub performer, wrote a bestselling memoir, sold out exhibitions of her paintings, and shared drinks with the likes of Pablo Picasso, Peggy Guggenheim, Marcel Duchamp and Gertrude Stein. She also shepherded along the career of the then-unknown American photographer: Man Ray. Following Kiki in the years between 1921 and 1929, when she lived and worked with Man Ray, Kiki Man Ray charts their decade-long entanglement and reveals how Man Ray—always the unabashed careerist—went on to become one of the most famous photographers of the twentieth century, enjoying wealth and fame, while Kiki's legacy was lost. But this isn't a story of an overbearing male genius and his defeated muse. During the 1920s it was Kiki, not Man Ray, who was the brighter of the two rising stars and a powerful figure among the close-knit community of models, painters, writers and café wastrels who made their homes in gritty Montparnasse. Following the couple as they created art, struggled for power and competed for fame, Kiki Man Ray illuminates for the first time Kiki's seminal influence on the culture of 1920s Paris, and challenges ideas about artists and muses, and the lines separating the two.

Courtney Maum, the author of three novels, including I Am Having So Much Fun Here Without You, Touch, and Costalegre,  inspired by the real life figure of Peggy Guggenheim and her daughter. Maum has also just published a memoir, The Year of the Horses, in which she writes about turning to a childhood passion for horses as a response to depression, and is the author of a best-selling guide for budding writers on navigating the travails of publishing. She has said that when she started writing her first book, in 2003, “I wasn't professional about my writing: I didn't research, I didn't outline, I didn't stress. I was very romantic and naïve about the process—I would wait until a mood hit me, and then I'd just start writing. But you can't pay your mortgage by being verbally romantic! So now, I write like a goddamn professional.” Professionalism is one hallmark of the novels that Maum has chosen to talk about today, both of which feature two of the most distinctive voices I've yet to come across. The first, published in 2020, is Hex by Rebecca Dinerstein Knight,  about an expelled biology PHD candidate, obsessed with botanical toxins; the second is Wolf in White Van, a novel by the musician John Darnielle.  

Stéphane Bern et Matthieu Noël, entourés de leurs chroniqueurs historiquement drôles et parfaitement informés, s'amusent avec l'Histoire – la grande, la petite, la moyenne… - et retracent les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Peggy Guggenheim.