Podcast appearances and mentions of Peter York

If someone wanted to take over British institutions like Trump's government has done in the USA, what would their first steps be—and how could we guard against them?Joining Alan and Lionel in the Prospect studios is a panel of expert guests: Jean Seaton is Professor of Media History and the Official Historian of the BBC, Peter York and Patrick Barwise are co-authors of the book The War against the BBC: How an Unprecedented Combination of Hostile Forces Is Destroying Britain's Greatest Cultural Institution... And Why You Should Care.Alan and Lionel discuss Boris Johnson's latest column and how the New York Times got hold of thousands of pages of court documents relating to the Murdoch dynasty's bitter court fight over custody of the media empire. Hosted on Acast. See acast.com/privacy for more information.

Peter York is a cultural commentator, author, and former Style Editor of Harper's & Queen magazine. He is best known for co-authoring the iconic Official Sloane Ranger Handbook in the 1980s. More recently, Peter has shifted his focus to more serious topics, including co-authoring The War Against the BBC with Professor Patrick Barwise. This week, we discuss Peter's latest book, A Dead Cat on Your Table, which delves into the world of "culture wars," the role of media personalities, influencers, and think tanks. We also explore Elon Musk's potential $100 million donation to Nigel Farage and the Reform Party and assess the extent to which the BBC is constrained in addressing "culture war" issues due to government pressure and funding concerns. “It's the one structural fault that dates from the 20s. The government has too much power over the BBC's funding and too much power over the BBC in other ways too. And you look at the manipulations of the last decade, and you can absolutely see that.” Listen to all our episodes here: https://podfollow.com/beebwatch/view To support our journalism and receive a weekly blog sign up now for £1.99 per month: www.patreon.com/BeebWatch/membership Or if you'd rather make a one-off payment (which doesn't entitle you to the blog) please use our crowdfunding page:https://www.crowdfunder.co.uk/p/roger-boltons-beeb-watch-podcast @BeebRogerInstagram: rogerboltonsbeebwatchLinkedIn: Roger Bolton's Beeb Watchemail: roger@rogerboltonsbeebwatch.comwww.goodeggproductions.uk  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Mark is joined by cartoonist and writer Martin Rowson, as he tries to make sense of the history of visual satire & print making  , Drawing Tony Blair's degeneration over the years   –  and his new book "A Dead Cat On Your Table" with Peter York. If you want to get your hands on a copy of Martin's book "A Dead Cat On Your Table" with Peter York you can order it here: https://subscribe.bylinetimes.com/product/a-dead-cat-on-your-table/?mc_cid=8f2cc3598c&mc_eid=27707f12ef Get ad-free extended episodes, early access and exclusive content on Patreon: https://www.patreon.com/wtfisgoingonpod Follow What The F*** Is Going On? with Mark Steel on Twitter @wtfisgoingonpod Follow Martin on Twitter/x @MartinRowson Learn more about your ad choices. Visit podcastchoices.com/adchoices

Peter York is an author and broadcaster who came to fame writing the Sloane Ranger Handbook with Ann Barr. He was also the Style Editor of Harpers & Queen for 10 years and became a media commentator on English social trends and traits, regularly appearing on television. Peter wrote Peter York's Eighties (1996), this time co-authored with Charles Jennings, which was both a book and a BBC television series. This was followed by Dictators' Homes (2005), which explored the interior design favoured by dictators as a reflection of their despotic characters. Recently Peter wrote the book, The War Against the BBC, about how an Unprecedented Combination of Hostile Forces Is Destroying Britain's Greatest Cultural Institution... And Why People Should Care. He's also presented a sixty-minute live show, How to Become a Nicer Type of Person, on stage in Edinburgh and London and Peter York's Hipster Handbook on BBC Four. His latest book is called A Dead Cat on your Table, and is available from the 1st of October 2024. In it he's teamed up with renowned political cartoonist Martin Rowson, and in they dissect the divisive nature of today's Culture Wars and how distraction and outrage are weaponized to manipulate opinion; the dead cat tactic as it's known.Peter York is guest number 431 on My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .For some of Peter York's books, visit - https://www.waterstones.com/author/peter-york/139505Follow Peter York on Twitter: @PeterPeteryork .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

Discover the unsung heroes behind the missions we champion and the staggering economic impact they wield – our show is a tribute to the power of volunteerism in the nonprofit sector. Join us, Ken Berger and Peter York, as we unravel the complexities of managing a volunteer workforce and the visible and hidden investments necessary for cultivating a thriving volunteer program. We confront the damaging "nonprofit starvation cycle," challenge misconceptions about overhead, and reveal how strategic volunteer management can propel nonprofit agendas forward.This episode is a profound exploration of the intricate dance between reliance on volunteer labor and its effects on wage equity, program outcomes, and resource distribution. We delve into the challenges nonprofits face in engaging volunteers, particularly from communities of color, and discuss the delicate balance required in the roles of board members volunteering. Our conversation is enriched with data-driven insights, as we advocate for a reformed approach to volunteer reporting that could reshape accounting practices in the nonprofit landscape, offering a beacon of hope for a more equitable future.Finally, we spotlight nonprofit organizations that play a key role in connecting volunteers with nonprofits seeking specialized skill sets, emphasizing the mutual benefits of such partnerships. This episode is an essential listen for those looking to understand the full spectrum of volunteerism's impact and how to harness its potential. Tune in for a thought-provoking discussion that promises to leave you with a new appreciation for the volunteer force that fuels the nonprofit world.

Have you ever wondered what goes on behind the closed doors of nonprofit organizations? Join Ken Berger and Peter York as we pull back the curtain on the dark side of the nonprofit world, exposing the impacts of unethical and incompetent CEOs. In our candid discussion, we share firsthand experiences with leadership failures—from neglecting office duties to engaging in Medicaid fraud—and offer strategies to foster accountability and integrity within these organizations. We're not merely swapping war stories; we aim to arm you with the tools to confront these critical issues head-on.As we traverse the complex landscape of nonprofit governance, we delve into the prevalence of fraud, the cultural factors that discourage whistleblowing, and the ways in which public perception can shape donor behavior. But it's not all about the problems; we also celebrate the sector's triumphs in combating fraud and reinforcing strong ethical practices. You'll hear how financial reporting and controls differ between nonprofits and for-profits and why transparency and rigorous financial oversight are non-negotiable for maintaining trust and efficacy in the social sector.Wrapping up this eye-opening episode, Ken and Peter explore how advanced analytics and IRS data can serve as early warning systems for mismanagement. We extol the virtues of the cost per outcome metric and its transformative potential for the nonprofit world, while also touching on the variability of state audit requirements and the pivotal role of attorney general offices in nonprofit oversight. This episode isn't just a call to action; it's a testament to the many nonprofit CEOs operating with honor and a guide to ensure that integrity remains at the heart of social good. Tune in to gain a richer understanding and participate in the movement towards greater transparency and accountability in the nonprofit sector.

As we lift the veil on the intricate dance of nonprofit board governance, Ken Berger and Peter York guide you through the maze of challenges and solutions that keep these crucial entities afloat. Prepare to have your assumptions about wealth and wisdom in nonprofit leadership challenged while gaining insights into the delicate balance of board member engagement, financial oversight, and strategic direction. With a nod to our global listeners, we delve into the realities of board member exhaustion and the need for expert guidance in navigating these waters.This isn't just a conversation; it explores the nuanced roles within nonprofit leadership, from the CEO to the board members, and the fine line they walk between governance and operation. We tackle the sticky issues head-on, like the influence of financial contributions on board relationships and the struggle against role confusion. We also emphasize the transformative power of data in board assessments and the significance of community representation in governance, ensuring that the voices of those served are heard in the boardroom.Finally, we wrap up with actionable steps for enhancing board efficiency and effectiveness. Resources like BoardSource take center stage as we underscore the impact of thorough onboarding, active working committees, and regular performance reviews. From the ground up, we dissect the importance of board accountability and impact measurement, concluding with the resolute belief that the true measure of a nonprofit's success lies in the positive change effected within the communities it serves. Join us on this mission to empower nonprofit boards toward accountability and impactful governance.

Join us for an engaging conversation with Kevin Fee, a veteran in the nonprofit sector whose insight into the challenging dance between mission fulfillment and organizational survival is nothing short of revelatory. As my colleague Peter York and I, Ken Berger, sit down with Kevin, we pull back the curtain on the concept of 'Permanently Failing Organizations.' Unlock the secrets of how these entities, consumed by the pursuit of growth, may inadvertently drift from their founding missions, and discover what it truly takes for nonprofits to stay true to their cause while ensuring their longevity.We navigate through the murky waters of growth motives versus mission-driven incentives, recognizing a trend within nonprofits that raises eyebrows – the possible overshadowing of purpose by organizational expansion. This episode offers a critical lens on how the prestige and compensation tied to nonprofit growth could lead to inefficiency and a departure from core values. Kevin, Peter, and I grapple with the complexities of success metrics in nonprofits, debating whether a focus on measurable customer outcomes could be the compass that guides these organizations back to their intended path. The dialogue opens doors to potential solutions that could rectify the troubling phenomenon of organizations that persist without effective goal achievement.The final piece of our discussion turns to the rapidly evolving world of technology and its implications for the nonprofit sector. With the advent of quantum computing and artificial intelligence, we stare down the barrel of potential disruptions and opportunities, weighing the benefits against the risks for organizations mired in bureaucracy or hampered by legacy systems. Kevin's expertise leads a poignant analysis on the dichotomy faced by nonprofits: the empowerment that technology can provide versus the peril of trailing behind in a fast-paced digital landscape. Tune in for a deep dive into the future of nonprofits as we grapple with the urgency for the sector to adapt, innovate, and thrive amidst technological evolution.

What if the agencies you trust to guide your charitable giving aren't as reliable as you thought? This is the provocative question that we, Ken Berger and Peter York, explore in our latest podcast episode. We examine the world of nonprofit rating agencies, scrutinizing their strengths, weaknesses, and the methodologies they use to evaluate nonprofits. From Charity Navigator to BBB Wise Giving Alliance, we discuss how these vitally important and well-intentioned agencies struggle to measure the true impact of the nonprofits they rate, and why.We dive into the cloudy waters of financial analysis, transparency, and accountability. We discuss the misconceptions about the charitable sector, particularly surrounding the controversial topic of overhead costs. But it's not all doom and gloom; we also explore the potential for change. We envision a future where big data is harnessed to create more equitable and accurate benchmarks for nonprofits, transforming how donors make informed decisions about where their money goes.Lastly, we examine the application of fairness in rating systems and funding challenges. We discuss the importance of accessibility and how new tools, such as BCT Partners' Equitable Impact Platform (EquIP), could revolutionize how donors access information about nonprofits. We delve into the significance of overhead costs in charitable giving, emphasizing the need for a new perspective that appreciates the value of investing in operational costs. Tune in to discover a new perspective on nonprofit rating agencies and join us in envisioning a future of informed and equitable charitable giving.

Ever wondered why some nonprofits thrive while others struggle to make a real difference? Join us, your co-hosts Ken Berger and Peter York, in cracking the code of impact measurement in nonprofits. With Peter's expertise in the field, we unlock the complexities of this vital tool that goes beyond mere data collection, homing in on the metrics of success and exploring who gets to define them. Buckle in as we challenge the notion of success and highlight the need to consult those being served about their desired outcomes.Our journey doesn't stop there. We delve into the murky waters of outcome measurement and the stark divide between funders who push for certain results and those who simply monitor outputs. We tackle the tension between desired outcomes and resource constraints and highlight the role of nonprofits in designing programs that yield realistic and beneficial results for those they serve. Listen closely as we navigate the difficult terrain where market transactions don't always prioritize those in need.Lastly, we draw back the curtains on data collection from beneficiaries, discussing its role in shaping impactful programs. We question the limitations of satisfaction metrics and advocate for investing in data systems that yield more precise outcomes. While the road to data-driven decision-making in nonprofits may be steep, we tie up our discussion with collaborative solutions that encourage shared ownership of impact measurement systems. Don't miss out on this enlightening conversation that puts nonprofits, their beneficiaries, and their funders under the microscope.

Episode 70 is a biggie. In April 1923, the five-month-old BBC faced a two-pronged attack. The Daily Express ran an anti-BBC campaign, with front page stories questioning its existence, and even offering to take over broadcasting themselves. Over the course of one week, the Express applied to the government for a broadcast licence (and were turned down). Meanwhile the Postmaster General's chance encounter with Reith in the street brought to a head 'the licence problem'. Reith wanted more £ for the BBC; the govt wanted more £ for themselves. It's a hundred years' war that's still raging, so it's the ideal episode to bring in Prof Patrick Barwise and Peter York, authors of The War Against the BBC: How an Unprecedented Combination of Hostile Forces is Destroying Britain's Greatest Cultural Institution... And Why You Should Care. Their insight in 2023's BBC battles tell us of right-wing press ('SMET': Sun, Mail, Express, Telegraph), now joined by GB News and Talk TV, plus think tanks galore doing down Auntie Beeb. This is all coupled with cuts in funding that is starting to affect output, from local radio to orchestras to the merged news channel. April 5th-15th 1923 is perhaps just the beginning then... Buy Patrick Barwise and Peter's York book The War Against the BBC: https://amzn.to/3qX6bLB Read their article for Prospect Magazine: 'We have bad news for the right-wing BBC haters: most of the public just don't agree with you.' https://www.prospectmagazine.co.uk/politics/60479/attention-bbc-haters-the-public-arent-behind-you See Paul Kerensa on tour with 'An Evening of (Very) Old Radio': www.paulkerensa.com/tour More info on Paul's forthcoming novel Auntie and Uncles: www.paulkerensa.com/book Original music is by Will Farmer. Broadcasts more than 50 years old are generally out of copyright. Any BBC content is used with kind permission, BBC copyright content reproduced courtesy of the British Broadcasting Corporation. All rights reserved. Thanks for supporting on www.patreon.com/paulkerensa if you do - videos and writings await you there. Or one-off tips are much appreciated too! www.ko-fi.com/paulkerensa. Do rate and review us - 5 stars would be lovely, thanks! We're here to inform, educate and entertain - though as ever we are nothing to do with the present-day BBC. We're just talking about them, not made by them. Next time... Episode 71 - Today in Parliament: The BBC Debates of April 1923, plus Dr Martin Cooper on radio in popular culture. www.paulkerensa.com/oldradio  

Are you sitting comfortably? Then we'll begin...   Episode 69 of our deep dive into British broadcasting's back-story brings us to 5th April 1923, and the hiring of Ella Fitzgerald (not that one), to organise and centralise Children's Hour.   That leads us to a packed episode with both academic insight and tales from those who were there, whether listening or programme-making.   We have more guests than you could fit on Auntie Bronwen's magic carpet - including authors and academics: Dr Amy Holdsworth (author of On Living with Television) Dr Kate Murphy (author of Behind the Wireless: A History of Early Women at the BBC) Graham Stewart (author of Scotland On Air) Programme-makers and listeners: Nick Wilson (producer, Wide Awake Club) Chris Jarvis (presenter, Show Me Show Me) David Jervis (grandson of Capt H.J. Round) Andrew Barker (Newspaper Detective) Charles Huff (producer, The Great Egg Race) And early uncles and aunts:  Uncle Arthur (Burrows) Uncle (A.E.) Thompson Auntie Bronwen (Davies) Auntie Cyclone (Kathleen Garscadden) Dinko, the Foreman of the Pixies (Reginald Jordan) Uncle Humpty Dumpty (Kenneth Wright) We cover programmes including Children's Hour, Watch with Mother, Playschool, Wide Awake Club, Sooty, Teletubbies, In the Night Garden, Old Jack's Boat, Bedtime Hour, and many more.     FURTHER READING, LINKS ETC: On Living with Television by Dr Amy Holdsworth is available here: https://amzn.to/3C3wt0F Behind the Wireless: A History of Early Woman at the BBC by Dr Kate Murphy is available here: https://amzn.to/3BX12oR  Scotland On Air by Graham Stewart will be out later this year. Details here: https://wiki.scotlandonair.com/wiki/Main_Page Read more of Arthur Corbett-Smith's 1924 notes on Children's Hour on Dr Zara Healy's brilliant blog post: https://www.bbc.co.uk/blogs/bbchistoryresearch/entries/cf4a5612-fdd9-47ec-88c8-a576e4bf7bd0 (we hope to have her on the podcast soon!) Listen to my CBeebies Radio series Granny Anne's Joke World, starring Maureen Lipman, written by me - 8 episodes are here: https://www.bbc.co.uk/cbeebies/curations/radio-granny-annes-joke-world My new book, out some time, is Auntie and Uncles: The Bizarre Birth of the BBC - details here: https://paulkerensa.com/book My live tour, 'An Evening of (Very) Early Radio' (or sometimes it's an afternoon...) visits Guildford, Romsey, Chelmsford, Kettering, Turnham Green and maybe more (it's very bookable, portable, and affordable!) - details here: https://paulkerensa.com/tour Original music is by Will Farmer. A reminder that this podcast is nothing to do with the BBC. We're talking about them, not via them. Broadcasts more than 50 years old are generally out of copyright. Any BBC content is used with kind permission, BBC copyright content reproduced courtesy of the British Broadcasting Corporation. All rights reserved. Thanks for supporting on patreon.com/paulkerensa if you do - videos and writings await you there. Or one-off tips are much appreciated too! ko-fi.com/paulkerensa. Support us for free by sharing this podcast. Or rating + reviewing where you found us. The more stars, the better... It helps our (ready for a terrible word?) discoverability. Cheers! Next time: The Press vs BBC vs Govt: 1923 and 2023 - with Prof Patrick Barwise and Peter York. Be afraid, be very afraid... https://www.paulkerensa.com/oldradio  

Here is the news. And the weather. And the SOS messages... Our timeline continues into late March 1923 - which means that as well as news, we now have daily weather forecasts on the early BBC. It's just in time for the end of the Ideal Home Exhibition - selling radio to the masses, and oh look how useful it is. Also that month, SOS messages began in Birmingham: brief broadcasts trying to reach relatives of those critically ill, or missing persons, or even missing pelicans. Joining us to talk about yesterday's news is former news editor at Pebble Mill, Breakfast News and many more BBC news programmes MAURICE BLISSON. To talk about today's BBC news, and the war against it, we have Prof PATRICK BARWISE and Peter York (see their book below - and hear more of them in 3 episodes' time), and on the SOS origins of broadcasting, Prof GABRIELE BALBI. Plus other on-air quirks and remnants from March 1923, such as the first broadcast from a church, the first educational broadcasts, and Peter Eckersley telling us not to oscillate. Episode 66 is packed as ever then... Next time: meet Arthur Corbett-Smith, the unorthodox Cardiff station director.   SHOWNOTES: Listen to Radio 4 documentary 'And Now An Urgent SOS Message' - https://www.youtube.com/watch?v=ZRI8DO8QAwg Buy Patrick Barwise and Peter York's book The War Against the BBC - https://amzn.to/40axAp8 Read Patrick Barwise and Peter York's article in Prospect Magazine - https://www.prospectmagazine.co.uk/politics/60479/we-have-bad-news-for-the-right-wing-bbc-haters-most-of-the-public-just-dont-agree-with-you Original music is by Will Farmer. A reminder that this podcast is nothing to do with the BBC. We're talking about them, not via them.  Broadcasts more than 50 years old are generally out of copyright. Any BBC content is used with kind permission, BBC copyright content reproduced courtesy of the British Broadcasting Corporation. All rights reserved. Thanks for supporting on patreon.com/paulkerensa if you do - videos and writings await you there. Or one-off tips are much appreciated too! ko-fi.com/paulkerensa. Support us for free by sharing this podcast. Or rating + reviewing where you found us. The more stars, the better... It helps our (ready for a terrible word?) discoverability. Cheers! https://www.paulkerensa.com/oldradio  

Britain's class system is rigid and incomprehensible – and education keeps it that way. Why do so many of us think we're working class when we're not? Why do we still believe in making it through hard work, yet hate social climbers? After the War, we told ourselves we were on the way towards a classless society. Ros Taylor talks to people as diverse as campaigner and educationalist Melissa Benn and class commentator Peter York to find that decades of meddling with education and work only entrenched class power. How do we get out of the class trap? “The top universities say that anyone can get in if you're good enough… The problem is, you might not realise it unless you've been to the right kind of schools.” – Ros Taylor “There's British plutocracy and British poshocracy… but in Belgravia you will find precious few British achievers.” – Peter York “The freedoms that academies were promised don't really exist now… the whole thing was a hugely expensive time and energy trap.” – Fiona Millar “Should we stop talking about the Upper Classes at all and be honest about who really holds wealth and power in Britain?” – Ros Taylor Follow Jam Tomorrow on Twitter Written and presented by Ros Taylor. Produced by Jade Bailey. Voiceovers by Imogen Robertson. Original music by Dubstar. Lead producer: Jacob Jarvis. Group Editor: Andrew Harrison. Jam Tomorrow is a Podmasters production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Peter York, best known for co-authoring 'The Official Sloane Ranger Handbook' back in the 80's has written another book ‘The War Against the BBC' with Professor Patrick Barwise. On this week's programme he bursts some BBC myths, discusses astroturfing and urges the BBC to defend itself more robustly and report on the threat to the corporation for the sake of democracy.“The war against the BBC has been fought for decades. What's happening now is that those convergent interests are more insistent. It's what I call the ‘one more shove comrades and we'll kill them' situation”.  “The BBC is part of the national picture and if it doesn't report on a crucial part of the national picture, namely our broadcasting ecology, then there is a democratic deficit”.Subscribe and support the podcast here.@PeterPeteryork@BeebRoger@RogerBolton@mastodonapp.ukroger@rogerboltonsbeebwatch.com Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

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Joining Iain on Cross Question this evening are Mail on Sunday columnist Peter Hitchens, Conservative MP Jo Gideon, co-founder of Momentum James Schneider and social commentator Peter York.

Sunak vs Starmer at PMQs, Cross Question & is James Cleverly right to tell LGBT+ football fans to be 'respectful' in Qatar? Joining Iain on Cross Question this evening are Mail on Sunday columnist Peter Hitchens, Conservative MP Jo Gideon, co-founder of Momentum James Schneider and social commentator Peter York.

After the gongs were handed out at the Bad Press Awards as part of the 2022 Byline Festival, Adrian Goldberg gathered together some of those involved in the event, to discuss the state of modern journalism.Under the shadow of the Westway, Adrian spoke to BAFTA award winning actress Joanna Scanlon; Peter York, writer of the Official Sloane Ranger Handbook and creator of the Modern Review; Alastair Morgan, long time campaigner on behalf of his murdered brother Daniel Morgan; compere Jonathan Pie aka the comedian Tom Walker; andPeter Jukes executive editor of Byline Times. Produced in Birmingham by Adrian Goldberg and Harvey White.Funded by subscriptions to Byline Times. See acast.com/privacy for privacy and opt-out information.

After the gongs were handed out at the Bad Press Awards as part of the 2022 Byline Festival, Adrian Goldberg gathered together some of those involved in the event, to discuss the state of modern journalism. Under the shadow of the Westway, Adrian spoke to BAFTA award winning actress Joanna Scanlon; Peter York, writer of the Official Sloane Ranger Handbook and creator of the Modern Review; Alastair Morgan, long time campaigner on behalf of his murdered brother Daniel Morgan; compere Jonathan Pie aka the comedian Tom Walker; andPeter Jukes executive editor of Byline Times.  Produced in Birmingham by Adrian Goldberg and Harvey White. Funded by subscriptions to Byline Times.

Highlights from The Monocle Media Summit 2021 with Monocle's editors and Christine Ockrent, Matti Rönkä, Mishal Husain, Christoph Amend, Jeremy Leslie, Clarissa Ward and Peter York.See omnystudio.com/listener for privacy information.

Highlights from The Monocle Media Summit 2021 with Monocle's editors and Christine Ockrent, Matti Rönkä, Mishal Husain, Christoph Amend, Jeremy Leslie, Clarissa Ward and Peter York.

We're taking a break for the summer but have compiled this 'best of' episode from some of our favourite interviews from the last year. Featuring Andrew Lloyd Webber, Nicholas Hytner, Gyles Brandreth, Hugh Bonneville, Paul Greengrass, Kevin McDonald, Nicole Farhi, Gilbert & George, Andrew Marr, Russell Tovey and Rob Diament, Misan Harriman, Gered Mankowitz, Sathnam Sanghera, Peter York, Elif Shafak, Charles Spencer, Loyd Grossman, Edmund de Waal, Matthew Parris, Joh Preston, Ben England, Akram Khan and Julia Samuel. We'll be back on Sunday 19th September Subscribe to our Newsletters Follow Country & Town House on Twitter Follow Country & Town House on Instagram Edited and Produced by Audio Coast

Andrew Pierce speaks to India expert Ashok Kumar as Covid infections surge to 379,257 in a single day in the country, and speaks to Sloane Rangers' Handbook author Peter York on Boris and Carrie's redecoration splurge. Plus, the leading ladies of this year's BAFTA nominations. See omnystudio.com/listener for privacy information.

Is the BBC our greatest cultural institution? Yes, and we must fight to keep it, argues social and cultural commentator Peter York. Times columnist Sathnam Sanghera discusses his new book Empireland and says we'll never understand our complicated multi-cultural society if we don't learn the truth about the British Empire. We're reading: The War Against the BBC: How an Unprecedented Combination of Hostile Forces is Destroying Britain's Greatest Cultural Institution… And Why You Should Care by Patrick Barwise and Peter York Empireland: How Imperialism Has Shaped Modern Britain by Sathnam Sanghera We're watching: It's a Sin on Channel Four Call My Agent on Netflix Finding Alice on ITV Spiral on BBC4 Cobra Kai on Netflix Edited and Produced by Alex Graham

Patrick Barwise, Emeritus Professor of Management and Marketing at London Business School and cultural commentator Peter York argue that the BBC is in peril as never before.Journalist Bridget Osborne discusses 'The War Against the BBC' with the two authors in a podcast for the Chiswick Book Festival in association with The Chiswick Calendar. 'The BBC is our most important cultural institution, our best-value entertainment provider, and the global face of Britain. It's our most trusted news source in a world of divisive disinformation. But it is facing relentless attacks by powerful commercial and political enemies, including deep funding cuts - much deeper than most people realise - with imminent further cuts threatened. This book busts the myths about the BBC and shows us how we can save it, before it's too late'.

On this week's Book Club podcast, we're talking about a subject that never ceases to arouse strong feelings: Auntie Beeb. Sam's guests, Patrick Barwise and Peter York, say - in their new book The War Against The BBC: How an unprecedented combination of hostile forces is destroying Britain's greatest cultural institution... And why you should care - that if we lose the BBC we will miss it. But isn't it a soft-left Establishment mouthpiece, riddled with groupthink and funded by an anachronistic and unjustifiable tax? Isn't it a market-distorting, bureaucratic, top-heavy behemoth that we're better off without? They make the case, here, for why not.

Sam Leith is joined by Patrick Barwise and Peter York to talk about their new book The War Against the BBC. They discuss investment in the arts, claims of excessive spending, and Rupert Murdoch's view of the broadcasting ecology.

The BBC is undeniably one of Britains greatest cultural institutions, having produced some of the greatest shows and services of all time. However, having experienced extreme funding cuts within the past 10 years and faced with a government who actively want to dismantle it, it is in peril. Many hostile forces have risen against the BBC, with recent calls to #DefundTheBBC and the claims that it is no longer fit for purpose and cannot rival the new subscriptions giants Netflix or Amazon Prime, many people (overwhelmingly from the right) are calling for an end to the license fee and for the BBC to find other funding avenues.Not to mention the huge debate around the supposed impartiality of the BBC, with attacks from the right claiming it is too left-wing, liberal and woke - to some on the left calling it a mouthpiece for the establishment.In today's episode, I am joined by Patrick Barwise, Emeritus Professor in Management and Marketing at London Business School, former chairman of consumer organisation Which? and co-author, alongside Peter York, of the book 'The War Against the BBC'.'The War Against the BBC' looks into many of the threats the BBC is facing, it debunks common myths and attacks against the BBC, the dangers of introducing advertising or a subscription-based service to the BBC and makes the case on so many fronts for why it's so important for us to protect the BBC and the license fee.I spoke to Patrick Barwise earlier this week for a discussion about his book and all of these different aspects!Buy The War Against the BBC by Patrick Barwise and Peter York: https://bit.ly/32X57Iq Guardian article which compiles Dominic Cummings 2004 blog posts: https://bit.ly/2IUfMNeSpeakers:Patrick Barwise - Emeritus Professor in Management and Marketing, London Business School; Former Chairman, Which?; Co-author of The War Against the BBC - pbarwise@london.eduLouie Marlow - Content Producer at Young Fabians - https://twitter.com/louiemarlowThis event was recorded on Tuesday 17th November.To all our listeners: we want you in our podcast, so if you're passionate about a topic just get in touch with us at podcast@youngfabians.org.ukFollow us on social media:https://www.facebook.com/PodcastYFhttps://twitter.com/PodcastYfDonate to the Young Fabians https://bit.ly/326RrJYThe intro music is by ‘One in a Googolplex' and used under Creative Commons. Find out more about them here:https://oneinagoogolplex.bandcamp.com/

Peter York is best known for his astute and acerbic observations about British culture and life. For more than 40 years, he has drawn on his background in market research to spot and analyse trends and tribes, from the Sloane Ranger to the hipster to the interior decor of dictators' homes. In this entertaining and wide-ranging conversation, he talks about the cult of authenticity, why you should never call yourself a "creative" and why corporate social responsibility is a con. 

The first lunch debate was hosted at Spring, London on June 18th, 2019 by Penny Martin with speeched for and against the motion by the journalist Lauren Collins and the design critic and author Alice Rawsthorn. These were followed by a free-flowing debate among guests including Dina Asher-Smith, Dr Anastasia Dedyukhina, Bella Freud, Susie Lau, Russell Tovey, Kirsty Wark and Peter York on the impact of mobile phones in today's world.

Cute and kitsch - Simon May, visiting professor of philosophy at King’s College London, explores cuteness and its immense hold on us, from emojis and fluffy puppies to its more uncanny, subversive expressions. Also, the changing significance of kitsch, from garden gnomes to Eurotrash. Ruth Holliday, Professor of Gender and Culture at the University of Leeds, suggests that judgements of taste have shifted ground rather than relaxed. They’re joined by the cultural critic, Peter York. This programme was first broadcast in March 2019 Producer: Jayne Egerton

Cute and kitsch - Simon May, visiting professor of philosophy at King’s College London, explores cuteness and its immense hold on us, from emojis and fluffy puppies to its more uncanny, subversive expressions. Also, the changing significance of kitsch, from garden gnomes to Eurotrash. Ruth Holliday, Professor of Gender and Culture at the University of Leeds, suggests that judgements of taste have shifted ground rather than relaxed. They’re joined by the cultural critic, Peter York. Producer: Jayne Egerton

Cute and kitsch - Simon May, visiting professor of philosophy at King’s College London, explores cuteness and its immense hold on us, from emojis and fluffy puppies to its more uncanny, subversive expressions. Also, the changing significance of kitsch, from garden gnomes to Eurotrash. Ruth Holliday, Professor of Gender and Culture at the University of Leeds, suggests that judgements of taste have shifted ground rather than relaxed. They’re joined by the cultural critic, Peter York. Producer: Jayne Egerton

A compelling back story is now de rigueur when it comes to selling us things, especially in the food industry; whether it's a bar of chocolate or a cup of coffee, provenance is everything. We take a trip round London's trendy Shoreditch area with man about town and marketing expert, Peter York who explains why being 'handmade by hipsters' can justify sky high prices. Down in the depths of the British Library, Polly Russell tells us how the idea of the backstory came about. We take a leisurely stroll across town to London Bridge where Tom Sellers takes time out from service at his restaurant, Story, to wax lyrical about his culinary pièce de résistance - an edible candle. Steve Sutton, a Colombian in New York insists that sourcing beans from dangerous 'red zones' is vital to his coffee business, Devoción. And what do you do if you have a product to sell but no story to tell? Simon Manchipp from Shoreditch design agency SomeOne is here to help.(Image: Confident Barista, Credit: Getty)

Peter York on autocrat chic, Sunday in the Park with George, BBC interview with Robert Kelly, Jessica Dimmock’s The Convention

Ian Paice was born on June 29, 1948, in Nottingham, England. Ian got his first drum kit by age of 15. Ian neither had any formal education in music. He learned to play drums by trying to imitate what he heard from drummers playing on the radio. Paice greatly admired drumming styles of jazz legends like Gene Krupa and Buddy Rich, and always dreamt of emulating them. He practiced hard on drums, especially noting that being left handed, he needed to come of with techniques which would fit the right handed drum kits. Though Paice was playing for his father’s Dance band in the early 60s, the first professional band he played with was "Georgie and the Rave ons", a local group in Becester, which later came to be known as "The Shindigs". After a short stint with this group, Paice left it to join another group called M15, which became The Maze. Soon after, Paice left and helped form Deep Purple with Rod Evans, Jon Lord, Nick Simper and Ritchie Blackmore in 1968. Deep Purple would later be one of the biggest rock bands in the world, especially during the 60s and the 70s. They would soon start dominating the charts with such hit albums like Deep Purple in Rock, Fireball, Machine Head and Who Do We Think We Are, Come Taste The Band, Stormbringer and Burn. Paice's drumming techniques have been showcased in many of their hit songs but the best example are 'Made in Japan' "The Mule" , "Child In Time", "Flight of the Rat" and the album 'Machine Head'.Paice was called for studio recording by a number of artists who included Peter York, Elf, Green Bullfrog, Velvet Underground, Baby Face, Eddie Harris, George Harrison, Paul McCartney, William Shatner, Jim Capaldi and many others. From 1979 to 1982, Paice worked with Whitesnake and released 3 albums. In 1982 he also played with Gary Moore Band. After 2 years of playing with Gary Moore, he got back to Deep Purple. In 1999, Ian made a guest appearance in Paul McCartney’s Run Devil Run. Paice released a solo DVD and continues his world clinic instruction. Paice is also in the Drummers’ Hall of Fame and just inducted in the Rock Roll HOF class of 2016! Deep Purple continues to tour worldwide and remains at the top of rock roll’s Elite Bands.

In this episode we sit down with Centricity Music General Manager, Steve Ford. 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a:hover{color:#8f8f8f !important;} www.fullcirclemusic.orgFCM007_-_Relationships_with_Steve_FordDuration: 00:50:21You're listening to The Full Circle Music Show. The why of the music biz.Chris: Welcome back to the Full Circle Music Show, it’s Chris Murphy and I'm sitting right beside Seth Mosley. How are you buddy?Seth: I'm good man. It's a busy week, lots of good stuff going on over here at the studio. And I’m excited to take just a few minutes out of our schedule to talk to one of our favorite people in the industry, Mister Steve Ford.Steve has been a guy that I've known for a long time, was one of the people that I met moving to Nashville in the music business. And we've talked to a lot of people on the creative side so far but we haven't yet talked to anybody on the label side. So, you think of the guy that sits in a dark room with a suit in a corner office, that's this guy! Except for not, he actually sits in a what is a pretty awesome office, he's the general manager of a label company called Centricity Music; has been pretty massively successful in the past couple of years and really since they opened. But, he's a really great leader and speaks to what they look for in a good producer, in a good artist, in a good team member at their label.So, if you're wanting to get involved in the music industry, this is a great episode to listened to. I learned a ton and I think you will too.Chris: You know, being a podcast junky, it's nice to meet a fellow podcast enthusiast as well. We had some great conversations in the episode but also talked a lot about our favorite podcasts on and off the mic. He's just a great guy, great to get to know him and I really appreciate Seth you setting this up. Another great interview and I can't wait to listen to it.Seth: And you can check out his company at centricitymusic.com. They have a lot of great artists that I think you'll dig.Audio clip commencesHey podcast listeners, something is coming February 1st 2016. Have you ever thought about a career in song writing or music production? We have created a couple courses with you guys in mind. We've been getting a lot of feedback on people wanting to know more about how to become a song worker; how to become a professional music producer or engineer. These courses were designed to answer some of those questions. Go to fullcirclemusic.org and sign up there for more information.Audio clip endsChris: You were saying earlier before we started rolling that you were a podcast guy.Steve: Oh yeah, big podcast guy.Chris: And, you've heard this podcast before?Steve: Yeah. I've listened to the first three.Chris: Okay. So, can I ask you to go out on a limb and give us a grade so far?Steve: You know what? I'd give them a solid B+. I want them longer. That's my thing; I want to go into the background. I want to hear when you did Brown Banishers which is funny because I've worked a lot with Brown but you didn't get past Amy Grant.Seth: Sure.Steve: I mean, this is the guy who worked with from everybody from Third Day to Mercy Me to Why Heart, he's done everybody like come one there are stories there. I tell people I'm on the corporate side because of Brown Banisher because of how he worked. I was an engineer in LA for ten years and he would come out and mix records with us, it was at a little place called Mama Joes and I would see him on the phone going, “Happy birthday sweetie.” Later knowing that it was Ellie; missed her first walk and all of these other things. And when my daughter was born, I was like, I can't do this. I needed a life and so I started praying and Peter York calls. So it’s because of him so it's fun to hear some his stories. I did a lot of records win Jack Joseph Puig and–Seth: And you were engineering at the time?Steve: Yeah. I was an engineer at LA.Seth: And at the time that was really engineering?Steve: Oh my gosh.Seth: You were cutting tape and…Steve: Yeah! I've cut a lot of two inch tape, quarter inch tape, half inch–Seth: Stuff that I hope to never do.Steve: You don't have to, Jericho does it for you.[Laughter] Seth: I don't know if Jericho has ever cut tape? In school he did.Steve: Now, I feel really old.Chris: Is that kind of like when you're in a biology class and not in any other time of your life will you need to dissect a frog but you just have to do it for the experience of it. Is that what it's become cutting tape?Steve: I don't know if you have to do it even that. It's sort of like this legend of starting a fire with flint, you know? It's sort of like, “Yeah. I used to cut tape.”[Laughter] Seth: I mean there's probably a resurgence. I would imagine knowing the process of what coffee has become and how artists.Steve: Yeah.Seth: I think there's a big thing in maybe it's the millennial generation or whatever it is but I think people are drawn back to slower, older more hands on processes it seems like than just pushing the button or going through the drive through–Steve: And somethings, don't you think, in some things its like just give me the button. Give me the filter on Instagram.Seth: That is true! That's true but then you've got the whole wave of people roasting their own coffee beans now and then they're grinding the with a hand grinder, and then they're putting in a… And, I'm saying this because we have like three artists that we work with; that come in and they bring their whole coffee apparatus.Steve: And they measure how much coffee goes in, weigh it?Chris: Yeah.Steve: My son has one of those has a scale that weighs, how much coffee goes in. Oh yeah just …Chris: Yeah, I thought you were going to say some of the artists that you work with, they actually bring their own barista in the studio because–Steve: I'm sure that will happen.Seth: That’s kind of a prerequisite to be in a band. There has to be at least one barista.Steve: True.Seth: In the band.Steve: There has to be one business guy in every band and one guy who can make great coffee.Seth: And then the guy who can actually play the instruments.Steve: Yeah. Then the artist.[Laughter]Chris: And then the fourth guy on base who just knows how to shape everybody's beards. He's more of a grooming guy.Seth: And sometime there's a drummer.[Laughter] Steve: You don't need a drummer; there are machines for that now.[Laughter] Seth: Yeah. I mean, just take us through a little bit of your journey, you started in L.A.?Steve: I was born and raised in L.A.; read an article when I was 14 years old about this guy named Sir George Martin. And I was like, “What? You can do that for a living?”Seth: Who is George Martin?Steve: He produced this little band called the Beatles, probably never heard of…most 20 year olds haven't heard of them so…Chris: And then isn't true that he went on from there to write The Game of Thrones?Steve: Did he? I'm not a Game of Throne person–Chris: Okay that's R.R. Martin, sorry.Steve: Wrong one. But I mean, you read about these guys and you sort of open a door into a new world that you didn't know existed. And so, I was 18 years old, junior out of high school walked into the recording studios and started from there.Seth: So, you didn't wait to have some sort of a college thing to get internships?Steve: My mom was like Reeds parents which was like, “That’s a nice hobby but let's make sure you have a backup plan, a plan B.” And so, I still went to school, I still went to college did all of that. Don't ask me my grade point average because I was going home at 4 o'clock in the morning, waking up at 8 to crawl into my first class, it was terrible. But yeah, my first job in the recording studio, I was making $500 a month from 6 o'clock to 3 o'clock in the morning.Seth: Living in L.A?Steve: Living in L.A.Seth: And that probably paid for a tenth of the rent?Steve: Maybe.Chris: Or, just the gas to get around?Steve: But I loved every second of it. And then from there you sort of work your way up. So, I did that… Like I said earlier my daughter was born and I was like an engineer’s life is a hard life in LA especially. Those were the days when you'd pay $1,500 a day block booking a studio; you booked a studio and you're paying $1,500 if your there six hours or eight there 24 hours. And a lot of them stayed 24 hours, and you just have next, next, next, next.Chris: And you've got to be the first guy there.Steve: First guy there, last guy out, yeah. You're sitting there winding tables at 6 o'clock in the morning going, “I just want to go home.”Chris: When the bug caught you, from that point until the time that you walked into that first studio and got a job, what skills were you harnessing?Steve: None.Chris: Just reading liner notes?Steve: Yeah. Lying in the floor, reading and going, there's one in North Hall and I'd write it down on a piece of paper because I grew up in the San Fernando Valley and start looking for them. Hey man that where Bill [inaudible 8:50] studio is or whatever the studio was and start. There wasn't really a whole lot you can do to prepare for it. It's no like in high school you go, “I wonder what class…”  I was in all the choirs and all the music stuff and that didn't prepare you for it. Probably the greatest skills for a studio engineer especially a starting one is being attentive, being hungry, being prepared and that depends on who you're working with.When you working together with somebody so well, I'm sure you and your team, they know what you want in advance and plugin something in before you even have to ask, that’s just working together. I've told a lot of wannabe engineers who want to go to some of these very expensive schools, don’t do it. Take that money, live on it for two years and go give yourself away for free for two years. You learn more two years in a studio than you will however long you go to one of the expensive ones.Chris: Yeah.Steve: It's just doing it. Just aligning the tape machine which is once again, it's like starting fire with flint again, knowing the lines taped but you learn by doing that.Chris: Absolutely.Steve: You learn by making a lot of mistakes. I recorded a lot of bad drum sounds.[Laughter] It just happened and then you go, “Oh if I do this, its better.” And 10,000 hours man, it takes 10,000 hours.Chris: Again, I think that it's not that schooling is necessarily a bad thing but the way that you learn in life versus the way that you learn in a classroom is different because for the most part, a classroom will deduct points for the stakes and if you’re in the–Steve: That's true. Good point.Chris: Yeah. I heard that -actually going back to our love of podcasts here- I heard Tim Farris on his podcast talking about the fact that he was going to go to, was considering something like Princeton or Harvard or something to go get his MBA. And he thought instead of doing that -or maybe this was advice given to him and he took it- instead of taking that couple hundred thousand dollars worth of whatever I needed to go get my MBA. I'm going to invest that in myself, very similar to what you're saying. And I'm going to use that to live on so that way I can go and I can intern for that company that I would never be able to if the money mattered that much. Because once you get out of school its like, “Oo I've got to go do something with this.” But if you've got the money set aside to go get the MBA anyway, it goes a long way to really feeling free to not have to pay that rent or pay that car payment that you could really dive in.Steve: And most people never use their college education for what they use. I had a meteorologist specialist. She had a degree in meteorology for TV and she was my marketing assistant. And you go, “I want to see what you spent four years doing versus what's your grade point average or what's you major.” I don't care about that stuff.Seth: So to fast forward to today, you are general manager of a very successful record label. When you got to hire somebody to your team, do you even say, “Hey, send in your resume. Where did you go to college?” Or does that not even cross your mind?Steve: I do want to see that. Four years in college gives me the impression that they follow through, they finish. You’ve said it before, finishing is such a hard art in today's world. To have somebody who finished is very valuable. Do I care about your grade point average? No. Do I even care about your major? No. Because if you have the right work ethic and the right heart, I can train you to do other things but I want to see how hard you're willing to work.Seth: So, a college degree still carries some weight but maybe it doesn't carry the weight that people think it does in terms of having the training because you kind of have to relearn it all when you get out into the real world.Steve: Exactly. Most college students that I see haven't learned anything that’s a really good use at a record label. My last five hires at Centricity have all come from internships. Now, I've had a lot of bad interns. I've wanted to fire a couple of interns, that's pretty bad when you want to fire somebody who works for free.Seth: What defines a good intern and what defines a bad intern?Steve: A bad intern sits on Facebook until you give them something to do and then they do exactly just to the letter of the law of what you asked them to do, hand it in to you and then get back on Facebook. A great intern does what you do and says, “Hey and I thought about this. And what about this more?” You give them to go to D and they go to G; then you give them to G and they go to S. I have a girl in my office, I asked her to do one thing and she says “Oh by the way while I was thinking about it I did these other three things that will help you out.” That type of proactivity and thinking ahead is so incredibly valuable. Like having somebody patching in your compressor before you ask for it. They know where you're going so fast that they're working ahead of you. And for all of those out there, that's old school once again patch bays.[Laughter]Seth: We have a small patch bay, we have two patch bays actually so we're probably on the old school end of things.Chris: It looks very cool though. It's looks kind of old science fiction movie.Steve: Spaghetti.[Laughter] Seth: It's like a telephone operator kind of thing. I heard a thing on…man, we keep talking about podcast, we're all just podcasts nerds, dude. I think that’s what we do for a living is listen to podcasts. And I heard one last night, they did a study of millennials; if you had a dream job, pick out of these choices what would be your dream job. Number one was the president; number two was a senator; number three was a successful athlete; number four foreign diplomat; five was a CEO of Apple; and then the last choice was the personal assistant to a famous actor or athlete. And 45% I think picked that one, hands down.Steve: They have no idea what that job looks like.Seth: They don't but it also speaks to they don't want to take the responsibility. Like, when you're that person, when you're the boss, they want to have a boss and maybe you can speak to a little bit to that but I feel like when you were talking about the internships, the ones who go above and beyond are the ones who are willing to take some responsibility and say, “Here's an idea” and just put it out there. How many interns would you have to get, to get that one good one?Steve: Probably 10 to 15.Seth: 10 to 15 to 1?Steve: Yeah, to 1. I think that’s what it is.Chris: Wow.Steve: Yeah, that's what it is. And I heard you, I think we had the conversation, there's such a different work ethic in today's young adults. And part of it is my fault, I'm a parent of a young adult they've been given everything in their whole life, they haven't had to work for anything. You want that iPhone! Here's that iPhone. You want that? Here's that. The art and the craft of working, the labor of getting something is a lost art, I think.Seth: So, would you go back and do those things differently?Steve: For my kids? My kids had to work.[Laughter]Seth: So, you weren't saying from my experience, you weren't–Steve: I’m saying that personally and much more of…[Laughter]What we made our kids do is like when they wanted that $100 American girl doll is you buy half, we’ll buy half. And all of a sudden they're digging out rocks in the backyard at $1 a bucket out of the garden. Because you want to give your kids what the value of work is and that's that doll at the end.In our world, I sat with an intern once and he was irritating everybody in the office. He's that guy who only asks questions because he wanted to tell you how much he knew. An intern needs to be quite and listen because there's a lot of information that flows around… And then they find the person that they can go to and go, what did that mean when he said this? So, what did that mean or… Come to me! I've told everyone in my internship, feel free to come to me and say, what does it mean when you said that? Versus this guy would come to you and tell you everything he knew. So, I was sitting him down one day and going,  “Man, you're irritating everybody. The whole office wants to prove you wrong.”Seth: You literally said that?Steve: I said that to him and later on, “I know I do that. I'm just trying to figure out where I fit and trying to find a job make $100, $120,000 a year and start in the music industry.” And I said, “You're in the wrong industry, man.”Seth: Go into finance!Steve: Go into finance, or go be an architect somewhere I guess or something. It was just about wanting to make as much money as his dad did, now! This generation wants to start where their parents have gotten to right now. I've seen it with artists, I've seen it with interns–Chris: They don't want a drop in their lifestyle that they've become accustomed to.Seth: A luxury once had, becomes a necessity.Steve and Chris: Ooohh.Steve: Very nice.Seth: And I'm very guilty of that. You fly first class once and you feel like a swine by sitting in coach.[Laughter] Steve: I've flown private jets twice in my whole life, in my whole career both times sort of accidentally. And man, once you do a private jet and you don't have to go through security and you’re just like, “Oh, I want that.” I say this all the time about artists. The worst thing you can do for an artist is start them touring in a bus because that's the expectation and then you know what happens? Is they got on the bus and they’re, “This isn't a very nice bus.” There are people in vans like when you were out in a van, to be on a bus, to be able to sleep horizontally would be the greatest thing ever and just because you started at this place and then you get into private jets. Everybody needs to start their first tour in a Silverado truck and then the next one to a bigger–Seth: Graduate to a suburban!Steve: A suburban would be great, then a 15 passenger old church van that you bought for $5,000 that the left side of the speakers don't work. And then, you work your way into a [inaudible 19:58] van and then into a bus. Then you're grateful for everything that's better along the way.Seth: It's more about the process than anything.Steve: Yeah.Seth: And getting there.Steve: A wise manager once said, his job is to make his artists life better every year, just a little bit better. I'm like, that's a good goal. That's a good goal to have.Seth: It is. So, your transition, we shipped about 20 years–Steve: We skipped through it very fast.[Laughter] Your transition from doing that 6pm to 3 in the morning thing in LA, you had your baby…Steve: Yep. My wife and I were praying at that point going, “God, please give us some sane clients or open another door.” And I just worked probably two months before with Peter York–Seth: And for those out there listening, was this at a record label you got your first…Steve: I was working with Peter in the studio and he called me up and said, “Hey, are you interested in A&R?” And I started in A&R in Sparrow…what's that 87, 88? Right around there and we were still in Chatsworth, California, spent time out there with him. So, I’ve been at Sparrow, moved from Sparrow to Star Songs and then back to Sparrow when they came up. Started in A&R worked my way into the marketing side, artist development side… So, yes back to Sparrow went to  Mer and worked my way up to Vice President at marketing at Mer, was general manager at [inaudible 21:34], general manager at SRI and now general manager at Centricity.Chris: Wow.Steve: It's been a long journey. If you’d ask me to 25 or 30 years ago, were you going to be general manager at Record Label? I would have laughed in your face.[Laughter]Chris: Because you didn't think it was attainable or because you didn't want have this job?Steve: That was not the path I was on. I thought, I was going to be producing records and engineering records.  Jack Pueg is still mixing great great records out there and I thought I was going to follow that path. God had something very different in mind which makes me laugh going I was talking to [inaudible 22:09] this morning and I can't believe I’ve been doing this, this long. When you're now an industry veteran it means that you've been around a long time.Seth: But I don't think looking back and I don’t want to put words in your mouth but you don't strike me as one of those people that's looking back and feeling like you’re working in the corporate side of the industry because you never made it on the creative side.Steve: No, no.Seth: You don't strike me as that at all.Steve: I made that decision for my family. What's funny is I've learned more about engineering and more about mixing and more about mastering being on the corporate side of what we're trying accomplish and why trying to do what we're doing. I learned so much about that. And for the first year or so, I was mad at God going, “Why did I just spend 9, 10 years in studios, in dark rooms working long hours if this is where you wanted me?” But realize, every day of my life in the last 27 years in the corporate side I've used information I learned in the studio. Sometimes we can't ask God why until you're 20 years down and you go, “oh I get it.”It's the path he puts us on, he brings people in and out of your life. I remember a girl over at Sparrow she was an accountant, that was her thing she loved accounting and God put me with her to learn that whole budgeting, it was only like for four months and then we were separated again but once again she changed my perspective and my life for the next 20 years. So, you don't know if these people that are coming in and out of your life are for a short period of how they're going to impact you.But yeah, I've sort of worked my way, I was one of the strange guys everybody wants to be in A&R. I started in A&R and left to got to marketing and then got back into it as I moved back up into the but everybody wants to be an A&R guy, hang out in the studios and have dinner with the artists which is not what an A&R guy does.Chris: Well it's the perception out there–Steve: Yeah, exactly, that's what they think.Chris: Just like you saying the artist is going to be in private jets.Seth: And for honestly if somebody's out there, can you break down what exactly what it is A&R. What is that? What is that job?Steve: A&R, we [inaudible 24:27] airports and restaurants which is [inaudible 24:28].[Laughter]It’s artist and repertoire. It’s basically looking for artist, finding people that have a seedling of something. Sometimes you don’t know what it is. We’ve all got our standards of what we feel like will lead to success. But finding that, nurturing it, grooming it, it’s sort of the mustard seed put into the ground, pat around and hopefully something really great grows out of it. Sometimes the plants don’t live, sometimes they give up. But it basically the music made by the A&R guy, we have one of the best in the industry in Centricity. When he’s done, when the music is done, he hands the baton over to me, and I go everywhere from there. But it’s his job to make sure we have hits, we have songs that work for live or work on the radio, an artist that’s got uniqueness to him that fits differently than everything else in the market place and sometimes it’s just plain old dumb luck. We’ve got all those where we’re like, “We though this person had everything they needed, was need for success and it didn’t work, and this one over here it’s that seedling and it’s just growing like crazy.Seth: Yeah, sometimes you don’t know or probably more often than not, I would think.Steve: How many songs have you worked on and said, “Man, that’s the hit.” I have a memory of I will eat my shoe if this is not [inaudible 26:04][Laughter] I believe you owe me a shoe eaten.Seth: I’m wearing Nikes right now. I have a feeling that this material is not organic.Chris: I was going to say, whatever you choose make sure its biodegradable.Steve: I was going to send you a shoe after one particular sock.[Laughter]We’ve all got them dude.Seth: Oh yeah, totally. I think more often than not and it’s honestly becoming a theme on this show is, we’re all just kind of winging it we’re all just guessing. So, my question to that is, I mean, it sounds like there’s a lot of responsibility placed on the shoulders of an A&R person. They’re the one that’s finding and nurturing talent and ultimately seeing what songs make it on records.I think a lot of people listening in our podcast audience, we have a lot of producers and writers and people outside of the music industry but then there are also probably some people who are just wanting to get in on the music business side and people who maybe want to be in music marketing or be in music management or maybe do what you’re doing someday, run a record label. You said what you look for interns, what qualifies a person to be an A&R person?Steve: Wow. Interesting. There are a few A&R guys you should interview. A great A&R person is able to inspire an artist beyond what they’ve every thought they could do. A great A&R person knows how to get a good song to a great song. We’re no longer in a society that good is not good enough, it has to be great. A great A&R guy can go, “You know what? There are seedlings, there are moments in here that are really great.” But you’re missing the mark I these two or three places. And then, coming in and sitting side by side with a producer like you and making sure that… I think that I’m a big movie buff and A&R guy is sort of like an executive producer on a movie where you put the team together and then sort of let the team go make the music. So, it’s the right producer for the right, for the right song and for the right artists and then let them shine where they go. It’s very much putting the pieces together. They’re not usually playing the music, they’re not [inaudible 28:34] musicians, they have to have a really good song sense and I think one of the skills an A&R guy has to know is, it’s not about them. They’ve got to know their audience, know what they’re making for because all of us have a tendency to gravitate towards music that’s on the fringe because we listen to so much stuff that all of the stuff in the middle starts mucking up. There’s a big muck in the middle. So, “you know what I like? I like this thing way over here or way over there.” Where a normal consumer listens to 10 records a year, the middle is the sweet spot for them. So, an A&R guy that understands who he’s trying to record for is very important.Seth: That’s very good. And, you said that they have to have a great song sense, that is even a sticky situation because why is one person’s song sense better than the other? Is that determined by track record? And, if you’ve never done A&R before, how do you prove that, hey I know a hit when I hear one?Steve: You know what? Our history of…John Mays is a 25 years somebody took a chance on him 27 years ago and said “You’re a great musician on the road, let me bring you in here.” Part is the relationship, you know, can they sit and hang with an artist? You know, you’ve been in these mediums. Where it’s like can you move an artist from A to Z while making the artist think it’s their move? As a producer it’s the same skill set of can you get an artist to bend without knowing that they’re bending? Or being able to move–Seth: All the artists out there, they just had a–Steve: I know they had a convulsion.[Laughter]And all the producer are like, yeah![Laughter]But that’s part of it, of like how do you get a song… because you don’t want to tell an artist, “You know what? This song sucks.” You just want to say, “Let’s work on the chorus. The chorus isn’t paying off hard enough, let’s make it lift better. Let’s make it shine.” Whatever it may be, moving them away from, “I love this, this is my baby. It’s beautiful.” To let’s keep working on this song.Seth: So, it sounds like it maybe starts with who they are as a person. Are they a good hang? Are they a servant? And then, the music kind of just follows and that taste follows.Steve: Our young A&R guy over there, he went through our radio department so he was listening to radio hits, radio hits, radio hits. And part of it is… There’s marketing guy named Roy Williams, I went to a seminar with him and he said he has a friend that works at General Market Record Label to pick all the singles and I’m like, “How did you learn this?” And the guy basically said, “Since I was five years old, every week I’d get my allowance and I would go buy the number one song in America.” And so for his whole life, he poured into himself hits. This is what a hit sounds like, this is what a hit sounds like, this is what a hit sounds like.Seth: That’s pretty good wisdom, right there.Steve: And so, at a certain point you go, you got to know our music, you got to listen to our music, you got to know what a hit sounds like. I’ve heard a lot of kids come though “I hate listening to Christian radio.” Then why do you listen to Christian music? How many people in country music go, “[inaudible 32:11] but I hate country music.” Get out! You’re not going to succeed.[Laughter]But they almost wear it as a banner that I hate Christian music in our market place. We have an open concept office and I’ll try to listen to two hours of Christian radio every day in my office. And if I’m listening to it, everybody in my office is listening to it too; more for this is what a hit sounds like, this is what radio sounds lie. If you’re trying to meet a need at radio and you don’t know what they’re playing, how can you meet the need? So…I digress, sorry.Seth: No, that’s gold. That’s all gold.Steve: I think you nailed it in your earlier podcast when you said, this is a servant industry. It really is. And in my life, it took me a lot of time to figure out what my calling was. I knew I wasn’t an artist but God, what does that mean? And I was walking through Exodus with my kids when they were very young and hit Exodus 17 where God say to Moses, they’re out of Egypt heading towards the Promised Land and they hit the Analcites, God calls Moses up to the hill top; arms up in the air he wins, arms down they lose. But what never caught to me until I was reading it, Moses took two people along with him Aaron and Hur and I love to say I am the Hur in the Moses’ life. It’s my job, what Hur was up there to do is to hold Moses’ arms up, that’s all he did. When Moses was weak, when Moses needed help, Hur held his hands up. That’s my calling be a servant, be there to hold your hands up. Some people know Aaron “Aaron, you know, Moses’ little brother.” No one knows who Hur is. If you’re okay standing, holding someone’s arms up and no one recognizes, you are created to be in the music industry. Because you’re not in to be the rock stars; we’re in the back of the room with our arms folded, looking at the person on stage going, “Yeah. I was there to hold their arms up.”Chris: That’s wise. One of my favorite movies is That Thing You Do, I don’t know if any of you have seen that.Steve: Yeah. I’m the guy that goes, “You look great in black.”[Laughter]Chris: Has anyone told you that?Steve: Yeah.Chris: But, one of my favorite characters in the movie, and they’re filled with them. Anybody out there that hasn’t seen it, it’s a great movie.Steve: Please, go see it.Chris: But there’s Horus who’s basically the A&R guy that sees them in–Steve: In the camper-[Laughter]Chris: Yeah, he lives in a camper and he’s essentially the A&R guy. But he sees them in a performance at an Italian restaurant or something and comes and buys their album and get’s them to sign a little deal. And then at the end, when they get signed to a major label and they’re going out to play these state fairs, Horus leaves and the main character drummer of the band says, “We don’t want you to leave.” And he goes, “My [inaudible 35:27] is done. I’ve done what I’m supposed to do.” And then move on to the next thing and so he wasn’t meant to ride that out the whole movie; he’s there for a specific piece to move it from A to C. He’s the B part of it, the Hur of that story so to speak.Steve: Nowadays, you’d call them just production deals. You start working with an unknown artist who has a little bit of talent, you start developing them and then you start shopping them to record labels. And then you go, my job here is done. They then take the baton and now try to make to a national artist. If you make 2 out of 20, 3 out of 20, you’re in great shape. You’re a hall of fame baseball player if you hit 3 out of 10. And you’re a hall of fame A&R guy if 3 out of your 10 are hit artists.It’s a cycle, you have the young artist going up; you have the artist at their peak; and then you have some that are on their way down. And you’ve got to keep that circle going because any artist that’s been at the top is going to be past its peak and slowly work its way down, and you got to have the new artist coming up behind to grow into. So it’s a continual cycle of in the music industry. The circle of life in music would be that.Chris: I had a mentor –Scott [inaudible 36:48] if you’re listening I’m about to talk about you- but he always talked about how life in the ministry or in a career is kind of like looking at life or the people that you interact is like a watching a parade go by. There are things that are right in front of you, there are things that you just saw, and there are things that are coming down. And to really appreciate what is happening in the parade you have to absorb it all. And so there’s a little bit of grabbing from each of those in order to get the full experience of it all.Steve: And the bigger what’s right in front of you, the bigger those artists are in front of you, sometimes you don’t have time to look behind and develop what’s behind and what happens is with a lot of these record labels and I’ve been at these where, man they’ve got the big, and they slowly slipping. The [inaudible 37:32] slowly start getting past their prime and they haven’t developed anything behind them and then you’re in trouble because you’ve got this machine you’ve got to feed and you haven’t created for the future, it’s only for the present.And so, every A&R guy wants to sing but some of the big labels, the big artists, the A’s are so big that’s all they’re paying attention to. We’ve all seen it, we’ve all seen artists where we say, “Man, they’re amazing” but they got lost in the shuffle and that’s the sadness. We forget that we’re playing with people’s lives, especially on the record label side their dreams.I signed this band at a label and they were 18 years old when I signed them and 21 years old when I had to drop them. So, their dreams had come true and shattered by the time they were 21. And it’s just hard when you start thinking about that stuff.Chris: That’s true. And if you think about it there are some people that are fortunate enough to have a full career in the music industry and there are some people that have a three year window kind of like a profession sports guy or those things. There’s a window and the once you pass it, yeah but the guy is only 24 and the band is only 21. What’s coming up for them?Steve: You know what, I think it’s a catalyst of those people leaving or burning out, is balance. You guys have said it; I can walk through a record label at 8 o’clock at night and I can tell you which employees will be gone in a year because they have nothing to put back into themselves. The music industry is a take industry, it just continues squeezing and it just wants more and more and more. If you have one they want five; if you have five we want ten; if we have ten we want twenty, and it’s never enough. My poor radio team goes, “Hey we got number one.” And I’m like, “Great. How do we keep it on number one for another week?” It’s never enough and so you continue squeezing out what this industry does, if you don’t have a ministry, if you don’t have a relationship, if you don’t have friends that give back to you that don’t care what you do  for a living and basically go, “Yeah, yeah. You do music, how are you?” You know, if there aren’t nursing students at the college that you got to that are your friends, you’re going to burn out.  Because there’s nothing giving back, there’s no one pouring into you. Sooner or later the candle ends, there’s no more fuel and it juts burns out.So, I try to keep my staff saying, I want you to go to concerts and date people and go home at 6 o’clock and have a life. Because if you don’t have a life you have nothing to come back when you come back tomo

Host Ben Rice sits down with Roseville's premier Belgian-style brewery Monk's Cellar's brewmaster Andy Klein and head brewer Peter York, along with hilarious comedian D Tyler, to discuss setting up a Euro-style beer pub in a California suburban setting, as well as what a difference a degree makes. We'll also talk about beer tours, beer festivals, the difference in bittering hops, how to salvage a potentially-ruined brew, and Peter being painted rust while visiting Germany. Prepare for some tales of daring do in this latest episode of Barley & Me!Follow us on Twitter and Instagram @barleyandmepodTheme music is "JamRock" by Breez (Twitter: @4proaudio)Artowrk by Jessica DiMesio (Instagram: @a_living_cliche)

Libby Purves meets musician Richard Thompson; writer and broadcaster Peter York; Julie Nicholson - whose daughter Jenny was killed during the 7/7 attacks - and novelist Toby Clements. Peter York is an author, broadcaster and management consultant. His show How To Become A Nicer Type Of Person is at the Edinburgh Festival Fringe. It's his personal guide to navigating modern life from what to say, what to think to what to wear - he's definitely not fond of what he calls "sports-derived clothing." He also forbids the use of specific words such as passionate, creative, transparent and journey. How To Become A Nicer Type Of Person is at the Assembly George Square Studios, Edinburgh. Former vicar Julie Nicholson's daughter Jenny was killed after a bomb exploded at Edgware Road Underground station on July 7th 2005. Julie's book A Song for Jenny has been adapted into a factual drama by Frank McGuinness with Emily Watson as Julie. The film chronicles the impact of the 7/7 bombings on Julie's life and those around her. It is an unflinching account of grief and how she was unable to find solace in her faith. A Song For Jenny is broadcast on BBC One. Richard Thompson OBE is a musician and songwriter who co-founded Fairport Convention. His new album, Still, features musical references to Django Reinhardt, Les Paul and Hank Marvin. The Americana Music Association recently honoured him with a Lifetime Achievement Award for Songwriting. Robert Plant, REM, Elvis Costello, Bonnie Raitt and many others have recorded Richard's songs. Still is released on Proper Records. Richard Thompson is touring the UK. Toby Clements is the author of the novel Kingmaker: Broken Faith, the second in his trilogy set against the Wars of the Roses. He became obsessed with this period of history after a school trip to Tewkesbury Abbey where he learned about the Battle of Tewkesbury in 1471 when forces loyal to the House of Lancaster were defeated by the House of York under King Edward IV. During the course of his research Toby learned to use the longbow and fight with the poll axe and how to start a fire with a flint. Kingmaker Broken Faith is published by Century. Producer: Paula McGinley.

Damien Barr, salonnière and author of ‘Maggie and Me’ hosts a retrospective look at the 80s. Hear personal confessions, memories and insights from Dylan Jones on the significance of Live Aid from his book, ‘The Eighties: One Day, One Decade’, Rachel Johnson on boyfriends and editing the infamous ‘The Oxford Myth’; and hear from Peter York – the social and cultural commentator of the 80s. Recorded live at Editorial Intelligence’s annual ideas festival Names Not Numbers. Chair: Damian Barr, Writer & Salonniѐre Panel: Rachel Johnson, Author and Columnist, Mail on Sunday Dylan Jones OBE, Editor, British GQ  Peter York, Cultural Commentator and Associate, Editorial Intelligence

Julia Hobsbawm; Harvey Goldsmith CBE; Dylan Jones; Peter York and Stephen Barber. Part of the Names Not Numbers 2013 symposium www.namesnotnumbers.com

Martin Davidson; Peter York; Esther Freud and Aminatta Forna. Part of the Names Not Numbers 2013 symposium www.namesnotnumbers.com

Session Partner: The Huffington Post UK 
Co-Chairs: Carla Buzasi, Editor-in-Chief, The Huffington Post UK  & Peter York, Cultural Commentator & Associate, Editorial Intelligence 
 Panel:  Caroline Daniel, Editor, FT Weekend David Erasmus, Founder, Givey Nick Harkaway, Author, ‘The Blind Giant: Being Human in a Digital World’ MT Rainey, Executive Chairman, TH_NK Ltd Derek Wyatt, Founder, Oxford Internet Institute.

Libby Purves is joined by journalist Angela Rippon, photographer & filmmaker Jim Lee, musician Vusi Mahlasela, and Marian Partington, whose sister was a victim of Frederick and Rosemary West. Journalist Angela Rippon features in the Channel 5 series, 'War Hero in My Family', where celebrities trace the stories of their relatives contributions during times of war. Angela didn't meet her father John until she was three years old, because he'd spent World War Two serving with the Royal Marines. As she grew up, he told her funny stories of life at sea, but rarely about the harsh realities of war and now Angela goes in search of what his war was really like. 'War Hero in My Family' is on Channel 5. Jim Lee is a fashion photographer and film maker. He photographed the Rolling Stones and the Beatles and collaborated with Ossie Clark, Versace and Yves St Laurent. He is the subject of a book entitled 'Arrested' - written by Peter York and there is also an exhibition of Jim's work at Somerset House in London. 'Arrested' by Peter York is published by Ammonite Press. Marian Partington's sister Lucy went missing in December 1973. Over twenty years later in 1994, Marian learned that her sister's remains had been discovered at No. 25 Cromwell Street, Gloucester, the home of serial killers Frederick and Rosemary West. In her book, 'If You Sit Very Still', she explores the territory of traumatic loss, and the restoration of the human spirit. She now works in prisons to raise awareness about restorative justice, working with the Forgiveness Project. 'If You Sit Very Still' is published by Vala Publishing Co-operative. Vusi Mahlasela is a South African singer-songwriter, poet and activist. His music, generally described as "African folk", was an inspiration to many in the anti-apartheid movement with themes including the struggle for freedom, forgiveness and reconciliation. His new album, 'Say Africa' includes a tribute to his maternal great, great, great grandfather, the prophet/healer Mokalanyane, who some believed had the gift of making rain. Producer: Annette Wells.

Co-Chairs: Jan Dalley, Financial Times and Peter York, Cultural Commentator & Editorial Intelligence Panel: David Davis MP Sophie Hastings, GQ John Plowman, Beacon Art Project

The Reverend Richard Coles with writer, broadcaster and poker ace Victoria Coren, poet Aoife Mannix, one man who faces some big fences in his chase to become a jockey, and another who does not feel pain. Style guru Peter York takes us on a Daytrip and actress Anne Marie Duff shares her Inheritance Tracks.

Editorial Intelligence & Engine present a 'Thought For  The Day' with Bill Emmot, Independent Writer, Speaker & Consultant on International Affairs & Chairman of the London Library Anatole Kaletsky, Author of Capitalism 4.0 & Associate Editor, The Times   & introduced by Peter York   8th July 2010   Engine 60 Great Portland Street London W1W 7RT

Editorial Intelligence - In association with Harper Collins and the PRCA (Public Relations Consultancies Association)   * 25th September, 2008  * The Groucho Club, 45 Dean Street, London, W1D 4QBChaired by Peter York, Cultural Commentator.  The panel: - Mark Borkowski, founder and head of Borkowski PR and author of the Fame Formula; Rachel Johnson, Commentator, Sunday Times; Clarence Mitchell, Crisis Communications Consultant Mary Riddell, assistant editor, The Daily Telegraph. 

FoxShow #22: Interview with Markus Egger 0 - Opening and Drew Speedie Links: Memories and Memorial 4.14 - GoToMeeting 5.20 - Cursor Adapter Upsizing Joys 8.10 - FoxQuote: Steve Black 8.58 - GoDaddy.com - $1.99 Domain names 10.04 - Markus Egger Interview (it's a long one) 56.00 - We're out Ad: GoToMeeting Be sure to sign up for our upcoming roundtable on September 24th. Just visit www.techpodcasts.com We will be using GoToMeeting while we discuss podcast media hosting with several special guests including Peter York from downloadradio.org . Peter will share his knowledge of advanced BitTorrent, and we will show you how to make weblogs podcast ready. Also, be sure to check out GoToMeeting . Why? Because you can hold meetings right over the Net -- from anywhere. Plus, you can hold all the meetings you want for one flat rate. To get your free 30-day trial , visit www.gotomeeting.com/techroundtable. My Odeo Channel (odeo/81b58a6c0bd151d5)