Podcasts about poor cow

In 1999, Steven Soderbergh pushed his formal experimentation even further, rendering a straightforward revenge tale into a modernist masterpiece. In the process, the Terence Stamp/Peter Fonda joint THE LIMEY examines memory, the legacy of the 60s, and inaugurates Sodie's obsession with Cockney rhyming slang. Film writer and podcaster and UK resident Elena Lazic joins us to get limey! Good ep! Further Reading: Getting Away With It by Steven Soderbergh Set the Night on Fire: L.A. in the Sixties by Mike Davis & Jon Wiener Hollywood from Vietnam to Reagan by Robin Wood "Steven Soderbergh on the 20th anniversary of The Limey" by David Fear Commentary track with Steven Soderbergh and Lem Dobbs Further Viewing: POINT BLANK (Boorman, 1967) POOR COW (Loach, 1967) EASY RIDER (Hopper, 1969) GET CARTER (Hodges, 1971) VANISHING POINT (Sarafian, 1971) APRÈS MAI (Assayas, 2012)   Follow Elena: https://x.com/elazic https://linktr.ee/Animus_mag Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Do I Look Worried? That's cuz I've been reading the Epistle to Derroll, where it says Everybody Is Everything and Everything Is Coming Our Way if we remember There Is A Mountain where it is always the Season of the Witch. So Don't Kill the Whale or the Poor Cow. Instead, take the Caravan to the Promised Land. I Will. And if there's a War, let's pray to the Fat Angel.

Cleo Sylvestre (1945-) is a woman of many firsts: she is the first Black woman to play a leading role at the National Theatre in London, one of the first Black actors to have a recurring role in a primetime British soap and one of the first Black Brits to release a single in 1964 – with none other than her friends, The Rolling Stones. The Guardian called her “the Black actor who should have been one of Britain's biggest stars”. So why isn't she a household name? Sylvestre was born in Euston, London, and attended Italia Conti Academy of Theatre Arts before launching into a life on stage and screen: she made her West End debut in 1964 alongside British acting legend Alec Guinness and went on to star in some of the definitive shows of the Sixties, those that put working class actors on TV for the first time, including visionary director Ken Loach's Up The Junction, Cathy Come Home and Poor Cow, as well as Doctor Who, Coronation Street and Crossroads.  Like Dana Gillespie, who is also featured this season, Cleo hung out at the Marquee Club in Soho, which is where she met the Rolling Stones, who invited her to record the 1964 single, To Know Him Is To Love Him, while rock'and'roll royalty like Jimmy Page and the Hollies would often come for one of her mother's home cooked meals.  It wasn't easy being one of the few Black women breaking through in the entertainment industry, as she explains, discussing race, resilience, rejection and wanting to pave the way for working class actors, as well as how she's returned to singing after 50 years with her blues alter ego, Honey B Mama. It's interesting to compare Cleo's and Dana's stories – they moved through the Swinging Sixties differently but have both ended up performing the blues later in life. And they didn't meet each other till later in life, either! If you liked this, listen to our PP Arnold episode, another singer who Mick Jagger was quite taken with early on… And you can catch Honey B Mama and her band playing at the Rosemary Branch Theatre in London, where Cleo served as co-director for 20 years. This episode was produced by Antonia Odunlami, and presented and exec-produced by Kate Hutchinson, with sound design by Hana Walker-Brown. ​ Music in this episode via FreeMusicArchive: Gary War - Bounce Four Joel Holmes - African Skies Shaolin Dub - Overthrow Jahzzar - Boulevard St Germain

I have no idea what my fictional cow has to do with anything. TODAY ON THE SHOW: We take more of your REVENGE calls! WAR of the ROSES! TV TALK! More JJR DRUNK DIALS! We're playing REMEMBER THE TIME! Plus, SOmuchMORE!!

Nell Dunn came to notice with the publication of Up the Junction (1963), a series of short stories set in South London, some of which had already appeared in the New Statesman. The book, awarded the John Llewellyn Rhys Prize, was a controversial success at the time for its vibrant, realistic and non-judgmental portrait of its working-class protagonists. It was adapted for television by Dunn, with Ken Loach, for The Wednesday Play series, which was directed by Loach and broadcast in November 1965. A cinema film version was released in 1968.Talking to Women (1965) was a collection of interviews with nine friends, "from society heiresses to factory workers (Dunn herself was both)". The interviewees included Edna O'Brien, Pauline Boty, Ann Quin and Paddy Kitchen.[5] Dunn's first novel, Poor Cow (1967) was a bestseller, achieving a succès de scandale. Poor Cow was made into a film starring Carol White and Terence Stamp, under Loach's direction.Her later books are Grandmothers (1991) and My Silver Shoes (1996). Dunn's play Steaming was produced in 1981 and a television film Every Breath You Take, was transmitted in 1987. She has also written Sisters, a film script commissioned by the BBC.She won the 1982 Susan Smith Blackburn Prize.  Her latest novel is the Muse.Support the show (https://www.interactstrokesupport.org)

he Muse is the story of a female friendship, one that shaped both author and subject over decades. The Muse is the story of a life-changing friendship. It starts with Nell's account of a chance meeting with Josie at the age of 22. Josie teaches her how to live for moment, how to have adventures and find the sweetness of life even in hardship. This was the Sixties, a time of literary and sexual experimentation, of the breakdown of old barriers and inhibitions Even as she was hooking up with dodgy men, Josie always carried herself like a star, and as the inspiration for the ground-breaking novel of working class women Poor Cow and the play Steaming - both of which were made into movies - she became one, feted by producers on Broadway. Life is the thing, was Josie's motto. But where would her philosophy of taking no care for tomorrow lead her? In prose of unique clarity and simplicity that always gets straight to the heart of matter, The Muse follows this friendship over the decades.

An icon of 1960s feminism and freethinking, Nell Dunn – now in her 80s - author of Up The Junction, Poor Cow and Steaming talks to Tom Sutcliffe about The Muse, A Memoir of Love at First Sight about her friendship with a woman named Josie who inspired much of her work. Kelly O’Sullivan discusses her film Saint Frances which she has written and stars in as Bridget, a 34 year old whose life is transformed when she starts work as a nanny. It's a gentle comedy which explores issues such as post-coital menstruation, interracial lesbian relationships, abortion, post-natal depression, and conception in a most un-Hollywood-like fashion. For a new project, 846, commissioned by the Theatre Royal Stratford East, playwright Roy Williams brought together 14 British Black and Asian writers to respond artistically to the killing of George Floyd in Minneapolis and the Black Lives Matter Movement. Elle Osili-Wood reviews the collection of short audio pieces exploring racial inequality, whose title comes from the eight minutes and 46 seconds it took a police officer in Minneapolis to kill George Floyd by kneeling on his neck. And co-founder of Q Magazine David Hepworth on the closure of a cornerstone of rock journalism after 34 years. Presenter: Tom Sutcliffe Producer: Dymphna Flynn

The film director Ken Loach talks to Michael Berkeley about the classical music he’s loved throughout his life and the dangerous power of music in film. Ken Loach began his career directing Z Cars - but very soon entered the national consciousness in the late 1960s with films such as Cathy Come Home, Poor Cow and Kes. He’s kept up this prolific pace in the subsequent fifty years, making more than fifty award-winning films for cinema and television, and achieving a level of realism rarely captured by other directors. His latest film, Sorry We Missed You, is about the impact on families of the gig economy. Ken talks to Michael about the music of his childhood growing up in Nuneaton after the war – he chooses Brahms's Academic Festival Overture to recall music lessons at school - and he we hear a piece by Schubert which reminds him of his own children growing up. Ken picks recordings which bring back particular moments in his life: the sheer energy and excitement of Carlos Kleiber’s 1974 recording of Beethoven’s Fifth Symphony; the 1968 recording of Dvorak’s Cello Concerto by Mstislav Rostropovich and Herbert von Karajan, which brings back memories of making Kes; and Geza Anda’s recording of Mozart’s Piano Concerto Number 21, which was used in the film Elvira Madigan. Every one of Ken’s films has a cause at its heart such as homelessness, unemployment and civil rights. We hear the music of resistance that reflects the struggle of ordinary people for justice and dignity that has driven his career. Producer: Jane Greenwood A Loftus production for BBC Radio 3

In this episode I talk to Roc Sandford of Gometra. Roc has owned Gometra since the late 80’s. He has had a long and interesting career as both a farmer and a publisher, as well as working on the board for an inner city affordable housing trust in London. His family history is both long and full of remarkable individuals. Both of his parents have had acclaim and critical success for their era defining work. His mother, Nell Dunn, wrote both Up the Junction, which was inspired by their community in Battersea and Poor Cow amongst many other works. His father, Jeremy Sandford wrote Cathy Come Home, and was a champion of the lives and rights of travelling people. I first met Roc when I was working as a local development officer for the Ulva Ferry area. I was greatly taken with his charm, sincerity and sense of fun. Our conversation in this episode takes in all sorts of topics. We talk about the history of the ownership of Gometra in some depth, and Roc offers a perspective on lazy beds, those furrows that permeate our landscapes that I’d never thought of before. We cover some esoteric matters, family stories, the genetic make up of notional populations, climate change and a quite remarkable coincidence, harking back to my conversation with Lucy MacKenzie about the Happy Valley murder, that you can find about half way through the episode. I spoke to Roc via facetime audio, through my computer and into a sound recorder. The line occasionally makes squelchy odd noises, but I think it’s pretty clear, all things considered. You can find links to the topics covered in this episode on: www.whatwedointhewinter.com See also: www.gometra.org www.rocsandford.com

BTG London editor Philip Fisher talks to writer Nell Dunn in her Fulham home. Nell Dunn first became a published writer with Up the Junction, a collection of short stories, in 1963, then went on to become a successful novelist (Poor Cow, 1967) and playwright (Steaming, 1981). She co-wrote a screen adaptation of Poor Cow with Ken Loach, who directed the film in 1967, which has been digitally restored for a re-release both in cinemas and for home viewing.

With Francine Stock. Nell Dunn talks about her screenplay for Ken Loach's ground-breaking drama Poor Cow, which is back in cinemas only weeks after Loach won the Palme D'Or at this year's Cannes Film Festival Francine hears from the makers of two documentaries about the different ways that smart technology is killing us. The director of Death By Design, Sue Williams, reveals the damage that the production and destruction of phones and laptops is doing to the planet. Patrick Shen and Poppy Szkiler discuss In Pursuit Of Silence, which demonstrates how our addiction to technology contributes to the noise and stress of our daily lives, which can have fatal consequences. The director of Cameraperson, Kirsten Johnson, talks about the impact that filming in war zones and recording victims' harrowing testimonies has had on her personal life.

The Limey - the 1999 film from director Steven Soderbergh - tells the tale of Wilson (Terence Stamp) - a recently released career criminal from the U.K. who heads to L.A. to figure out what happened to his daughter.