Podcast appearances and mentions of Queen Elizabeth Hall

This week's book guest is She Speaks!: What Shakespeare's Women Might Have Said by Harriet Walter.In a truly special episode live from Southbank Centre's Queen Elizabeth Hall as part of the London Literature Festival 2024 Sara and Cariad are joined by the one and only Dame Harriet Walter to talk about her new collection of speeches for thirty of Shakespeare's women.Harriet is one of Britain's most esteemed Shakespearean actors, a stalwart of the RSC she has won an Olivier Award, been nominated for both Tony and Emmy Awards and has starred in the likes of Killing Eve, Ted Lasso and Succession.Her new book re-imagines what some of Shakespeare's women might have been secretly thinking and lets them speak their minds. In this episode they discuss Shakespeare for Breakfast, acting, croissants, the Edinburgh Festival and Patrick Stewart's wig.Thank you for reading with us. We like reading with you!Trigger warning: In this episode we discuss suicide and death.Harriet's book She Speaks!: What Shakespeare's Women Might Have Said is available to buy here. Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded live at the Southbank Centre's Queen Elizabeth Hall as part of the London Literature Festival 2024 and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Today's podcast features a series of interviews I conducted with HubSpot executives when I attended HubSpot's recent GROW Europe 2024 event at the Queen Elizabeth Hall in London. First up is Daphne Costa Lopes, Global Director of Customer Success at HubSpot, who I talk to about why the marketing funnel is broken, why we should be thinking about a flywheel instead and having a dedicated space in their CRM platform for customer success professionals and leaders. Following that chat, I spoke to Crevan O'Malley, VP Corporate Sales, EMEA, at HubSpot, about what stood out for him from the panel that he moderated, how human messaging will be the thing that helps scaling brands cut through the noise and what brands should be doing with all of the time that AI tools can help us save. Clue: it's all about spending more quality time building better connections. Finally, I talked to Lalitha Stables, HubSpot's new UK GM and Country Manager, about HubSpot's secret sauce and what stood out for her at the event. This interview follows on from my recent interview – It's not about the customer's journey with our platform, it's about the customer's journey – Interview with Nadine Macklin of Carto – and is number 523 in the series of interviews with authors and business leaders who are doing great things, providing valuable insights, helping businesses innovate and delivering great service and experience to both their customers and their employees. #GROWEurope2024 #hubspotpartner

Now for a roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their regular email newsletter. Audio described shows and events included: Raphael Tactile Images - Audio Described Guide Victoria and Albert Museum, London English Touring Opera, The Snowmaiden - Saturday 26 October, 7.30pm, Buxton Opera House The Elmer Adventure - Sunday 3 November, 11am, touch tour 9.45am, Queen Elizabeth Hall, Southbank Centre, London Harry Potter and the Cursed Child: Parts One & Two - Saturday 9 November, Part One  2pm, Part Two 7pm, touch tour 11.30am, Palace Theatre, London Northern Ballet - A Christmas Carol - Saturday 9 November, 2pm, touch tour 11.45am, Lyceum Theatre, Sheffield To find out more about these and other up-coming described arts events as well as details about how to sign up to the regular What's On email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Now for a roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their regular email newsletter. Audio described shows and events included: Bert Hardy – Photojournalism in War & Peace - Thursday 9 May, 6.30pm, The Photographers' Gallery, London The Drifters Girl - Saturday 11 May, 2.30pm, Wales Millennium Centre, Cardiff 2:22 A Ghost Story - Thursday 16 Mary, 7.30pm, Hal New Theatre Much Ado About Nothing - Thursday 23 May, 2pm, touch tour 12noon, Shakespeare's Globe Theatre, London Margaret Leng Tan: Dragon Ladies Don't Weep - Saturday 25 May, 7.30pm, Queen Elizabeth Hall, Southbank Centre, London To find out more about these and other up-coming described arts events as well as details about how to sign up to the regular What's On email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

fWotD Episode 2491: Blood on the Floor (Turnage) Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Thursday, 29 February 2024 is Blood on the Floor (Turnage).Blood on the Floor is a suite in nine movements composed for orchestra and jazz trio by Mark-Anthony Turnage. It was composed over a span of three years (1993–1996) after a commission from the Ensemble Modern—a German music group—to produce a piece for an evening jazz event in 1994. After the performance, Turnage expanded the piece into the larger nine movement suite that is now performed. During this period of composition, Turnage's brother Andrew died of a drug overdose, shaping the music greatly. As a result, drug culture is one of the main themes in the suite. Blood on the Floor also draws influences from the paintings of Francis Bacon and Heather Betts; the suite's title is an adaptation of Bacon's painting Blood on Pavement.Like other compositions by Turnage, Blood on the Floor incorporates elements of both classical and jazz music. Due to this, it has been described as being part of the "third stream" genre, a term coined by Turnage's former teacher Gunther Schuller. The suite is written as a concerto grosso and features a blend of classical, jazz, non-western and electronic instruments. As part of this fusion, the suite contains space for soloists to improvise in four of its movements. Blood on the Floor shows elements of non-functional harmony and has complex rhythmic changes, often changing metre every bar. Motifs are found recurring throughout the suite. Blood on the Floor was premiered by the Ensemble Modern at the Queen Elizabeth Hall, London, in May 1996. The suite received a mixed reception from music critics. Some enjoyed the suite's fusion of classical and jazz music, while others found it to be an unfulfilling combination. Outside of the Ensemble Modern, Blood on the Floor has been performed by various ensembles, including the Berlin Philharmonic, Melbourne Symphony Orchestra and Boston Symphony Orchestra.This recording reflects the Wikipedia text as of 01:07 UTC on Thursday, 29 February 2024.For the full current version of the article, see Blood on the Floor (Turnage) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Kimberly Standard.

Harvey Brownstone conducts an in-depth Interview with Peter Cincotti, Renowned Pianist, Singer/Songwriter & Recording Artist About Harvey's guests: Today's guest, Peter Cincotti, is a renowned pianist, singer-songwriter and concert and recording artist who burst on the music scene at the age of 18, when he became the youngest artist ever to reach #1 on the Billboard Jazz Charts, with the 2003 release of his self-titled debut album.   Since then, he's been dazzling audiences around the world with his ingenious musical arrangements and unique fusion of jazz, pop, rock, funk and blues, performing sold-out concerts at some of the most prestigious venues from Carnegie Hall, Lincoln Center, and Radio City Music Hall to L'Olympia in Paris, Queen Elizabeth Hall in London, and the Montreux Jazz Festival, where he won an award for his rendition of Dizzy Gillespie's “A Night in Tunisia”.    He's released 6 highly acclaimed albums, produced by legends like Phil Ramone and David Foster.  He's collaborated with many iconic music stars including Ray Charles, Andrea Bocelli, Sting, Annie Lennox, David Guetta and Seal.  He appeared in the blockbuster films “Spiderman 2” and “Beyond the Sea”.  And yes, that was him in Season 3, episode 3 of the hit Netflix series “House of Cards”, appearing as himself, singing a duet with the President.    His latest album 'Killer On The Keys' is an homage to some of the most influential piano icons of all time, and blends influences ranging from Nat King Cole, Billy Joel, and Lady Gaga, to John Lennon and Coldplay.   And last December, his new original Christmas song 'Because It's Christmas' reached #25 on the US Top 40 Mainstream Billboard Chart, #12 on the Holiday Top 15 Chart, and #3 on the Independent Artists Chart.   The critics are unanimous in their praise for this man's remarkable artistry and musicianship.  The New York Post said he's “incredible”.  The Daily News said he's “sensational”.  Newsweek Magazine called him “phenomenal”.  And the usually restrained New York Times music critic said he's “well on his way to becoming a legend”.    And if ALL OF THAT weren't enough, he's also an icon in the world of international men's fashion, representing the luxury brands Zegna and Tod's.   For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Peter Cincotti, go to:https://www.petercincotti.com/ https://www.facebook.com/petercincottihttps://www.instagram.com/petercincottihttps://twitter.com/petercincottihttps://www.tiktok.com/@petercincottihttp://www.youtube.com/petercincotti #petercincotti   #harveybrownstoneinterviews

False beliefs about what does and doesn't constitute rape are more deeply ingrained in young people than we might think. The Crown Prosecution Service has conducted research into what these misconceptions are, and the impact they're having on the justice system when it comes to rape convictions. Anita Rani is joined by Baljit Ubhey from the CPS and Andrea Simon from End Violence Against Women to hear more.Julia Bullock is an American classical singer. Her debut solo album, Walking in the Dark, was nominated for a Grammy award. Next week, she is bringing her mixed-media project History's Persistent Voice to London's Queen Elizabeth Hall. It shines a light on the words, work and experiences of Black American and British artists, and includes new songs commissioned from leading Black women composers. She joins Anita to discuss her music, her influences and her passions. Journalist Helen Carroll faced a backlash online when she revealed she pays her son £40 a month to load the dishwasher. This sparked a discussion - were you paid as a child to do household chores? Or do you think children should just be doing things around the house anyway without money? Parenting coach and psychologist Sue Atkins joins Anita to discuss. Domino Day is a brand new series coming to BBC Three which combines the world of modern dating with the world of the supernatural. Series writer Lauren Sequeira speaks to Anita about why the show's themes of modern relationships and female empowerment are so important to her, and why she wanted to show witches in a whole new light. Presenter: Anita Rani Producer: Lottie Garton

Now for a festive roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their regular email newsletter. Audio described shows and events included: The House with Chicken Legs - Thursday 21 December, 2.30pm, touch tour 1pm, Queen Elizabeth Hall, London The Gruffalo's Child - Sunday 24 December, 11am, Garrick Theatre, London   Dick Whittington and His Cat - Wednesday 27 December, 5.30pm, King's Lynn Corn Exchange Beauty and the Beast - Thursday 28 December, 7pm, Sunderland Empire Cinderella - Saturday 30 December, 2pm, touch tour 1pm, Watford Palace Theatre Hansel and Gretel - Tuesday 2 January, 2.30pm, touch tour 12.30pm, Shakespeare's Globe Theatre, London To find out more about these and other up-coming described arts events as well as details about how to sign up to the regular What's On email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Award winning vocalist Emma Pask, has firmly established herself as one of Australia's favourite voices in Jazz. Her effortless, honest stage presence combined with her powerful vocal ability, leaves audiences spellbound and inspired whenever she takes to the stage. While Emma's voice and style are unique, and individually her own, her performances are reminiscent of the classic era of jazz, when swing was top of the charts. Her talent was first spotted by internationally renowned Jazz great James Morrison, when she was just 16 years old. She joined his band as the lead vocalist and went on to spend a solid 20 years touring the world with Morrison. On request Emma performed the Bridal Waltz for Nicole Kidman and Keith Urban at their wedding. More recently she played support to Legendary Guitarist/Vocalist George Benson when he toured Australia. Emma opened for Grammy Award winning American vocalist Kurt Elling, on his 2018 Australian Tour. Emma is a “Mo' award winner for Jazz Vocalist of the year, and has received two ARIA award nominations for Best Jazz Album of the Year in 2014 and 2016. Emma has had the honour to sing for VIP audiences including the late Diana Princess of Wales and Princess Mary of Denmark. She has sung in London at The Queen Elizabeth Hall with the BBC Concert Orchestra, the Sydney Opera House with the Sydney Symphony Orchestra. Emma has performed in China with The Shanghai Symphony Orchestra, Auckland with the NZ Philharmonic, and with the WA Symphony Orchestra in Perth.  In 2019 the Emma Pask Band headlined at the Havana Jazz Festival in Cuba. Emma has toured her band throughout Europe, Asia and Australia. She has received rave reviews for her performances in Uruguay, South America, and is a regular at the prestigious Ascona Jazz Festival in Switzerland.  Despite her achievements and the international recognition of her talent, Emma retains her natural, refreshing and unpretentious, positive approach to life.  Jazz virtuoso James Morrison says of Emma, “Whilst it's fashionable to be a jazz singer these days, she is the real thing!” In 2020 amidst the Covid 19 lockdown, Emma was chosen by The Sydney Opera House to launch the first of their concerts live streamed from the stage of the hallowed Joan Sutherland Theatre. This performance won the offical Time Out (in) award for favourite Arts livestream. In 2021 The Emma Pask Big Band brought Sydney's music scene back to life after lockdown, as they featured with a sold out performance at Sunset Piazza.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

As his new album Letter(s) to Erik Satie is set to be released, the French pianist Bertrand Chamayou talks to presenter Tom Service about the connections he sees between the visionary composers it features, including John Cage, James Tenney and Erik Satie, and how the project took him to places he'd never been before. He tells Tom how collaborating with the soprano Barbara Hannigan opened the door for this Satie project, about the unpredictability of the recording process, and how he'd like classical music performance to become more like visual art. Tom travels to Bristol's The Galleries shopping centre, home of Bristol's Eye Hospital Assessment centre, to visit a new installation featuring the testimony of 100 voices from across 12 NHS hospitals - including doctors, porters, nurses, consultants, and patients - which have been curated into an hour-long immersive experience. Providing a therapeutic space for contributors to express themselves, and an opportunity for audiences to contemplate the lived experience of hospital communities, Tom learns how the project's composer, Hannah Conway, and librettist, Hazel Gould, created four arias around common themes they encountered, and hears how they've become creatively projected into a bespoke structure that will tour Bristol, London, Preston and Addenbrooke over the coming weeks. With contributions, too, from Manager at NHS Lancashire Teaching Hospitals, Dipa Dave, and Head of Arts at Cambridge University Hospitals NHS Foundation Trust, Natalie Ellis. Also today, as the West-Eastern Divan Ensemble prepares to perform a concert including Mendelssohn, Beethoven and Carter at the Queen Elizabeth Hall in London this weekend, the violinist Michael Barenboim tells Music Matters how, despite the situation in the Middle-East, the collaborative principles behind his father's and Edward Said's orchestra – which seek to bring together Arab, Palestinian and Israeli musicians – are more important than ever. And the composer Jack van Zandt - author of a new book, Alexander Goehr, Composing a Life - speaks to Tom about the ongoing teacher-pupil relationship he's developed under the tutelage of Alexander - Sandy - Goehr, and how Olivier Messiaen, Pierre Boulez, and among others, Richard Hall, have in turn provided tuition and inspiration across Sandy's musical life.

Properly weird performance at Southbank Centre and we loved every second. Peeling potatoes, chucking nails, melting ice, cutting plasterboard, the works. We chat meeting the big M herself and what we found in the nooks and crannies of the Southbank. Bellissimo!  Here's what we saw: Marina Abramović Institute Takeover The entire Queen Elizabeth Hall – backstage and all – transforms into the set for enthralling durational performances, curated by conceptual artist Marina Abramović and MAI. The performances use the entirety of the Queen Elizabeth Hall, and is self-led, letting you explore all parts of the building, including the auditorium, Purcell Room, backstage dressing rooms, green rooms, technical spaces and foyer. The artists have all been invited to make site-specific, long-durational work. They engage with endurance, presence and participation, creating an infinite possibility of encounters between visitors and artists. The artists featured are Collective Absentia, Carla Adra, Cassils, Paula Garcia, Miles Greenberg, Sandra Johnston, Carlos Martiel, Yiannis Pappas, Paul Setúbal, Aleksandar Timotic and Despina Zacharopoulou.

In this episode we welcome acclaimed critic, author and professor Evelyn McDonnell and invite her to discuss her new Joan Didion book, along with the Motels, Britney Spears and California's pop history in general. Evelyn talks about her early L.A. memories and childhood move to Wisconsin before we hear how she progressed from her college paper in Providence, RI, to becoming the pop critic for the Miami Herald. We also note books such as her Runaways biography Queens of Noise, a suitable jumping-off point for a long conversation about her fellow Californian, Didion. Mark and Martin reminisce about the impact of Didion's extraordinary essay collections Slouching towards Bethlehem and The White Album, after which we follow her career through to the bestselling Year of Magical Thinking. The L.A. theme continues as we hear two clips from Steve Roeser's 2001 audio interview with Motels singer Martha Davis, putting that band into historical context with discussion of the pre-punk D.I.Y. "Radio Free Hollywood" shows in 1976. From there we fast-forward to the very different "L.A. Woman" that was and is Britney Spears, which in turn prompts our guest to give her very pertinent take on the [Jann] "Wennergate" debacle of the past month. At a significant remove from all this Hollywood Babylonia was avant-jazz giant Carla Bley, whose death we mark in a conversation about 1971's extraordinary Escalator Over The Hill. Finally, Mark mentions pieces he's recently added to the RBP library, including interviews with Laurie Anderson and the Byrds' Roger McGuinn, and Jasper rounds the episode off with remarks on pieces about Herbie Hancock and Steve Goodman's Hyperdub label.  Many thanks to special guest Evelyn McDonnell. The World According to Joan Didion is published by HarperOne and available now. Pieces discussed: Hollywood Swinging: Joan Didion in '60s L.A., The Runaways, The Motels' Martha Davis audio, Britney Spears at Staples Centre, Britney Spears interviewed by Steven Daly, Carla Bley interviewed by Brian Case, Carla Bley at Queen Elizabeth Hall, Dwight Twilley Band, Dwight Twilley: Magical Mystery Man, Queen Latifah/DJ Mark the 45 King, The Byrds, Laurie Anderson, Steve Goodman & Hyperdub and Herbie Hancock.

Billy Waters became a celebrity in early 19th century London as a talented street performer. New Generation Thinker Oskar Jensen and Mary L. Shannon join Rana Mitter to tell Billy's story and those of other musicians performing on the streets of London at the time. Charlie Taverner has written a history of Street Food. We also hear from Marigold Hughes about the latest production from Streetwise Opera, an organisation that devises opera productions with people who are or have been homeless. Vagabonds: Life on the Streets of Nineteenth-century London by Oskar Jensen is out now. Mary L. Shannon's book 'Billy Waters Is Dancing' will be published later this year. Street Food: Hawkers and the History of London by Charlie Taverner is out now Streetwise Opera, BBC Concert Orchestra and The Sixteen perform Re:sound at the Southbank Centre, London on Weds 22nd March and at the Queen Elizabeth Hall, London on Sun 26th March. Producer: Torquil MacLeod

Laurence Osborn (b. 1989) is a British composer currently based in London. His music has been commissioned and/or programmed by the London Symphony Orchestra, London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Ensemble Modern, Britten Sinfonia, The Riot Ensemble, Manchester Collective, 12 Ensemble, GBSR Duo, Ensemble Klang, and Ensemble 360, among others. He has also written for solo performers Sarah Dacey, Mahan Esfahani, Bartosz Glowacki, Zubin Kanga, Lore Lixenberg, Michael Petrov, and Agata Zubel. His music has been programmed throughout the UK, at venues such as The Royal Festival Hall, Queen Elizabeth Hall, The Royal Opera House, Symphony Hall (Birmingham), The Wigmore Hall, Kings Place, LSO St Luke's, St Martin- In-The-Fields, Milton Court, Wilton's Music Hall, Britten Studio (Aldeburgh), The National Portrait Gallery, The Holywell Music Room (Oxford), The Crucible Theatre (Sheffield), Kettle's Yard (Cambridge), and at Huddersfield Contemporary Music Festival (where he was an International Showcase Artist), St Magnus International Festival, Music in the Round Festival, and Ulverston International Music Festival.Laurence Osborn's song cycle Essential Relaxing Classical Hits was nominated for an Ivor Novello Award in 2021. He won the Royal Philharmonic Society Composition Prize in 2017, was runner up in the New Cobbett Prize for Composition (2014) and the International Antonin Dvorak Composition Competition (2013) and was shortlisted for the ICSM World Music Days (2018). Laurence has won student prizes for composition while studying at both undergraduate and postgraduate level, including the Adrian Cruft Prize for Composition and the Royal College of Music Concerto Competition. He has held positions in association with LSO Soundhub (2013-15), Nonclassical (2015-17), and the London Philharmonic Orchestra (2017-18).SOUND EXERPTS, IN ORDER:1. Coin Op Automata  for harpsichord and string quartetperformed by the Manchester Collective2. Essential Relaxing Classical Hits, for amplified solo soprano and 6 playersperformed by Agata Zubel and Ensemble Klang3. Absorber, for solo piano and MIDI controllerperformed by Zubin KangaLINKSLaurence Osborn official websiteWatch video of ‘Absorber' for piano and MIDI controllerSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnSupport the show

Many will know Lewis Cornay as the two Johns in Southwark Playhouse's revival of John and Jen which recently played a 30th anniversary concert at 54 Below in New York. What many may not know is that Lewis Cornay has been performing for the best part of 20 years having been a child actor in shows such as Mary Poppins and The King and I. Since graduating from Guildford School of Acting, Lewis has been a powerful force in the industry, starring in The Book of Mormon on the West End, She Loves Me at Sheffield Crucible as well as performing in his own shows: Lewis Cornay and Friends and The Curious Case of Lewis Cornay. As a writer, Lewis' writing debut arrived at Seven Dials Playhouse at the end of last year with Daddy Issues starring Bebe Cave.In this exclusive interview, Lewis Cornay opens up about his career and what it has been like juggling being an actor, writer and composer. He discusses his love for theatre and why certain projects like She Loves Me and John and Jen have meant so much to him. We hear him frankly discussing challenges that the theatre is facing too with the current socio-economic climate and why it still feels like a blessing to be in a job. Later this year, Lewis will also be reuniting with Christie Bhima on SpongeBob the Musical which will tour the U.K. before a run at Queen Elizabeth Hall. It's a fascinating interview with a fascinating figure in the industry who's name we can expect to hear a lot more of in the coming years.

In this episode, I talk to the wonderful comedian, STEVE BUGEJA, about his comedy career. Bugeja is a regular in comedy clubs and is also a writer and actor.  Co-creating and appearing in the ITV 2 sitcom, Buffering (with Iain Stirling) and has been part of the main writing team for Stirling's ITV 2 comedy quiz show, Celebability and The Russell Hour for Sky Television.  He won the BBC New Comedy Award in 2013 and has since had five successful solo shows at the Edinburgh Fringe and been on two national tours.  An extremely funny and unique comic performer on stage, he has razor-sharp wit and delivers each story and joke with brilliant precision and timing. I have seen Bugeja perform for Always Be Comedy in London in 2017, Mervyn Stutter's Pick of The Fringe in Edinburgh in 2018, Always Be Comedy in 2021, his work-in-progress solo show Tried To Start His Own Nickname in 2021 for the Leicester Comedy Festival and supporting Iain Stirling on tour at the Queen Elizabeth Hall, London in 2022. Thank you so much for listening to my podcast, if you like what you hear, please subscribe and I hope you enjoy the interview. Please read Steve Bugeja's blog at: www.arichcomiclife.blog/2018/09/08/steve-bugeja/ Steve Bugeja's Links: Facebook: www.facebook.com/SteveBugejaComedian/ Twitter: www.twitter.com/stevebugeja Instagram: www.instagram.com/stevebugejacomedy/ Website: www.stevebugeja.com    

Heeeeey 离谱电台的各位听众大家好呀！新年快乐！ 时隔3个月，我们又更新啦。这次在辞旧迎新之际，按惯例跟大家分享一下我们这一年都听了些什么。不知道我冗长的shownotes是否有人想念，想再看更多文字的朋友们请留言 ;) Songs Intro: myenemy - Parcels - Live from Hansa Studios （David Bowie曾经录音过的地方） 06:39 Overnight - Parcels 13:26 Black Dog - Arlo Parks 24:54 God Turn Me into a Flower - Weyes Blood 31:41 Daa Nyinaa - Ata Kak 37:25 En Relisant Ta Lettre - Serge Gainsbourg 45:23 Spitting off the Edge of the World - Yeah Yeah Yeahs 51:37 I! Alarm! Alive! Alive! - Absolute Purity 55:39 United in Grief - Kendrick Lamar 01:02:19 Walkin - Denzel Curry 01:08:39 转夜 - 邱舒 01:17:15 Finger - 大象体操 live from Audiotree 01:25:14 有没有一首歌会让你想起我 - 大象体操 （滚石四十周年） 01:29:24 十二楼 - 缺省 （滚石四十周年） 01:34:12 神行太保 - Sleeping Dogs 01:37:02 Bounce Pts I + II - Nate Smith 01:40:17 In These Times - Makaya McCraven 01:47:55 Instrumental - Black Country, New Road - live from the Queen Elizabeth Hall 01:56:42 Apollo Beings - Carl Cox 02:03:26 Off the Wall - 石川红奈 02:05:05 Off the Wall - Michael Jackson 02:10:11 Einstein Groovin' - SEATBELTS (Cowboy Bebop Tank! The! Best!)

The Guilty Feminist episode 338: Camp as Christmas 2022Presented by Deborah Frances-White and Tom Allen with Larry Dean, Robert Diament, Becoming Jude, Rosie Jones, Daniel Foxx and GingzillaRecorded 3 December at the Queen Elizabeth Hall in London. Released 26 December 2022.The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon.More about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://twitter.com/DeborahFWhttps://www.virago.co.uk/the-guilty-feminist-bookMore about the Say it Loud Club and Block 13https://twitter.com/sayitloudclubhttps://www.sayitloudclub.orghttps://www.freeblock13.comhttps://www.instagram.com/queers.of.joyMore about our actshttps://twitter.com/tomallencomedyhttps://twitter.com/LarryDeanComedyhttps://twitter.com/robertdiamenthttps://twitter.com/becomingjudeukhttps://twitter.com/josieroneshttps://twitter.com/dnlfoxxhttps://twitter.com/gingzillaFor more information about this and other episodes…visit https://www.guiltyfeminist.comtweet us https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTOur new podcasts are out nowMedia Storm https://podfollow.com/media-stormAbsolute Power https://podfollow.com/john-bercows-absolute-powerFOC it UP Comedy Club https://podfollow.com/foc-it-up-comedy-clubCome to a live recordingSoho Theatre, 4-7 January: https://sohotheatre.com/shows/the-guilty-feminist-2/Dublin, 24 January: https://www.ticketmaster.co.uk/the-guilty-feminist-dublin-24-01-2023/event/18005D85A436BE8EKings Place, 26 January: https://www.kingsplace.co.uk/whats-on/comedy/the-guilty-feminist-4/Rose Theatre, 5pm on 29 January: https://rosetheatre.org/whats-on/the-guilty-feministThank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist Hosted on Acast. See acast.com/privacy for more information.

The Guilty Feminist episode 338: Camp as Christmas 2022Presented by Deborah Frances-White and Tom Allen with Larry Dean, Robert Diament, Becoming Jude, Rosie Jones, Daniel Foxx and GingzillaRecorded 3 December at the Queen Elizabeth Hall in London. Released 26 December 2022.The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon.More about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://twitter.com/DeborahFWhttps://www.virago.co.uk/the-guilty-feminist-bookMore about the Say it Loud Club and Block 13https://twitter.com/sayitloudclubhttps://www.sayitloudclub.orghttps://www.freeblock13.comhttps://www.instagram.com/queers.of.joyMore about our actshttps://twitter.com/tomallencomedyhttps://twitter.com/LarryDeanComedyhttps://twitter.com/robertdiamenthttps://twitter.com/becomingjudeukhttps://twitter.com/josieroneshttps://twitter.com/dnlfoxxhttps://twitter.com/gingzillaFor more information about this and other episodes…visit https://www.guiltyfeminist.comtweet us https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTOur new podcasts are out nowMedia Storm https://podfollow.com/media-stormAbsolute Power https://podfollow.com/john-bercows-absolute-powerFOC it UP Comedy Club https://podfollow.com/foc-it-up-comedy-clubCome to a live recordingSoho Theatre, 4-7 January: https://sohotheatre.com/shows/the-guilty-feminist-2/Dublin, 24 January: https://www.ticketmaster.co.uk/the-guilty-feminist-dublin-24-01-2023/event/18005D85A436BE8EKings Place, 26 January: https://www.kingsplace.co.uk/whats-on/comedy/the-guilty-feminist-4/Rose Theatre, 5pm on 29 January: https://rosetheatre.org/whats-on/the-guilty-feministThank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist Hosted on Acast. See acast.com/privacy for more information.

Why do we read? In this essay, the Norwegian author explores meaning and purpose in the novel, from the work of Claire Keegan to Dostoevsky and DH Lawrence. The form's power lies in its openness, he writes, its capacity to defy the absolutes of politics, philosophy or science: “It pulls any abstract conception about life… into the human sphere, where it no longer stands alone but collides with myriad impressions, thoughts, emotions and actions.” Knausgaard considers how best to achieve this – through the emotional realism of Lawrence, or the more experiential modernism of Joyce and Woolf? For the latter two, “it was about getting near to the moment – and in the moment there is no story, only actions and thoughts”. It is also about eschewing big themes or strongly-held opinions, and instead “striving towards an actionless state of being”. Persuasively argued, and rooted in close readings – particularly of Keegan's Small Things Like These – this is an edited version of the 2022 New Statesman/Goldsmiths Prize Lecture, delivered at Queen Elizabeth Hall in London on 22 October. It was first published in the New Statesman magazine on 28 October; you can read the text version here. Written by Karl Ove Knausgaard and read by Tom Gatti.If you enjoyed this listen to How to grow old in AmericaPodcast listeners can subscribe to the New Statesman for just £1 a week for 12 weeks using our special offer. Just visit newstatesman.com/podcastoffer. Hosted on Acast. See acast.com/privacy for more information.

Olivier winner George Maguire is currently starring as Bob Cratchit and Jacob Marley in the European premiere of Dolly Parton's Smoky Mountain Christmas Carol at the Southbank Centre's Queen Elizabeth Hall.Some of George's early theatre credits include: Stu in Tonight's The Night, Angel in Rent, Joe Vegas in Fame, Marc Bolan in 20th Century Boy, Berger in Hair and Busker in Lift.George won the 2015 Olivier Award for Best Supporting Actor in a Musical for originating the role of Dave Davies in the West End production of Sunny Afternoon (Hampstead Theatre/Harold Pinter Theatre). He went on to play Macheath in The Busker's Opera (Park Theatre), Orsino/Malvolio in Twelfth Night (Bridge House Theatre), Alan Dangle in One Man Two Guvnors (New Wosley/Nuffield Theatres) and the title role in The Wicker Husband (Watermill Theatre).Most recently George played Buck Barrow in Bonnie & Clyde, firstly in the musical's concert alongside Jeremy Jordan at the Theatre Royal Drury Lane and then again in the show's fully staged run at the Arts Theatre. Dolly Parton's Smoky Mountain Christmas Carol runs at the Southbank Centre's Queen Elizabeth Hall 8th December 2022 - 8 January 2023. Visit www.smokymountainchristmascarol.com for info and tickets. Hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Now for a bit of a festive roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their weekly email newsletter. Audio described shows and events included: Sleeping Beauty - Sunday 11 December, 1pm, touch tour 11.30am, Marlowe Theatre, Canterbury Aladdin - Wednesday 14 December, 6pm, touch tour 4.30pm, Aylesbury Waterside Mama Mia! - Thursday 15 December, 2.30pm, New Theatre Oxford A Christmas Carol - Friday 9 December, 7pm, Old Vic, London, A Christmas Carol - Thursday 15 December, 2.30pm, Bridge Theatre, London, A Christmas Carol - Saturday 17 December, 11.30am, Rose Theatre, Kingston,  A Christmas Carol - Tuesday 20 December, 7pm, touch tour 5.30pm,  Hull Truck Theatre Dolly Parton's Smoky Mountain Christmas Carol - Thursday 22 December 7.30pm, touch tour 6pm, Queen Elizabeth Hall, Southbank Centre, London Alice in Wonderland - Saturday 17 December, 1.30pm and 6pm, touch tour 4.30pm, Brixton House, London Six The Musical - Tuesday 20 December, 5pm, touch tour 4.15pm, Liverpool Playhouse Elf the musical - Thursday 29 December, 2.30pm, Dominion Theatre, London Northern Ballet:The Nutcracker - Saturday 31 December, 2pm, touch tour 11.45am, Leeds Grand Theatre  To find out more about these and other up-coming audio-described arts events as well as details about how to sign up to the VocalEyes weekly email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Sortie de l'album d'Oumou Sangaré Timbuktu (Oumsang/World Circuit/BMG), le 29 avril 2022. Nous l'avons rencontrée début février 2022 à Issy.   Concerts : - 15 mai : Cigale (Paris) - 6 juin : Sakifo Musik Festival / La Réunion - 7 juillet : Nuits du Sud / Vence  - 15 juillet 2022 : Les Suds / Arles. Oumou, son histoire par Francis Dordor.   (Rediffusion) Depuis Moussolou, son premier album sorti en 1989, la vie de la chanteuse malienne Oumou Sangaré n'a connu aucun répit. De ce riche et trépidant voyage, on retient notamment des enregistrements parmi les plus décisifs de la musique africaine contemporaine, tous produits par le label World Circuit : Ko Sira en 1993, Worotan en 1996 et Seya nominé dans la catégorie Meilleur Album de World Music des Grammy Awards en 2009. De nombreuses tournées internationales et la consécration obtenue sur les scènes prestigieuses que sont l'Opéra de Sydney, le Queen Elizabeth Hall de Londres ou le Nippon Budokan de Tokyo, complètent ce tableau d'honneur.  Timbuktu, première production de son label Oumsang constitue le nouvel acte de cette épopée musicale sans équivalent à laquelle World Circuit est à nouveau associée. Il consacre cette artiste issue des quartiers pauvres de Bamako devenue une superstar mondiale, ainsi qu'une icône féministe unanimement admirée. D'une aura puissante comparable à celle d'une Grace Jones, icone noire transgressive par excellence, Oumou a depuis longtemps franchi les barrières séparant genres musicaux et continents. Hier invitée par Alicia Keys pour un duo télévisé, elle est désormais citée en exemple par des artistes aussi considérables qu'Aya Nakamura, qui lui a dédié la chanson Oumou Sangaré en 2017, ou Beyoncé, qui a samplé l'une de ses plus célèbres créations, Diaraby Néné, pour le titre Mood 4 Eva tiré de la bande originale du film The Lion King : The Gift en 2019.  Sa carrière menée tambour battant sans la moindre pause a pourtant connu une interruption avec la crise sanitaire en 2020.   En mars de cette année-là (2020), suite au FIWA (Festival International du Wassoulou), événement qu'elle a créé en 2016 pour promouvoir sa région d'origine du sud Mali, elle se rend aux États-Unis. Initialement prévu pour durer deux semaines, son séjour se prolonge en raison du confinement. D'abord à New York, puis à Baltimore où elle trouve rapidement ses marques. "Quelque chose m'a immédiatement attirée dans cette ville. Je m'y suis sentie si bien que j'ai voulu acquérir une maison."  Une fois installée là, elle occupe ses journées à composer avec une ancienne connaissance, Mamadou Sidibé, qui fut le premier joueur de kamele n'goni (le luth traditionnel) à l'accompagner à ses débuts. À la faveur de cette réclusion forcée, vont naître dix des onze chansons constituant Timbuktu, recueil qui noue d'intimes correspondances sonores entre les instruments traditionnels ouest-africains et ceux liés à l'histoire du blues. Notamment entre le kamele n'goni et ces lointains héritiers que sont la guitare dobro et la guitare slide, jouées ici par Pascal Danaë, co-réalisateur de l'album avec Nicolas Quéré. De cette séquence particulière du confinement, où le temps s'est pour ainsi dire arrêté, où l'artiste comme la femme d'affaires se sont trouvées dans une situation inédite d'isolement, loin du tumulte et des sollicitations incessantes, Oumou a tiré le meilleur. "Depuis 1990, je n'avais jamais eu la possibilité de me couper du monde de la sorte pour me consacrer exclusivement à la musique. De ce point de vue, le confinement a été une chance pour moi car il m'a permis de rester concentrée sur le travail de composition. Je pense que la musique s'en ressent mais aussi les textes qui sont le fruit de moments où j'ai pu me retirer en moi même pour méditer." Jamais ses paroles n'ont en effet accédé à une telle qualité poétique, une telle profondeur. Jamais ne l'a t-on trouvé aussi inspirée à livrer ses réflexions sur les indéchiffrables mystères de l'existence, la situation périlleuse que traverse son pays ou sur la condition des femmes africaines, preuve que même devenue puissante, elle n'a rien renié de ses engagements de jeunesse. Entre l'introspection de Degui N'Kelena, la langueur amoureuse exprimée dans Kanou, la compassion dans Demissimw, l'exaspération dans Kêlê Magni ou la fierté dans Wassulu Don, beaucoup d'états d'âme nourrissent ce disque. Trouvant dans l'habillage sonore réalisé par Danaë et Quéré, qui à la dynamique des rythmes traditionnels du Wassoulou  additionne celle propre au langage musical contemporain, une probante mise en valeur, Timbuktu s'impose ainsi comme le plus ambitieux et abouti d'une discographie déjà émérite.     Si le titre Timbuktu renvoie à l'actualité politique du Mali, pays menacé de désintégration et cherchant dans son histoire, dont cette ville du nord-est le plus puissant symbole, des motifs d'espérer, beaucoup de chansons renvoient à l'expérience singulière de la chanteuse. Quand dans Sira (littéralement "le baobab" en bambara), elle évoque la progéniture de familles érudites et aisées qui, malgré cela, verse dans la délinquance et gâche un avenir prometteur, c'est presque inconsciemment pour souligner par contraste l'exemplarité de sa propre trajectoire… Née à Bamako, le 2 février 1968, Oumou Sangaré est la fille cadette d'une famille appartenant à l'ethnie peule du Wassoulou. Sa mère, Aminata Diakité, est chanteuse comme le fut sa propre mère Noumouténé. Oumou a très peu connu son père, Diari Sangaré, qui a quitté le foyer familial lorsqu'elle avait deux ans. Abandonnée, Aminata se fait alors commerçante pour faire vivre ses quatre enfants. Oumou lui vient en aide en vendant des sachets d'eau dans la rue. Ayant pris l'habitude de suivre sa mère dans les "soumous" (cérémonies nuptiales ou baptismales) que celle-ci anime, elle s'octroie déjà une part de prestige par la clarté et la puissance d'une voix qui, jaillissant d'un corps d'enfant, éblouit l'auditoire. Elle ne tarde d'ailleurs pas à s'accaparer toute la gloire à l'occasion d'un concours interscolaire où elle fait gagner son école du quartier de Douadabougou en chantant devant 3 000 personnes réunies dans le Stade omnisports de Bamako. Passée par l'Ensemble National du Mali et le groupe Djoliba, Oumou a déjà une longue carrière professionnelle derrière elle quand à 18 ans, elle s'apprête à enregistrer à Abidjan sa première cassette produite par Abdoulaye Samassa (qui a dû lui offrir sa propre voiture pour la convaincre d'entrer en studio). Rééditée en CD et vinyle par World Circuit en 2016, la cassette intitulée Moussolou ("les femmes" en bambara) se vend à l'époque à plus de 250 000 exemplaires, un record resté inégalé en Afrique de l'Ouest. Si la musique très dansante caractéristique du Wassoulou l'explique en partie, la raison de ce succès tient beaucoup aux textes chantés, parfois rugit, par cette jeune lionne qui, depuis son plus jeune âge, a dû se battre pour survivre. Se dressant avec fougue contre les abus de la tradition patriarcale, qui autorise la polygamie, le mariage forcé et l'excision, Oumou devient du jour au lendemain l'égérie d'une cause féministe qui n'a aucune assise véritable dans cette partie du monde. Sa carrière et ses enregistrements restent ainsi marqués comme au fer rouge par cette double dimension : être une femme et avoir une origine sociale qui l'a rendue singulièrement sensible à toutes les formes d'injustices. Timbuktu ne fait pas exception. Ainsi Gniani Sara (littéralement "la récompense de la souffrance") renvoie-t-il à son combat de toujours en faveur de la condition féminine. "J'ai osé aborder ce sujet avant tout le monde et même risqué ma vie en le faisant  dit elle aujourd'hui. Ma récompense c'est d'avoir réussi à éveiller les consciences. Surtout au sein de la jeune génération. Voir Aya Nakamura ou Beyoncé me prendre en exemple vaut tous les prix et toutes les distinctions du monde". Pourtant, devenir la plus grande et la plus influente chanteuse africaine vivante ne lui a pas suffi. Depuis trente ans, Oumou s'est aussi illustrée dans le domaine économique et l'action sociale. À la tête de plusieurs entreprises touchant à l'hôtellerie, l'agriculture ou au négoce d'automobiles à travers sa marque Oum Sang, elle emploie actuellement près de 200 personnes à temps plein. Quant à la fondation Oumou Sangaré, créée il y a dix ans pour venir en aide aux femmes et aux enfants en situation difficile, elle parachève pour ainsi dire une œuvre artistique jamais éloignée de convictions humanistes. Élevée au grade de Commandeur de l'Ordre National du Mali, faite Chevalier des Arts et des Lettres de la République Française, Oumou est devenue Ambassadrice de bonne volonté de la F.A.O. (Organisation des Nations unies pour l'alimentation et l'agriculture) en 2003, après avoir reçu le prix de l'UNESCO deux ans plus tôt.     Mais cette réussite, Oumou doit la payer au prix fort. Après avoir subi les blessures de l'enfance parmi les plus cruelles- l'abandon, l'extrême misère- elle doit aujourd'hui se protéger des maux que la notoriété lui attire, la jalousie, la calomnie, la trahison. Autant d'atteintes qu'elle expose dans Sarama, et qu'elle s'encourage à dépasser dans Dily Oumou. En découle la solitude évoquée dans Degui N'Kelena, autour de laquelle se cristallise le thème de la séparation et de la perte qu'elle entend affronter à la manière stoïcienne, accueillant chaque événement avec une lucidité agissante. Une force qu'elle tire intégralement de la musique elle-même, dont la puissance renvoie à celle des chasseurs du Wassoulou qui en sont les inventeurs. En effet, la confrérie de ceux qu'on appelle "Donsow" ("Donso" au singulier) est à l'origine des rythmes utilisés par toutes les chanteuses modernes, elles-mêmes baptisées "kònò" (oiseau). Instrument emblématique de ce répertoire le donso-ngoni,  modernisé en kamel n'goni  (la harpe des jeunes) dans les années 1950, reste à la base de toutes les compositions d'Oumou. Tel un guide chant, celui de Mamadou Sidibé structure l'ensemble des compositions de Timbuktu, comme il attire par sa tonalité pentatonique les superbes développements à la guitare de Pascal Danaë. En utilisant une  Harmony Stratotone sur Wassulu Don (littéralement "la culture du Wassoulou"), un dobro resonator sur Degui N'Kelena et Sarama, ou la technique du bottleneck sur Sira, le musicien semble à chaque fois renvoyer à la sonorité métallique caractéristique du kamel n'gnoni, nouant ainsi une enivrante complicité élective entre les genres musicaux et les continents.  Que surmonter la souffrance et faire face à toutes les adversités traverse l'ensemble du répertoire d'Oumou Sangaré n'est pas un hasard compte tenu de son passé. Cette dominante n'est probablement pas étrangère non plus au fait que lors de cérémonies qui leur sont propres, certains chasseurs s'infligent des sévices pour mieux les dépasser, vont jusqu'à avaler des tisons ardents ou se larder de coups de poignards tout en dansant, tandis que les chanteurs invoquent des forces relevant de la surnature. C'est à cette confiance intraitable que fait référence Wassulu Don. C'est cette culture aux fondements telluriques, à la portée universelle que célèbre ici sa plus célèbre représentante, une chanteuse qui à la manière des plus grandes, Aretha Franklin ou Nina Simone, sublime la douleur et, plus que jamais, éclaire de son génie propre la musique, toute la musique, et pas seulement africaine. "La musique est en moi !", proclame Oumou. "Sans elle je ne suis rien, et rien ne peut me l'enlever ! Dans ce disque j'ai mis ma vie, toute ma vie, cette vie où j'ai connu la faim, l'humiliation de la pauvreté, la peur et dont je tire aujourd'hui la gloire."     Titres diffusés extraits de l'album Timbuktu - Wassulu Don voir le clip - Sira - Degui N'Kelena - Timbuktu Voir le clip Sarama.

This week Merlin speaks to Julian Robinson. Julian is Director of Estates at the London School of Economics and winner of this year's Open City Irene Barclay PrizeAlton Estate spared demolition but more than 100 other London estates face regeneration | Speculation grows over the green belt's future under Liz Truss | Campaigners call for Queen Elizabeth Hall's listing as a mark of respect | And Open City reveals the winners of this year's Stewardship AwardsThe Londown is recorded and produced at the Open City offices located in Bureau. Bureau is a co-working space for creatives offering a new approach to membership workspace. Bureau prioritises not just room to think and do, but also shared resources and space to collaborate. To book a free day pass follow this link.The Londown is produced in association with the Architects' Journal. If you enjoyed the show, we recommend you subscribe to the AJ for all the latest news, building studies, expert opinion, cultural analysis, and business intelligence from the UK architecture industry. Listeners can save 15% on a subscription using this link. Hosted on Acast. See acast.com/privacy for more information.

Genre-defying South African cellist Abel Selaocoe speaks to Samira and performs a piece from his new album Where Is Home (Hae Ke Kae), which will be launched at a performance at the Queen Elizabeth Hall in London. He is about to become Artist In Residence at London's Southbank Centre. His inventive and virtuosic compositions and performance style fuse Baroque repertoire with traditional African music, combining classical cello with body percussion and voice. A rich crop of recent books shows that art is being viewed from a new perspective. Michael Bird, author of This Is Tomorrow: Twentieth Century Britain And Its Artists, and Frances Spalding, who has written The Real And The Romantic: English Art Between Two World Wars, join Front Row to talk about not the history of art, but art as history. The calls of curlews are memorable, mysterious, and musical. They have appeared in music and poetry over the ages, and they continue to fascinate artists. Simmerdim: Curlew Sounds is an unusual new album - two CDs, one of music inspired by curlews, the other a series of soundscapes capturing their calls, recorded in places where these threatened birds are still to be found. The musician Merlyn Driver, whose idea Simmerdim was, explains his compulsion to make the records. Presenter: Samira Ahmed Producer: Sarah Johnson

Le 29 avril 2022, Oumou Sangaré a sorti son album Timbuktu (Oumsang/World Circuit/BMG). Nous l'avons rencontrée début février 2022 à Issy.  Oumou, son histoire par Francis Dordor Depuis Moussolou, son premier album sorti en 1989, la vie de la chanteuse malienne Oumou Sangaré n'a connu aucun répit. De ce riche et trépidant voyage, on retient notamment des enregistrements parmi les plus décisifs de la musique africaine contemporaine, tous produits par le label World Circuit : Ko Sira en 1993, Worotan en 1996 et Seya nominé dans la catégorie Meilleur album de World Music des Grammy Awards en 2009. De nombreuses tournées internationales et la consécration obtenue sur les scènes prestigieuses que sont l'Opéra de Sydney, le Queen Elizabeth Hall de Londres ou le Nippon Budokan de Tokyo, complètent ce tableau d'honneur.  Timbuktu, première production de son label Oumsang constitue le nouvel acte de cette épopée musicale sans équivalent à laquelle World Circuit est à nouveau associée. Il consacre cette artiste issue des quartiers pauvres de Bamako devenue une superstar mondiale, ainsi qu'une icône féministe unanimement admirée. D'une aura puissante comparable à celle d'une Grace Jones, icone noire transgressive par excellence, Oumou a depuis longtemps franchi les barrières séparant genres musicaux et continents. Hier, invitée par Alicia Keys pour un duo télévisé, elle est désormais citée en exemple par des artistes aussi considérables qu'Aya Nakamura, qui lui a dédié la chanson Oumou Sangaré en 2017, ou Beyoncé, qui a samplé l'une de ses plus célèbres créations, Diaraby Néné, pour le titre Mood 4 Eva tiré de la bande originale du film The Lion King : The Gift en 2019.  ►Oumou Sangaré sur RFI musiques Sa carrière menée tambour battant sans la moindre pause a pourtant connu une interruption avec la crise sanitaire en 2020. En mars de cette année-là (2020), suite au FIWA (Festival International du Wassoulou), événement qu'elle a créé en 2016 pour promouvoir sa région d'origine du sud Mali, elle se rend aux États-Unis. Initialement prévu pour durer deux semaines, son séjour se prolonge en raison du confinement. D'abord à New York, puis à Baltimore où elle trouve rapidement ses marques. "Quelque chose m'a immédiatement attirée dans cette ville. Je m'y suis sentie si bien que j'ai voulu acquérir une maison."  Une fois installée là, elle occupe ses journées à composer avec une ancienne connaissance, Mamadou Sidibé, qui fut le premier joueur de kamele n'goni (le luth traditionnel) à l'accompagner à ses débuts. À la faveur de cette réclusion forcée, vont naître dix des onze chansons constituant Timbuktu, recueil qui noue d'intimes correspondances sonores entre les instruments traditionnels ouest-africains et ceux liés à l'histoire du blues. Notamment entre le kamele n'goni et ces lointains héritiers que sont la guitare dobro et la guitare slide, jouées ici par Pascal Danaë, co-réalisateur de l'album avec Nicolas Quéré. De cette séquence particulière du confinement, où le temps s'est pour ainsi dire arrêté, où l'artiste comme la femme d'affaires se sont trouvées dans une situation inédite d'isolement, loin du tumulte et des sollicitations incessantes, Oumou a tiré le meilleur. "Depuis 1990, je n'avais jamais eu la possibilité de me couper du monde de la sorte pour me consacrer exclusivement à la musique. De ce point de vue, le confinement a été une chance pour moi car il m'a permis de rester concentrée sur le travail de composition. Je pense que la musique s'en ressent, mais aussi les textes qui sont le fruit de moments où j'ai pu me retirer en moi même pour méditer." Jamais ses paroles n'ont en effet accédé à une telle qualité poétique, une telle profondeur. Jamais ne l'a t-on trouvé aussi inspirée à livrer ses réflexions sur les indéchiffrables mystères de l'existence, la situation périlleuse que traverse son pays ou sur la condition des femmes africaines, preuve que même devenue puissante, elle n'a rien renié de ses engagements de jeunesse. Entre l'introspection de Degui N'Kelena, la langueur amoureuse exprimée dans Kanou, la compassion dans Demissimw, l'exaspération dans Kêlê Magni ou la fierté dans Wassulu Don, beaucoup d'états d'âme nourrissent ce disque. Trouvant dans l'habillage sonore réalisé par Danaë et Quéré, qui à la dynamique des rythmes traditionnels du Wassoulou  additionne celle propre au langage musical contemporain, une probante mise en valeur, Timbuktu s'impose ainsi comme le plus ambitieux et abouti d'une discographie déjà émérite. Si le titre Timbuktu renvoie à l'actualité politique du Mali, pays menacé de désintégration et cherchant dans son histoire, dont cette ville du nord-est le plus puissant symbole, des motifs d'espérer, beaucoup de chansons renvoient à l'expérience singulière de la chanteuse. Quand dans Sira (littéralement "le baobab" en bambara), elle évoque la progéniture de familles érudites et aisées qui, malgré cela, verse dans la délinquance et gâche un avenir prometteur, c'est presque inconsciemment pour souligner par contraste l'exemplarité de sa propre trajectoire… Née à Bamako, le 2 février 1968, Oumou Sangaré est la fille cadette d'une famille appartenant à l'ethnie peule du Wassoulou. Sa mère, Aminata Diakité, est chanteuse comme le fut sa propre mère Noumouténé. Oumou a très peu connu son père, Diari Sangaré, qui a quitté le foyer familial lorsqu'elle avait deux ans. Abandonnée, Aminata se fait alors commerçante pour faire vivre ses quatre enfants. Oumou lui vient en aide en vendant des sachets d'eau dans la rue. Ayant pris l'habitude de suivre sa mère dans les "soumous" (cérémonies nuptiales ou baptismales) que celle-ci anime, elle s'octroie déjà une part de prestige par la clarté et la puissance d'une voix qui, jaillissant d'un corps d'enfant, éblouit l'auditoire. Elle ne tarde d'ailleurs pas à s'accaparer toute la gloire à l'occasion d'un concours interscolaire où elle fait gagner son école du quartier de Douadabougou en chantant devant 3 000 personnes réunies dans le Stade omnisports de Bamako. Passée par l'Ensemble National du Mali et le groupe Djoliba, Oumou a déjà une longue carrière professionnelle derrière elle quand à 18 ans, elle s'apprête à enregistrer à Abidjan sa première cassette produite par Abdoulaye Samassa (qui a dû lui offrir sa propre voiture pour la convaincre d'entrer en studio). Rééditée en CD et vinyle par World Circuit en 2016, la cassette intitulée Moussolou ("les femmes" en bambara) se vend à l'époque à plus de 250 000 exemplaires, un record resté inégalé en Afrique de l'Ouest. Si la musique très dansante caractéristique du Wassoulou l'explique en partie, la raison de ce succès tient beaucoup aux textes chantés, parfois rugit, par cette jeune lionne qui, depuis son plus jeune âge, a dû se battre pour survivre. Se dressant avec fougue contre les abus de la tradition patriarcale, qui autorise la polygamie, le mariage forcé et l'excision, Oumou devient du jour au lendemain l'égérie d'une cause féministe qui n'a aucune assise véritable dans cette partie du monde. Sa carrière et ses enregistrements restent ainsi marqués comme au fer rouge par cette double dimension : être une femme et avoir une origine sociale qui l'a rendue singulièrement sensible à toutes les formes d'injustices. Timbuktu ne fait pas exception. Ainsi Gniani Sara (littéralement "la récompense de la souffrance") renvoie-t-il à son combat de toujours en faveur de la condition féminine. "J'ai osé aborder ce sujet avant tout le monde et même risqué ma vie en le faisant  dit elle aujourd'hui. Ma récompense c'est d'avoir réussi à éveiller les consciences. Surtout au sein de la jeune génération. Voir Aya Nakamura ou Beyoncé me prendre en exemple vaut tous les prix et toutes les distinctions du monde". ► Biographie Pourtant, devenir la plus grande et la plus influente chanteuse africaine vivante ne lui a pas suffi. Depuis trente ans, Oumou s'est aussi illustrée dans le domaine économique et l'action sociale. À la tête de plusieurs entreprises touchant à l'hôtellerie, l'agriculture ou au négoce d'automobiles à travers sa marque Oum Sang, elle emploie actuellement près de 200 personnes à temps plein. Quant à la fondation Oumou Sangaré, créée il y a dix ans pour venir en aide aux femmes et aux enfants en situation difficile, elle parachève pour ainsi dire une œuvre artistique jamais éloignée de convictions humanistes. Élevée au grade de Commandeur de l'Ordre National du Mali, faite Chevalier des Arts et des Lettres de la République Française, Oumou est devenue Ambassadrice de bonne volonté de la F.A.O. (Organisation des Nations unies pour l'alimentation et l'agriculture) en 2003, après avoir reçu le prix de l'UNESCO deux ans plus tôt. Mais cette réussite, Oumou doit la payer au prix fort. Après avoir subi les blessures de l'enfance parmi les plus cruelles- l'abandon, l'extrême misère- elle doit aujourd'hui se protéger des maux que la notoriété lui attire, la jalousie, la calomnie, la trahison. Autant d'atteintes qu'elle expose dans Sarama, et qu'elle s'encourage à dépasser dans Dily Oumou. En découle la solitude évoquée dans Degui N'Kelena, autour de laquelle se cristallise le thème de la séparation et de la perte qu'elle entend affronter à la manière stoïcienne, accueillant chaque événement avec une lucidité agissante. Une force qu'elle tire intégralement de la musique elle-même, dont la puissance renvoie à celle des chasseurs du Wassoulou qui en sont les inventeurs. En effet, la confrérie de ceux qu'on appelle "Donsow" ("Donso" au singulier) est à l'origine des rythmes utilisés par toutes les chanteuses modernes, elles-mêmes baptisées "kònò" (oiseau). Instrument emblématique de ce répertoire le donso-ngoni,  modernisé en kamel n'goni  (la harpe des jeunes) dans les années 1950, reste à la base de toutes les compositions d'Oumou. Tel un guide chant, celui de Mamadou Sidibé structure l'ensemble des compositions de Timbuktu, comme il attire par sa tonalité pentatonique les superbes développements à la guitare de Pascal Danaë. En utilisant une  Harmony Stratotone sur Wassulu Don (littéralement "la culture du Wassoulou"), un dobro resonator sur Degui N'Kelena et Sarama, ou la technique du bottleneck sur Sira, le musicien semble à chaque fois renvoyer à la sonorité métallique caractéristique du kamel n'gnoni, nouant ainsi une enivrante complicité élective entre les genres musicaux et les continents.  Que surmonter la souffrance et faire face à toutes les adversités traverse l'ensemble du répertoire d'Oumou Sangaré n'est pas un hasard compte tenu de son passé. Cette dominante n'est probablement pas étrangère non plus au fait que lors de cérémonies qui leur sont propres, certains chasseurs s'infligent des sévices pour mieux les dépasser, vont jusqu'à avaler des tisons ardents ou se larder de coups de poignards tout en dansant, tandis que les chanteurs invoquent des forces relevant de la surnature. C'est à cette confiance intraitable que fait référence Wassulu Don. C'est cette culture aux fondements telluriques, à la portée universelle que célèbre ici sa plus célèbre représentante, une chanteuse qui à la manière des plus grandes, Aretha Franklin ou Nina Simone, sublime la douleur et, plus que jamais, éclaire de son génie propre la musique, toute la musique, et pas seulement africaine. "La musique est en moi !", proclame Oumou. "Sans elle je ne suis rien, et rien ne peut me l'enlever ! Dans ce disque j'ai mis ma vie, toute ma vie, cette vie où j'ai connu la faim, l'humiliation de la pauvreté, la peur et dont je tire aujourd'hui la gloire." (Rediffusion du 17 avril 2022)   Titres diffusés extraits de l'album Timbuktu - Wassulu Don voir le clip - Sira - Degui N'Kelena - Timbuktu Voir le clip Sarama

LOOK OUT! It's only Films To Be Buried With!Join your host Brett Goldstein as he talks life, death, love and the universe with the brilliant writer, comic and actress JESSICA KNAPPET!...and furthermore, this is a live episode so you can expect all the real life atmosphere of people interacting and being next to each other in the same place, which is a lovely novelty for sure. A lovely one though, with a really nice vibe throughout and all sorts of fun and games to be had including being pregnant, living in LA, signs of the end as hipsters start arming up, making and working on Drifters, the soon-to-be hit game 'I Don't Spy', human kindness and the worst week of cinema going ever. Lovely stuff! Enjoy - you shall!ONLINEINSTAGRAMTWITTERDRIFTERSAVOIDANCETASKMASTERBRETT GOLDSTEIN on TWITTERBRETT GOLDSTEIN on INSTAGRAMBRETT GOLDSTEIN on PATREONTED LASSOSOULMATESSUPERBOB (Brett's 2015 feature film)CORNERBOYS with BRETT & SCROOBIUS PIPDISTRACTION PIECES NETWORK on FACEBOOKDISTRACTION PIECES NETWORK on INSTAGRAMSupport this show http://supporter.acast.com/filmstobeburiedwith. See acast.com/privacy for privacy and opt-out information.

Welcome to Bittersweet Symphony, a podcast about the bitter, the sweet and the bittersweet of life for classical musicians when the music suddenly stopped. Hosted and produced by me, Cliodhna Ryan, a violinist, it's an intimate and heart-warming exploration of the human spirit. My guest in episode thirteen is oboist Dan Bates, my colleague in the Irish Chamber Orchestra. After an initial sense of exhilaration in the first few weeks of lockdown, Dan shares his experience of a crushing depression, the treatment he was offered, and the impact this had on him. His sweet memory is of the three chickens he reared; Anastasia, Garbo and Clemmie Bunting. His bitter was witnessing the effect of lockdowns on his Mum. This conversation was recorded in September 2021. Daniel Bates (MA CANTAB, FRSM, FTCL, ARAM, AGSMD) is principal oboe with the Irish Chamber Orchestra, the City of London Sinfonia and co-principal oboe of the Orchestra of the Age of Enlightenment. Previously, he also held the principal oboe position with the Royal Northern Sinfonia at the Sage, Gateshead. He has played guest principal for all the major UK orchestras as well as various international orchestras such as the National Orchestra of Colombia, the Swedish Chamber Orchestra, the Bergen Philharmonic Orchestra and the West Australian Symphony Orchestra. As a session musician, he has recorded for numerous pop acts and films, including the Harry Potter franchise and for Barbra Streisand, Mary J Blige, Rihanna and Stevie Wonder. Born in London, Daniel attended the Purcell School of Music. He was subsequently offered scholarships to every music college in the country and chose to study at the Royal Academy of Music under Celia Nicklin and Dougie Boyd. This was followed by a music scholarship to study at Pembroke College, Cambridge, where he read Music and the History of Art. He has performed solo concertos with the London Symphony Orchestra, the City of London Sinfonia, the Irish Chamber Orchestra, the Brasov Filharmonica, the Turin Philharmonic Orchestra, the London Mozart Players and the English Chamber Orchestra. Solo recitals include venues such as the Wigmore Hall, the Queen Elizabeth Hall, the Usher Hall and the Purcell Room. Internationally, he has given solo recitals in venues such as the Pushkin Museum in Moscow and at various European festivals partnered with musicians of international renown including Jörg Widmann, Elizabeth Leonskaya, Joan Rodgers and Anthony Marwood. As an actor, having studied classical acting at the London Academy of Music and Dramatic Art, his credits include the title role in The Picture of Dorian Gray (Vienna's English Theatre), Fedotik in The Three Sisters (alongside Kristen Scott Thomas and Eric Sykes in the West End) and Adrian Green in Casualty (BBC TV). Daniel is the founder and Artistic Director of FitzFest (www.fitzfest.co.uk), a community chamber music festival, based in Fitzrovia, central London. GET IN TOUCH WITH DAN/LINKS Dan's Website Instagram FitzFest Website GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony CREDITS Thumbnail Art || Colm MacAthlaoith Writers || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland

Peter has directed the Nu Civilisation Orchestra since it's inception in 2009. The NCO has performed at the Queen Elizabeth Hall, Ronnie Scott's, The Royal Northern College of Music. Peter made his BBC Proms conducting debut in 2019 performing  Duke Ellington's 'Sacred Concert'. He has worked with the BBC Concert Orchestra directing his arrangement of Billy Strayhorn's 'Chelsea Bridge' at London Jazz Festival 2019. HorseFrog ProductionsA podcast where two friends explore their favorite books, shows, and movies.Listen on: Apple Podcasts Spotify I Read Comic BooksA podcast for comic book fans. New episodes on Wednesdays. Comics are good, and so are youListen on: Apple Podcasts Spotify WikiListenThe daily podcast about everything, and anything.Listen on: Apple Podcasts SpotifySupport the show

Le 29 avril 2022, Oumou Sangaré sortira son nouvel album Timbuktu (Oumsang/World Circuit/BMG). Nous l'avons rencontrée début février 2022 à Issy.   Concerts à venir : - 15 mai : Cigale (Paris) - 6 juin : Sakifo Musik Festival / La Réunion - 7 juillet : Nuits du Sud / Vence  - 15 juillet 2022 : Les Suds / Arles. Oumou, son histoire par Francis Dordor.   Depuis Moussolou, son premier album sorti en 1989, la vie de la chanteuse malienne Oumou Sangaré n'a connu aucun répit. De ce riche et trépidant voyage, on retient notamment des enregistrements parmi les plus décisifs de la musique africaine contemporaine, tous produits par le label World Circuit : Ko Sira en 1993, Worotan en 1996 et Seya nominé dans la catégorie Meilleur Album de World Music des Grammy Awards en 2009. De nombreuses tournées internationales et la consécration obtenue sur les scènes prestigieuses que sont l'Opéra de Sydney, le Queen Elizabeth Hall de Londres ou le Nippon Budokan de Tokyo, complètent ce tableau d'honneur.  Timbuktu, première production de son label Oumsang constitue le nouvel acte de cette épopée musicale sans équivalent à laquelle World Circuit est à nouveau associée. Il consacre cette artiste issue des quartiers pauvres de Bamako devenue une superstar mondiale, ainsi qu'une icône féministe unanimement admirée. D'une aura puissante comparable à celle d'une Grace Jones, icone noire transgressive par excellence, Oumou a depuis longtemps franchi les barrières séparant genres musicaux et continents. Hier invitée par Alicia Keys pour un duo télévisé, elle est désormais citée en exemple par des artistes aussi considérables qu'Aya Nakamura, qui lui a dédié la chanson Oumou Sangaré en 2017, ou Beyoncé, qui a samplé l'une de ses plus célèbres créations, Diaraby Néné, pour le titre Mood 4 Eva tiré de la bande originale du film The Lion King : The Gift en 2019.  Sa carrière menée tambour battant sans la moindre pause a pourtant connu une interruption avec la crise sanitaire en 2020.   En mars de cette année-là (2020), suite au FIWA (Festival International du Wassoulou), événement qu'elle a créé en 2016 pour promouvoir sa région d'origine du sud Mali, elle se rend aux États-Unis. Initialement prévu pour durer deux semaines, son séjour se prolonge en raison du confinement. D'abord à New York, puis à Baltimore où elle trouve rapidement ses marques. "Quelque chose m'a immédiatement attirée dans cette ville. Je m'y suis sentie si bien que j'ai voulu acquérir une maison."  Une fois installée là, elle occupe ses journées à composer avec une ancienne connaissance, Mamadou Sidibé, qui fut le premier joueur de kamele n'goni (le luth traditionnel) à l'accompagner à ses débuts. À la faveur de cette réclusion forcée, vont naître dix des onze chansons constituant Timbuktu, recueil qui noue d'intimes correspondances sonores entre les instruments traditionnels ouest-africains et ceux liés à l'histoire du blues. Notamment entre le kamele n'goni et ces lointains héritiers que sont la guitare dobro et la guitare slide, jouées ici par Pascal Danaë, co-réalisateur de l'album avec Nicolas Quéré. De cette séquence particulière du confinement, où le temps s'est pour ainsi dire arrêté, où l'artiste comme la femme d'affaires se sont trouvées dans une situation inédite d'isolement, loin du tumulte et des sollicitations incessantes, Oumou a tiré le meilleur. "Depuis 1990, je n'avais jamais eu la possibilité de me couper du monde de la sorte pour me consacrer exclusivement à la musique. De ce point de vue, le confinement a été une chance pour moi car il m'a permis de rester concentrée sur le travail de composition. Je pense que la musique s'en ressent mais aussi les textes qui sont le fruit de moments où j'ai pu me retirer en moi même pour méditer." Jamais ses paroles n'ont en effet accédé à une telle qualité poétique, une telle profondeur. Jamais ne l'a t-on trouvé aussi inspirée à livrer ses réflexions sur les indéchiffrables mystères de l'existence, la situation périlleuse que traverse son pays ou sur la condition des femmes africaines, preuve que même devenue puissante, elle n'a rien renié de ses engagements de jeunesse. Entre l'introspection de Degui N'Kelena, la langueur amoureuse exprimée dans Kanou, la compassion dans Demissimw, l'exaspération dans Kêlê Magni ou la fierté dans Wassulu Don, beaucoup d'états d'âme nourrissent ce disque. Trouvant dans l'habillage sonore réalisé par Danaë et Quéré, qui à la dynamique des rythmes traditionnels du Wassoulou  additionne celle propre au langage musical contemporain, une probante mise en valeur, Timbuktu s'impose ainsi comme le plus ambitieux et abouti d'une discographie déjà émérite.     Si le titre Timbuktu renvoie à l'actualité politique du Mali, pays menacé de désintégration et cherchant dans son histoire, dont cette ville du nord-est le plus puissant symbole, des motifs d'espérer, beaucoup de chansons renvoient à l'expérience singulière de la chanteuse. Quand dans Sira (littéralement "le baobab" en bambara), elle évoque la progéniture de familles érudites et aisées qui, malgré cela, verse dans la délinquance et gâche un avenir prometteur, c'est presque inconsciemment pour souligner par contraste l'exemplarité de sa propre trajectoire… Née à Bamako, le 2 février 1968, Oumou Sangaré est la fille cadette d'une famille appartenant à l'ethnie peule du Wassoulou. Sa mère, Aminata Diakité, est chanteuse comme le fut sa propre mère Noumouténé. Oumou a très peu connu son père, Diari Sangaré, qui a quitté le foyer familial lorsqu'elle avait deux ans. Abandonnée, Aminata se fait alors commerçante pour faire vivre ses quatre enfants. Oumou lui vient en aide en vendant des sachets d'eau dans la rue. Ayant pris l'habitude de suivre sa mère dans les "soumous" (cérémonies nuptiales ou baptismales) que celle-ci anime, elle s'octroie déjà une part de prestige par la clarté et la puissance d'une voix qui, jaillissant d'un corps d'enfant, éblouit l'auditoire. Elle ne tarde d'ailleurs pas à s'accaparer toute la gloire à l'occasion d'un concours interscolaire où elle fait gagner son école du quartier de Douadabougou en chantant devant 3 000 personnes réunies dans le Stade omnisports de Bamako. Passée par l'Ensemble National du Mali et le groupe Djoliba, Oumou a déjà une longue carrière professionnelle derrière elle quand à 18 ans, elle s'apprête à enregistrer à Abidjan sa première cassette produite par Abdoulaye Samassa (qui a dû lui offrir sa propre voiture pour la convaincre d'entrer en studio). Rééditée en CD et vinyle par World Circuit en 2016, la cassette intitulée Moussolou ("les femmes" en bambara) se vend à l'époque à plus de 250 000 exemplaires, un record resté inégalé en Afrique de l'Ouest. Si la musique très dansante caractéristique du Wassoulou l'explique en partie, la raison de ce succès tient beaucoup aux textes chantés, parfois rugit, par cette jeune lionne qui, depuis son plus jeune âge, a dû se battre pour survivre. Se dressant avec fougue contre les abus de la tradition patriarcale, qui autorise la polygamie, le mariage forcé et l'excision, Oumou devient du jour au lendemain l'égérie d'une cause féministe qui n'a aucune assise véritable dans cette partie du monde. Sa carrière et ses enregistrements restent ainsi marqués comme au fer rouge par cette double dimension : être une femme et avoir une origine sociale qui l'a rendue singulièrement sensible à toutes les formes d'injustices. Timbuktu ne fait pas exception. Ainsi Gniani Sara (littéralement "la récompense de la souffrance") renvoie-t-il à son combat de toujours en faveur de la condition féminine. "J'ai osé aborder ce sujet avant tout le monde et même risqué ma vie en le faisant  dit elle aujourd'hui. Ma récompense c'est d'avoir réussi à éveiller les consciences. Surtout au sein de la jeune génération. Voir Aya Nakamura ou Beyoncé me prendre en exemple vaut tous les prix et toutes les distinctions du monde". Pourtant, devenir la plus grande et la plus influente chanteuse africaine vivante ne lui a pas suffi. Depuis trente ans, Oumou s'est aussi illustrée dans le domaine économique et l'action sociale. À la tête de plusieurs entreprises touchant à l'hôtellerie, l'agriculture ou au négoce d'automobiles à travers sa marque Oum Sang, elle emploie actuellement près de 200 personnes à temps plein. Quant à la fondation Oumou Sangaré, créée il y a dix ans pour venir en aide aux femmes et aux enfants en situation difficile, elle parachève pour ainsi dire une œuvre artistique jamais éloignée de convictions humanistes. Élevée au grade de Commandeur de l'Ordre National du Mali, faite Chevalier des Arts et des Lettres de la République Française, Oumou est devenue Ambassadrice de bonne volonté de la F.A.O. (Organisation des Nations unies pour l'alimentation et l'agriculture) en 2003, après avoir reçu le prix de l'UNESCO deux ans plus tôt.     Mais cette réussite, Oumou doit la payer au prix fort. Après avoir subi les blessures de l'enfance parmi les plus cruelles- l'abandon, l'extrême misère- elle doit aujourd'hui se protéger des maux que la notoriété lui attire, la jalousie, la calomnie, la trahison. Autant d'atteintes qu'elle expose dans Sarama, et qu'elle s'encourage à dépasser dans Dily Oumou. En découle la solitude évoquée dans Degui N'Kelena, autour de laquelle se cristallise le thème de la séparation et de la perte qu'elle entend affronter à la manière stoïcienne, accueillant chaque événement avec une lucidité agissante. Une force qu'elle tire intégralement de la musique elle-même, dont la puissance renvoie à celle des chasseurs du Wassoulou qui en sont les inventeurs. En effet, la confrérie de ceux qu'on appelle "Donsow" ("Donso" au singulier) est à l'origine des rythmes utilisés par toutes les chanteuses modernes, elles-mêmes baptisées "kònò" (oiseau). Instrument emblématique de ce répertoire le donso-ngoni,  modernisé en kamel n'goni  (la harpe des jeunes) dans les années 1950, reste à la base de toutes les compositions d'Oumou. Tel un guide chant, celui de Mamadou Sidibé structure l'ensemble des compositions de Timbuktu, comme il attire par sa tonalité pentatonique les superbes développements à la guitare de Pascal Danaë. En utilisant une  Harmony Stratotone sur Wassulu Don (littéralement "la culture du Wassoulou"), un dobro resonator sur Degui N'Kelena et Sarama, ou la technique du bottleneck sur Sira, le musicien semble à chaque fois renvoyer à la sonorité métallique caractéristique du kamel n'gnoni, nouant ainsi une enivrante complicité élective entre les genres musicaux et les continents.  Que surmonter la souffrance et faire face à toutes les adversités traverse l'ensemble du répertoire d'Oumou Sangaré n'est pas un hasard compte tenu de son passé. Cette dominante n'est probablement pas étrangère non plus au fait que lors de cérémonies qui leur sont propres, certains chasseurs s'infligent des sévices pour mieux les dépasser, vont jusqu'à avaler des tisons ardents ou se larder de coups de poignards tout en dansant, tandis que les chanteurs invoquent des forces relevant de la surnature. C'est à cette confiance intraitable que fait référence Wassulu Don. C'est cette culture aux fondements telluriques, à la portée universelle que célèbre ici sa plus célèbre représentante, une chanteuse qui à la manière des plus grandes, Aretha Franklin ou Nina Simone, sublime la douleur et, plus que jamais, éclaire de son génie propre la musique, toute la musique, et pas seulement africaine. "La musique est en moi !", proclame Oumou. "Sans elle je ne suis rien, et rien ne peut me l'enlever ! Dans ce disque j'ai mis ma vie, toute ma vie, cette vie où j'ai connu la faim, l'humiliation de la pauvreté, la peur et dont je tire aujourd'hui la gloire."     Titres diffusés extraits de l'album Timbuktu - Wassulu Don voir le clip - Sira - Degui N'Kelena - Timbuktu Voir le clip Sarama.

Black Country, New Road – Opus (Live from the Queen Elizabeth Hall, 2022) ksak Maboul -    I Viaggi Formano la Gioventú (Un Peu de l'Ame des Bandits, 1980) David Thomas and the Pedestrians – The Crickets in the Flats (The Sound Of The Sand And Other Songs Of The Pedestrian, 1981) Dead Can Dance – Ascension (Spleen and Ideal, 1985) These New Puritans – Organ Eternal (Field of Reeds, 2013) Black Country, New Road – Snow Globes (Ants from Up There, 2022) Faust – So Far (So Far, 1972) This Heat - Horizontal Hold (This Heat, 1979) The Residents – Rest Aria (Meet the Residents, 1974) Tuxedomoon - Fifth Column (Half Mute, 1980) Tuxedomoon – Tritone (Half Mute, 1980)

Now for a round up of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their weekly email newsletter. Audio described shows and events included: Bring it On - Thursday 20 January, 7.30pm, Queen Elizabeth Hall, Southbank Centre, London Waitress - Saturday 29 January, 2.15pm, Curve Leicester Force Majeure - Saturday 29 January, 2.30pm, touch tour 1pm, Donmar Warehouse, London Disney's Beauty and the Beast The Musical - Wednesday 2 February, 7.30pm, Sunderland Empire Pride & Prejudice* (*sort of), Sunday 6 February, 2.30pm, Criterion Theatre, London Nobody - Friday 11February , 7.30pm, Home Manchester To find out more about these and other up-coming audio-described arts events as well as details about how to sign up to the VocalEyes weekly email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Vietnam, ecological worries and poverty and suffering inspired the lyrics in Marvin Gaye's 1971 album What's Going On. Written as a song cycle from the point of view of a war Vet returning home, it was inspired in part by the letters he was receiving from his brother from Vietnam and from his own questions following the 1965 Watts riots. The Nu Civilization Orchestra is performing their version of the album at the London Jazz Festival tomorrow. Matthew Sweet is joined by jazz journalist Kevin Le Gendre, musician Gary Crosby, Dr Althea Legal-Miller - Senior Lecturer in American History & Culture at Canterbury Christ Church university and poet Roy McFarlane The Nu Civilization Orchestra, founded by Gary Crosby, perform their version of the album at the London Jazz Festival at the Queen Elizabeth Hall, Southbank Centre 18th November @7.30pm, with subsequent dates in Birmingham, Liverpool & Canterbury. You can hear a host of programmes featuring performers from the London Jazz Festival on BBC Radio 3 including a special Jazz Through the Night. Free Thinking has a playlist of discussions devoted to influential artworks, books, films, music and plays called Landmarks of Culture with everything from the plays of Lorraine Hansberry to the film Jaws. https://www.bbc.co.uk/programmes/p01jwn44

The Guilty Feminist presented by Deborah Frances-White and Bridget ChristieEpisode 275: Fighting for Hope with special guests Travis Alabanza and Holly Harrison-Mullane with music from She Drew The GunRecorded 11 September at The Queen Elizabeth Hall in London. Released 11 October 2021.Photos by Callum Baker https://callumbakerphoto.comThe Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon.Vote for us in the National Comedy Awards http://www.thenationalcomedyawards.comMore about Deborah Frances-Whitehttp://deborahfrances-white.comhttps://twitter.com/DeborahFWMore about Bridget Christiehttps://twitter.com/bridgetchristiehttps://www.bridgetchristie.co.ukMore about our guestshttps://twitter.com/travisalabanzahttp://travisalabanza.co.ukhttps://www.amnesty.org.ukhttps://twitter.com/shedrewthegunhttps://shedrewthegun.comFor more information about this and other episodes…visit www.guiltyfeminist.comtweet us www.twitter.com/guiltfempodlike our Facebook page www.facebook.com/guiltyfeministcheck out our Instagram www.instagram.com/theguiltyfeministor join our mailing list www.eepurl.com/bRfSPTCome to a live recordingMothers of the Revolution. Wednesday 20 October, 7:00pm. Buy tickets now.Kings Place. Monday 25 October, 7:30pm. Buy tickets now.Kings Place. Thursday 4 November. 7:30pm. Buy tickets now.Thank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist See acast.com/privacy for privacy and opt-out information.

The Guilty Feminist presented by Deborah Frances-White and Kemah BobEpisode 273: Reclaiming Our Joy with special guest Nina Conti and music from Jess RobinsonRecorded 10 September at The Queen Elizabeth Hall in London. Released 27 September 2021.The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon.More about Deborah Frances-White· http://deborahfrances-white.com· https://twitter.com/DeborahFW· https://www.virago.co.uk/the-guilty-feminist-bookMore about Kemah Bob· https://twitter.com/kemahbob· http://kemahbob.comMore about Nina Conti· https://twitter.com/ninaconti· https://www.ninaconti.net/live· https://play.acast.com/s/richard-and-gretaMore about Jess Robinson· https://twitter.com/jessierobinson· https://www.jessrobinson.co.ukFor more information about this and other episodes…· visit www.guiltyfeminist.com· tweet us www.twitter.com/guiltfempod· like our Facebook page www.facebook.com/guiltyfeminist· check out our Instagram www.instagram.com/theguiltyfeminist· or join our mailing list www.eepurl.com/bRfSPTThank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist See acast.com/privacy for privacy and opt-out information.

Saul Williams, Motion and Face2Face host David Peck talk about their new film Akilla's Escape, extended family, lived experience, existence as resistance, racialized capitalism, poetry, art and pushing boundaries and why it may not be a great idea to dabble in hope or cynicism.TrailerFind out more about the film here.Synopsis:Akilla's Escape weaves the present and past in a crime-noir about the urban child-soldier. Set in Toronto and New York where over 450,000 Jamaicans reside, the story speaks to the historical criminalization of black boys that modern society overlooks.Akilla Brown is forty years old and for the first time in his life, the clandestine cannabis grow operation he runs is legit. Only one year into government approvedlegalization, the pendulum of hypocrisy takes a toll and Akilla decides to cash out. While making a routine delivery on a cool, summer night, destiny takes anunexpected turn when Akilla confronts a firestorm of masked youths in an armed robbery.In the aftermath of the heist, Akilla captures one of the thieves, a mute fifteen-year-old boy named Sheppard. Upon learning thebandits are affiliated with the Garrison Army, a Jamaican crime syndicate his grandfather founded. Akilla is forced to reckon with a cycle of violence he thought he escaped.About Saul Williams:Saul Williams came to public attention after the release of the internationally acclaimed film Slam, which he co-wrote and starred in. Slam introduced the world to the Slam poetry movement and won Sundance's Grand Jury Prize and the Cannes Camera D'Or in 1998.Saul holds a B.A. in Philosophy and Drama from Morehouse College and an M.F.A. in acting from NYU's Tisch School of the Arts. He has performed in over 30 countries with invitations that have spanned from the White House, the Sydney Opera House, Lincoln Center, The Louvre, The Getty Center, Queen Elizabeth Hall, to villages, townships, community centers, and prisons across the world.Saul has published five books of poetry and 7 musical albums. On stage, he was chosen for the lead role in Holler If Ya Hear Me, a Broadway musical featuring music by Tupac Shakur and he has appeared in numerous films and television shows. He is currently working on his directorial debut Neptune Frost.Wendy "Motion" BraithwaiteWendy Motion Brathwaite is a Canadian musician, writer and activist from Toronto, Ontario. She is most noted as cowriter with Charles Officer of the screenplay for the 2020 film Akilla's Escape, for which they won the Canadian Screen Award for Best Original Screenplay at the 9th Canadian Screen Awards in 2021.She also wrote the short films A Man's Story (2016) and Theodore (2020) and has worked as a story editor on the television series Coroner.She has performed as a hip hop artist and spoken word poet under the stage name Motion, and released the CD Motion in Poetry: The Audio Xperience and has also published the poetry collections Motion in Poetry and 40 Dayz, and has written theatrical plays including Oraltorio: A Theatrical Mixtape, 4our Woman, Aneemah's Spot, Loveleigh's Logue, Nightmare Dream and Rebirth of the Afronauts: A Black Space Odyssey.Image Copyright and Credit: Cane Sugar FilmWorks.F2F Music and Image Copyright: David Peck and Face2Face. Used with permission.For more information about David Peck's podcasting, writing and public speaking please visit his site here.With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

Kim's  career has taken her from Broadway to the West End to the international concert stage, resulting in a most unusual career path unmatched by any other singer. She continues to specialize in musical theatre, bringing the classic American songbook to leading music venues across the world, both in symphony settings and recital.  She has sung at La Scala in Milan, La Fenice in Venice, the Teatro di San Carlo in Naples, the Accademia Nazionale Santa Cecilia in Rome, the Théâtre du Châtelet and the Opéra Comique in Paris, Concertgebauw in Amsterdam, Carnegie (Weill) Recital Hall in New York, the Musikverein, Konzerthaus and Volksoper in Vienna, the Berliner Philharmonie, the Teatro Nacional de São Carlos in Lisbon, the Snape Maltings Concert Hall in Aldeburgh, and the Mariinsky Theatre in St. Petersburg, not to mention multiple appearances in London at the Wigmore Hall, the Royal Albert Hall, the Barbican, the Royal Festival Hall, the Queen Elizabeth Hall, the Purcell Rooms, Cadogan Hall, and the Linbury Studios at the Royal Opera House, and elsewhere, from Reykjavik, Helsinki, Leipzig and Kaiserslautern, to Athens, Essen, Gothenburg and Bremen, to Tel Aviv, Jerusalem, Hong Kong, Malta, Montpellier, and Moscow, giving her a unique platform among interpreters of the musical theatre repertoire.She has had the pleasure of singing with many of the world's greatest symphony orchestras, ranging from the Berlin Philharmonic and City of Birmingham Symphony Orchestras conducted by Sir Simon Rattle, with whom she has recorded Leonard Bernstein's Wonderful Town in a version that then was repeated as a BBC Proms concert, and as the New Year's Eve Gala in Berlin, to the London Symphony Orchestra, the London Philharmonic Orchestra, the Philharmonia and London Sinfonietta, the Liverpool Philharmonic, the Northern Sinfonia, the Leipzig Gewandhaus, the Orchestre National de Lyon, the Orchestre de Picardie, the Orchestra della Toscana, the Hong Kong Philharmonic, the Toronto and Winnipeg Symphonies, and many, many more. Kim has formed several lasting musical partnerships over the years, leading to both concert and recording opportunities. Conductor/music historian John McGlinn brought her to EMI Classics, which led to several recordings and a personal recording contract, as well as many symphony concerts across America and Europe. With conductor John Wilson, she has explored the world of film music across the UK in concert, including the very popular MGM and Rodgers and Hammerstein Proms concerts, and several solo evenings. Her ongoing recital partnership with conductor/pianist Wayne Marshall has taken the pair to many of the great concert venues in Europe, both as recitalists and in full symphony settings.  Other conductors she has appeared with include Kristjan Jarvi, , Leonard Slatkin, Marin Alsop, Yutaka Sado, Keith Lockhart, Ulf Schirmer, John Axelrod, Kevin Farrell, Carl Davis and Richard Hickox, to name a few.Critically acclaimed for playing “Annie Oakley” in Annie Get Your Gun at London's Prince of Wales Theatre, for which she earned a Olivier Award nomination for Best Actress in a Musical, and for her role as “The Old Lady” in Robert Carsen's productions of Candide at La Scala and the Théâtre du Châtelet, she has also won a Helen Hayes Award for her work in Side by Side by Sondheim. She also starred as “Sally Adams” in Call Me Madam at the Goodspeed Opera House, singing the role of “The Old Lady” in Candide at Chicago's Ravinia Festival, and co-starring with Joseph Fiennes and Charles Edwards in Happy Days in the Art World at NYU's Skirball Center in New York.Kim's Broadway credits include starring as “Lucy”, opposite Sting, in the 3 Penny Opera directed by John Dexter, and appearing in the original Broadway cast of 1982 Best Musical Tony winner Nine, first as Francesca, then taking over the leading role of Claudia. Other Broadway original cast credits include The First, Baby and Star

The Southbank Undercroft is a space under the Queen Elizabeth Hall of the Southbank Centre that has been a very popular with skateboarders and graffiti artists for over four decades. The Undercroft was completed in the 1960s and became popular with skateboarders in the 1970s. Over the years it has been covered and re-covered in graffiti and contains work created by thousands of artists over the years. The history of the Undercroft was made famous by Winston Whitter's documentary Rollin Through the Decades (2005) which focused on the history of UK skateboarding from the 1970s to the mid-2000s. In 2013, the planned redevelopment of the area endangered the Undercroft but skaters and local enthusiasts campaigned and fought to safeguard the site, through the non-profit organisation Long Live Southbank (LLSB), and won.

Synopsis In the 1980s, the Finnish Broadcasting Company had come up with the idea of commissioning a whole evening’s worth of orchestral pieces by native composer Einojuhanni Rautavaara, which, when taken together, would form a conventional concert program of overture, concerto and symphony. These three works have come to be called the “Angel Trilogy,” since each of them has a title with the word “Angel” in it. Rautavaara’s Fifth Symphony, with the working title “Monologue with Angels,” premiered on today’s date in 1986, was originally to be the symphonic conclusion of this triple commission. But Rautavaara dropped the title, and his Symphony No. 7, subtitled “Angel of Light,” ended up being the third part of the “Angel Trilogy,” alongside an overture entitled “Angels and Visitations” and a double-bass concerto entitled “Angel of Dusk.” If you asked the mystical Rautavaara why he changed his mind, he would probably have said it really wasn’t HIS idea at all. Rautavaara believed that his compositions already existed in ‘another reality,’ as he said, and his job was just to bring it into our world in one piece. "I firmly believe that compositions have a will of their own,” he said, “even though some people smile at the concept.” Music Played in Today's Program Einojuhani Rautavaara (1928 - 2016) Symphony No. 5 Leipzig Radio Symphony; Max Pommer, cond. BMG 62671 On This Day Births 1885 - German conductor and composer, Otto Klemperer, in Breslau; 1917 - American composer Lou Harrison, in Portland, Ore.; Deaths 1847 - German composer Fanny Mendelssohn Hensel, age 41, in Berlin; She was the sister of Felix Mendelssohn; Premieres 1723 - Handel: opera "Flavio, re de' Langobardi" (Flavio, King of the Langobards), in London at the King's Theater in the Haymarket (Gregorian date: May 25); 1832 - Mendelssohn: "Hebrides" Overture ("Fingal's Cave"), in London, conducted by the composer; 1914 - R. Strauss: ballet "Josephslegende," in Paris; 1919 - Debussy: Saxophone Rhapsody (orchestral version by Roger-Ducasse), at a Société Nationale de Musique concert conducted by André Caplet at the Salle Gaveau in Paris; 1923 - Holst: "The Perfect Fool," in London at Covent Garden Opera House; 1941 - Cage: "Third Construction" for four percussionists, in San Francisco; 1942 - Copland: "Lincoln Portrait," by the Cincinnati Symphony conducted by André Kostelanetz, with William Adams the narrator; 1953 - American premiere of Stravinsky's opera, "The Rake's Progress," at the Metropolitan Opera in New York, with the composer conducting; The world premiere performance occurred on September 11, 1951, in Venice, again with the composer conducting; 1966 - Ginastera: "Concerto per Corde," by the Philadelphia Orchestra, Eugene Ormandy conducting; 1986 - Rautavaara: Symphony No. 5, in Helsinki, by Finnish Radio Symphony, Esa-Pekka Salonen conducting; 1987 - Alvin Singleton: "Shadows" for orchestra. By the Atlanta Symphony, Robert Shaw conducting; 1992 - James MacMillan: "Sinfonietta" at Queen Elizabeth Hall in London, by the London Sinfonietta, Martyn Brabbins conducting; 1993 - Philip Glass: opera "Orphée" (based on the Jean Cocteau film), by the American Repertory Theater in Cambridge, Mass.; Others 1719 - Handel is commanded by the Lord Chamberlain (Thomas Holles, Duke of Newcastle), to hire singers for the recently established Royal Academy of Music's productions of Italian operas (Gregorian date: May 25); 1974 - Final London concert performance by conductor Leopold Stokowski, age 92 conducting the New Philharmonia Orchestra at Royal Albert Hall: The program was Symphony No. 4 by Brahms, the "Fantasia on a Theme by Thomas Tallis" by Vaughan Williams, the "Merry Waltz" by Otto Klemperer, and the "Rapsodie espagnole" by Ravel; This was not Stokowski's "final" concert appearance, however; He was on the podium again in Venice in July of that year, and continued to make studio recordings; He died on September 13, 1977, at the age of 95 in his house in Nether Wallop, Hampshire, England; Links and Resources On Rautavaara Rautavaara NYTimes obit

Synopsis In the 1980s, the Finnish Broadcasting Company had come up with the idea of commissioning a whole evening’s worth of orchestral pieces by native composer Einojuhanni Rautavaara, which, when taken together, would form a conventional concert program of overture, concerto and symphony. These three works have come to be called the “Angel Trilogy,” since each of them has a title with the word “Angel” in it. Rautavaara’s Fifth Symphony, with the working title “Monologue with Angels,” premiered on today’s date in 1986, was originally to be the symphonic conclusion of this triple commission. But Rautavaara dropped the title, and his Symphony No. 7, subtitled “Angel of Light,” ended up being the third part of the “Angel Trilogy,” alongside an overture entitled “Angels and Visitations” and a double-bass concerto entitled “Angel of Dusk.” If you asked the mystical Rautavaara why he changed his mind, he would probably have said it really wasn’t HIS idea at all. Rautavaara believed that his compositions already existed in ‘another reality,’ as he said, and his job was just to bring it into our world in one piece. "I firmly believe that compositions have a will of their own,” he said, “even though some people smile at the concept.” Music Played in Today's Program Einojuhani Rautavaara (1928 - 2016) Symphony No. 5 Leipzig Radio Symphony; Max Pommer, cond. BMG 62671 On This Day Births 1885 - German conductor and composer, Otto Klemperer, in Breslau; 1917 - American composer Lou Harrison, in Portland, Ore.; Deaths 1847 - German composer Fanny Mendelssohn Hensel, age 41, in Berlin; She was the sister of Felix Mendelssohn; Premieres 1723 - Handel: opera "Flavio, re de' Langobardi" (Flavio, King of the Langobards), in London at the King's Theater in the Haymarket (Gregorian date: May 25); 1832 - Mendelssohn: "Hebrides" Overture ("Fingal's Cave"), in London, conducted by the composer; 1914 - R. Strauss: ballet "Josephslegende," in Paris; 1919 - Debussy: Saxophone Rhapsody (orchestral version by Roger-Ducasse), at a Société Nationale de Musique concert conducted by André Caplet at the Salle Gaveau in Paris; 1923 - Holst: "The Perfect Fool," in London at Covent Garden Opera House; 1941 - Cage: "Third Construction" for four percussionists, in San Francisco; 1942 - Copland: "Lincoln Portrait," by the Cincinnati Symphony conducted by André Kostelanetz, with William Adams the narrator; 1953 - American premiere of Stravinsky's opera, "The Rake's Progress," at the Metropolitan Opera in New York, with the composer conducting; The world premiere performance occurred on September 11, 1951, in Venice, again with the composer conducting; 1966 - Ginastera: "Concerto per Corde," by the Philadelphia Orchestra, Eugene Ormandy conducting; 1986 - Rautavaara: Symphony No. 5, in Helsinki, by Finnish Radio Symphony, Esa-Pekka Salonen conducting; 1987 - Alvin Singleton: "Shadows" for orchestra. By the Atlanta Symphony, Robert Shaw conducting; 1992 - James MacMillan: "Sinfonietta" at Queen Elizabeth Hall in London, by the London Sinfonietta, Martyn Brabbins conducting; 1993 - Philip Glass: opera "Orphée" (based on the Jean Cocteau film), by the American Repertory Theater in Cambridge, Mass.; Others 1719 - Handel is commanded by the Lord Chamberlain (Thomas Holles, Duke of Newcastle), to hire singers for the recently established Royal Academy of Music's productions of Italian operas (Gregorian date: May 25); 1974 - Final London concert performance by conductor Leopold Stokowski, age 92 conducting the New Philharmonia Orchestra at Royal Albert Hall: The program was Symphony No. 4 by Brahms, the "Fantasia on a Theme by Thomas Tallis" by Vaughan Williams, the "Merry Waltz" by Otto Klemperer, and the "Rapsodie espagnole" by Ravel; This was not Stokowski's "final" concert appearance, however; He was on the podium again in Venice in July of that year, and continued to make studio recordings; He died on September 13, 1977, at the age of 95 in his house in Nether Wallop, Hampshire, England; Links and Resources On Rautavaara Rautavaara NYTimes obit

Tanya Bannister is among the leading pianists of her generation. The Washington post has reviewed her playing as “with intelligence, poetry and proportion”. She has played many of the world’s great concert halls, including Teatro Communale in Bologna Italy, Tokyo’s Nikkei Hall, London’s Queen Elizabeth Hall, The Kennedy Center in Washington DC, and Carnegie Hall in NYC.Tanya has carved a dynamic career path as both a classical musician dedicated to excellence in tradition as well as a leader and entrepreneur who seeks to create musical projects that inspire connections between music and the world we live in. She is the current President of the Concert Artists Guild which identifies and develops young artists, helping them launch careers that are sustainable and unique and of service to our world. She is also the co-founder and Artistic Director of AlpenKammerMusik in Austria  and also co-founder of Roadmaps Festival in New York City, an artistic, humanitarian and cultural venture. Tanya has been a winner of the Concert Artists Guild International Competition and the New Orleans International Piano Competition.Born to an English father and Japanese mother, Tanya started her musical education in Hong Kong  at the age of 5 and continued in London, Italy, Germany and the USA.  She holds degrees from the Royal Academy of Music in London and also studied at Yale University, and New York’s Mannes School of Music.In this episode we will be talking about her path to self-actualization,  dealing with discomfort on the journey to  excellence, trusting in the process, grit, the rewards that come from consistent practice, dealing with ego, and finding stillness in your day.For more from Tanya, visit her website: www.tanyabannister.com  and follow her on Instagram: @tanyabpiano--Follow  the Her Mindset Community on Social Media:Facebook -  InstagramHMC Official Website: www.HerMindsetCommunity.comFor more from Host Pooja Mottl: www.PoojaMottl.comPodcast Producer: www.Go-ToProductions.com  

Our enjoyment of an event is heightened simply by sharing it with others. It's the reason we love gigs, cinemas, theatres - you name it! Indeed, our love of shared experiences is what brings five million visitors a year to London's Southbank Centre. The centre comprises three main performance venues, the Royal Festival Hall, the Queen Elizabeth Hall and the Purcell Room. Sadly recent global events have put a pause on its programme of music, dance and literature. Elaine Bedell, CEO of the Southbank Centre, tells us how it's coping in the midst of lockdown and the pandemic. She brings us an insight into how the centre's offering has changed to cater for an online audience, and how the move to digital has actually increased its audience. In this episode, learn how the emotional attachments we hold for places change with time and circumstance, find out why it's important to establish a community around your work, and discover why we should never say “but we've always done it this way”. Also in the episode we shout out Paul Kerensa's podcast ‘The British Broadcasting Century' - listen here. var podscribeEmbedVars = { epGuid: 'behindthespine.podbean.com/8d1525e6-64f9-3da8-90b5-156284fd50d5', rssUrl: 'https://feed.podbean.com/behindthespine/feed.xml', backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };

In this weeks episode I am speaking to Jamie Windust. Jamie is an award-winning editor, writer, speaker, model, and activist (a true multi-hyphenated-multi-talented Gen Z). Jamie is an invincible voice for change within the fashion and beauty industries, having modelled for Gucci, LOVE Magazine, and DB Berden, alongside their magazine FRUITCAKE winning Graduate Fashion Week in London, in 2018, which has now been sold in countries all over the world. Jamie has written for national publications such as Metro UK, The Independent and Gay Times, and in December, 2019, was asked to speak at the 2nd TEDxLondon Womens' event at The Queen Elizabeth Hall. A very important talk to listen to - the link is below. Excitingly Jamie has recently released their first debut book, In Their Shoes, which on its very first day already shot to the top of the charts. In this episode Jamie touches on how they had to navigate an identity they weren’t given any example of - coming from a small, rural town - alongside a family who had yet to understand the fluidity of gender beyond societies conformities. Luckily, Jamie managed to start blogging their experiences online and found not only a voice, but also a community of like-minded people, and a place and reassurance of their own identity. Jamie is a delight of a person, and this episode was a true joy to record....enjoy! Links: For Jamie’s TedxLondon: www.youtube.com/watch?v=s-feXLvBscc For Jamie’s book ‘In Their Shoes’: www.waterstones.com/book/in-their-shoes/jamie-windust/9781787752429 * If you liked to claim for first free box of organic tampons and pads from our episodes collaborators, Ohne, as well as some other Ohne goods, here is the link: https://ohne.com/?rfsn=4866435.6a8fd7 * If you like what you hear, it would be so appreciated if you could rate, review and subscribe as we love hearing your thoughts and feedback, and it helps get the podcast to reach more ears. * Created | Hosted | Produced by Angharad George-Carey Mastered and Compressed | by Worgie Productions Music | by Julietta * Social Media: Angharad George-Carey @angharadgeorgecarey Daddy Issues Podcast @thedaddyissuespodcast Jamie Windust @jamie_windust * If you'd like to seek guidance and support for any issues raised in the episodes there are three websites we would recommend depending on your individual needs: www.juliasamuel.co.uk JULIA SAMUEL MBE www.blackmindsmatteruk.com BLACK MINDS MATTER www.griefuntangled.com GREIF UNTANGLED www.thecalmzone.net CALM * We love hearing from you! To contact us, email thedaddyissuespod@gmail.com

Puppeteer operating Zippy for 20 years on TV and worked with many of Great Britain's Company's. Cast of Labyrinth, Dark Crystal Age of Resistance. GET HIS BOOK "Zippy and me": https://www.amazon.fr/Zippy-Me-Britains-Infamous-English-ebook/dp/B07NRYZQBC Ronnie was born in Toronto, Canada and trained at the Little Angel Theatre, London under John Wright. His association With the Little Angel spans over thirty years as performer, and later as director. Other theatre credits have included Ala-al-din (Clifford Heap Miniature Theatre UK Tour) Through Wooden Eyes (Hogarth Puppets UK Tour) Han's the Bell Ringer (Oxford Play House and Civic Theatre Darlington.) Angelo (Purcell Room, London) Soldiers Tale, The Box of Toys, Amahl and the Night Visitors, Genevieve De Brabant, Reynard the Fox. (Queen Elizabeth Hall, London and Norwich Puppet Theatre.) Cinderella, Frog Prince, Peter and the Wolf, Pinocchio, (Midlands Arts Centre, Birmingham.) and Polynesia in Doctor Dolittle UK Tour Scottish Arts Council Funded Tours, and visits to America, Israel, Denmark, France, Belgium and Czechoslovakia followed. However he is probably best known as "Zippy "from ITV's Rainbow and later Rainbow Days. As Zippy, Ronnie has appeared On The Jim Davidson Show (Thames), The Generation Game (BBC), Channel 5's Night Fever, The Jonathan Ross Show (Channel 4), The World of Puppets (BBC), The Greatest 100 Kids TV Shows (Channel 4), as well as appearances at the Fridge, The Hammersmith Pallais, as well numerous Universities, Night Clubs, and Discos, all over Great Britain with the Rainbow Disco Road Show and Rainbow's Play Your Cards Right. Ronnie receives Harlequin Award from Peter Charlton Film appearances include, The Naked Runner which starred the late Frank Sinatra, A Dandy in Aspic, Labyrinth, Muppet Christmas Carol, Muppet Treasure Island, and The Little Shop of Horrors. Commercials include Round tree's Jelly Tots, Harvest Crunch, American Yellow Page's, London Docklands Crows and even one for a Swedish Toilet Roll. The most enjoyable would be for the Ideal Home Exhibition in the seventies, where he operated the original Bill and Ben ...The flower pot men! He has taught at Little Angel Theatre, Central School of Speech and Drama, and founded The London School of Puppetry with his partner Caroline Astell-Burt. When time permits, Ronnie performs his one man puppet shows for young children. Learn more about him at : ✅WEBSITE: http://www.ronnieledrew.com/ ✅FACEBOOK: https://www.facebook.com/ronnie.ledrew ✅INSTAGRAM: https://www.instagram.com/sndodo/ ✅YOUTUBE: https://www.youtube.com/channel/UCErPnJhiH1YXwonMRaPh2rg. ✅TWITTER: https://twitter.com/Punchand ____________________________ Hosted by Caroline Bernier-Dionne (CaroBD) DID YOU SUBSCRIBE TO OUR PATREON YET? Have a look:

Hannah Kendall is a composer whose work has been described as ‘…intricately and skillfully wrought’ by The Sunday Times. Her music has attracted the attentions of the London Philharmonic Orchestra, BBC Singers, Seattle Symphony Orchestra and Atlanta Symphony Orchestra, with performances at the Royal Festival Hall, Queen Elizabeth Hall, The Royal Opera House's Linbury Studio Theatre, Westminster, Canterbury, Gloucester and St Paul’s Cathedrals, Westminster Abbey and Cheltenham Music Festival. TAK was lucky enough to work with Hannah in early 2020 when we were in residence at Columbia University, where she is currently a Doctoral Fellow. On today’s episode, Hannah speaks with vocalist, movement artist and composer Elaine Mitchener, who has performed at venues including Aldeburgh Music, London Contemporary Music Festival, 56th Venice Biennale, ULTIMA Festival, and La Monnaie, and with musicians such as Moor Mother, Christian Marclay, Apartment House, George Lewis and Evan Parker. Hannah Kendall’s website: https://hannahkendall.co.uk/ Catch The Knife of Dawn / Royal Opera House performance on Oct. 24: https://www.roh.org.uk/tickets-and-events/new-dark-age-details Elaine Mitchener’s website: https://www.elainemitchener.com Watch SWEET TOOTH: https://www.elainemitchener.com/sweet-tooth Hear her recent performance at Donaueschinger Musiktage: https://www.swr.de/swr2/musik-klassik/-radiokonzert-elaine-mitchener-und-das-ensemble-mam-mit-auffuehrungen-zu-texten-der-jamaikanischen-schriftstellerin-sylvia-wynter-100.html Catch her Oct. 28 performance live on BBC radio3: https://londonsinfonietta.org.uk/whats-on/yet-unheard

Head of contemporary music at London's iconic Southbank Centre Bengi Unsal, gives us an insight into how Europe's largest arts & culture institution has adapted to the issues that COVID-19 has brought. Bengi manages and programmes over 200 shows a year at the Southbank's Royal Festival Hall, Queen Elizabeth Hall & Purcell room, as well as managing it's legendary Meltdown Festival, which is the longest running Artist Curated in the world, with artists such as David Bowie, Yoko Ono, Nile Rodgers, David Byrne and currently Grace Jones directing the festival. This year's effects on the Southbank Centre having been huge, so it was fascinating to discuss how the great institution has been adapting with Bengi.

Our Amplify Producer, Craig, has been holed up in his makeshift bedroom studio talking to a host of exciting artists of national and international renown. These conversations cover career and process as well as offering a few exciting ideas to explore from home during this time of Social Distancing. Today’s guest is theatre director, Lucy Bailey.Lucy Bailey is a theatre director who co-founded and was the co-artistic director of The Print Room. Recently, she has directed a staggering production of Agatha Christie’s Witness For The Prosecution at London County Hall, immersing the audience into the text, as well as a UK Tour of Gaslight starring Martin Shaw.Other work includes: Ghosts (Northampton Royal and Derngate), Love from a Stranger (Northampton Royal and Derngate, and UK Tour), Cave (Printworks, Rotherhithe), The Graduate (Leeds Playhouse, Leicester Curve and UK Tour), Comus (Shakespeare’s Globe, Sam Wanamaker Playhouse) and Kenny Morgan (world premiere and revival, Arcola Theatre).Opera and Musical Theatre: Lucy co-founded and was the Artistic Director of The Gogmagogs – a music theatre ensemble of string players. She has conceived and directed many shows including: The Gogmagogs Gumbo Jumbo (Greenwich Theatre and International Tour), Troy Town (BAC and Riverside Studio), The Fool (Norwich Festival and Queen Elizabeth Hall), Introducing the Gogmagogs (ICA Theatre and Royal Court), Let’s Begin Again (World premiere – Norwich Festival), Jenufa (ENO/London Coliseum).If you’ve enjoyed today’s podcast, please consider donating to our Curtain Up Appeal, to ensure we can keep creating new work for audiences to enjoy: https://www.nottinghamplayhouse.co.uk/support/curtain-up-appeal/​​

Inua Ellams is many things – he's a poet, playwright, a creator of community, graphic artist and designer. He's moved, entertained and challenged audiences around the world, on stages from Queen Elizabeth Hall and the Sydney Opera House to the Glastonbury Festival. Inua is an ambassador for the Ministry of Stories, a Fellow of the Royal Society of Literature and has published various prize-winning books of poetry. His most recent book is ‘The Half-God of Rainfall' that ‘The Guardian' described as ‘a playful, epic contemporary retooling of Greek mythology…a story of feuding gods and journeys to the edge of the universe'. As with his poetry, his plays have been critically acclaimed. ‘The Barber Shop Chronicles' for example, sold out two runs at The National Theatre and was recently one of the special selection of works live streamed and made accessible for a period during the pandemic. Inua is also the founder of Midnight Run, a nocturnal urban excursion. He's undertaken several commissions, for places like the Tate Modern, Soho Theatre and the BBC and he also runs a R.A.P. Party for poets to read work inspired by hip-hop.Inua's new book of poetry is called ‘The Actual', and as Bernardine Evaristo said 'This is what poetry looks like when you have nothing to lose, when you speak from the heart, when you have spent years honing your craft so that you can be free. This is what poetry looks like when you are a word sorcerer, a linguistic swordsman, a metaphor-dazzler, a passionate creator of poetry as fire, as lament, as beauty, as reflection, as argument, as home. I was blown away by this book'.www.inuaellams.comListen to the audio documentary: https://www.bbc.co.uk/sounds/play/m000m5lt

Grammy-winning hitmaker Nile Rodgers and legendary manager Merck Mercuriadis join Simon and Brian onstage at the Southbank Centre's Queen Elizabeth Hall during the 2019 Meltdown festival. The pair share insights into the art and business of songwriting through their work together on the Hipgnosis Songs Fund Limited, and Nile takes up his guitar to demonstrate how he wrote classic hits for artists like Sister Sledge, Diana Ross and David Bowie. Nile was also the guest for episode 123 of this podcast.

This Episode: We eat Vegan Cheese, drink wine and Talk about NYJO, Practice, Composition, our favourite ECM recording and our love for George Martin, among other things! Tom Ridout GIGS : Tristan Malliot Quartet (18th Feb- Olivers Jazz Bar, 20th Feb- Karamel)Patchwork Jazz Orchestra- (21st Feb)"Handel On Jazz"- (12th March- Aylesbury)NYJO Nonet- (15th March- Barnes Festival)Tom Ridout: Award winning saxophonist Tom Ridout was predicted by Jazzwise Magazine in 2012 as an upcoming jazz musician to watch out for. A finalist in the 2016 BBC Young Musician Jazz Award, recent graduate from the prestigious Royal Academy of Music, recent winner of the Lancaster Jazz Festival Youth Jazz Commission 2018 and a recent member of NYJO (the National Youth Jazz Orchestra), Tom is a prolific composer who fronts his own bands playing his original compositions.Tom has performed at many venues across the country including Ronnie Scotts (both with his own Quintet and NYJO), The 606, Barbican Centre, Queen Elizabeth Hall, Buckingham Palace, Sage Theatre in Gateshead and many others. He is also on NYJO's latest album, ‘NYJO Fifty'.As an in demand saxophonist, performing with many different musicians and bands, recent highlights have included; various Clark Tracey ensembles, Patchwork Jazz orchestra tour and the ‘Tribute to Jon Hiseman' gig at Shepherds Bush Empire followed by the ‘In Memory of Jon Hiseman' gig in Hamburg, both with the iconic prog rock band Colosseum.In 2018 Tom released his debut album “No Excuses”, which features a 13 piece band including traditional jazz instrumentation with a string quartet and brass trio.The album had a fantastic launch at The Vortex Jazz Club, London to a sold out audience on Jan 2nd 2018 which was followed later in the year with a successful small tour of the country. Tracks from the album have been played on Jazz FM many times, as well as on The Jazz Report, TNGC Radio, Sennhesier Sunday Jazz Session and Radio 3's ‘Jazz Record Requests' and ‘Jazz Now' show accompanying an interview with Tom. The album has a 4 star review in allaboutjazz.com, and Tom was featured in a 3 page interview in Recorder magazine in the Dec 2017/Jan 2018 issue; “His debut album is a fantastic showcase of the versatility of his writing, ability and imagination”.Whilst at RAM, Tom studied with revered musicians such as Stan Sulzmann, Martin Speake, Iain Ballamy, Jean Toussaint and Gareth Lockrane, and through being at the Academy and in NYJO has had the opportunity to perform with the likes of Gregory Porter, Nikki Iles, Gwilym Simcock and Dave Holland.Tom has been the recipient of The Craig Ball Award, the Richard Turner Jazz Fund Award, Lancaster Jazz Festival Youth Commission and the Essentially Ellington Outstanding Soloist Award.Giles Thornton: Giles is a composer/arranger based in London who has recently worked with as an arranger and musical supervisor for “Adventures In The American Songbook”, performed by postgraduate vocal studies students from the Guildhall School Of Music And Drama . He has also worked as in the music team for the Heritage Orchestra BBC Prom “New York: Sound Of A City”. Recently graduating from Guildhall School Of Music And Drama, studying Jazz Composition and Arranging, Giles released his debut big band album, "Be In Today" in July 2018.Giles' original compositions are influenced by Vince Mendoza, Maria Schneider, Gill Evans and Mike Walker, among others.He has performed in prestigious venues , such as The Royal Albert Hall, Sadler's Wells, LSO St Lukes, Milton Court Concert Hall and The Barbican Hall.Giles has worked with many artists, such as Jules Buckley, James McMillan, Liane Carroll and Evan Jolly, among others.https://open.spotify.com/album/2EqLKK40CAJc1eZ8uwxrtZ?si=-4TSuIPKQlCc14zj3bAn6Q

The name Highlife is thought to have been coined in the early 20th Century when people on the streets outside clubs reserved for the Gold Coast elite observed the elegant clothes and dancing of the customers inside. Dance band Highlife is just one element of the music which has soaked up all manner of cultural traffic that has marked this part of West Africa. Military bands, gospel, calypso, folk music, ragtime, jazz, reggae, hip hop have all left their imprint on Highlife in a dizzying back-and-forth between Africa and the New World. When the Gold Coast became the independent state of Ghana in 1957, the music became associated with the search for a national identity. Ghana's first president, Kwame Nkrumah, made Highlife the national dance music, a move that was copied by other emerging nations of West Africa. But from its heyday in the 1960s and '70s, Highlife fell on hard times when a military regime came to power and imposed a curfew. Many musicians left the country to pursue their careers elsewhere. But Highlife proved once more that it could take on new influences, even in exile, and today it is the backdrop to the popular Highlife genre. With the help of musical examples, Rajan Datar and guests will explore how Highlife works, and discuss how it has grown from its origins in the towns of the Gold Coast to become a commercial success the world over. Joining Rajan will be guitarist and singer Kari Bannerman, percussionist Oheneba Kofi Adu, producer of the long-running American radio show Afropop Worldwide, Banning Eyre, and Dr Nana Amoah-Ramey, author of Female Highlife Performers in Ghana: Expression, Resistance and Advocacy. (Phoito: Osibisa performing live in The Front Room of the Queen Elizabeth Hall, London)

  In another first for the Cinematologists, we are hugely excited to present The Lobster with a live score from the classical group the Solem Quartet and in association with Picturehouses cinemas. Live cinema events featuring musical accompaniments are becoming more prevalent as part of the auditorium experience; they echo cinema's past but also a look to the future as audiences seek out material experiences that go beyond or add onto traditional screenings, and perhaps look for a break from the digital. This event took place at the beautiful Gate Cinema in Notting Hill, to a packed house, with Dario introducing the event and discussing the production with the musicians in a post-screening Q&A. Devised, arranged and performed by The Solem Quartet the screening included classic pieces including Beethoven op. 18/1, Shostakovich Quartet no. 8, Schnittke Quartet no. 2, Schnittke Quintet for Piano and Strings, Stravinsky 3 Pieces for String Quartet, Britten Quartet no. 1, Strauss Don Quixote. The music underscores beautifully the dark humour and surrealist milieu of Lanthimos' social satire.  Winner of the 2014 Royal Over-Seas League Ensemble Competition, the Solem Quartet was formed in 2011 at the University of Manchester. The Quartet takes its name from the university's motto "arduus ad solem", meaning "striving towards the sun". The quartet enjoys a busy concert schedule performing at venues both across the UK – including Wigmore Hall, Queen Elizabeth Hall, Bridgewater Hall and Holywell Music Room – and internationally. In keeping with its name, the Solem Quartet’s first project was to play the Haydn Op. 20 “Sun” Quartets. Their repertoire is extensive, spanning the period from early Haydn to a broad spectrum of living composers including Larry Goves, Anna Meredith, John Luther Adams and Emily Howard, whose quartet ‘Afference’ they performed in a BBC Proms Extra broadcast, live on BBC Radio 3.  There are still dates available for upcoming live scorings of The Lobster. Click here for details  You can also listen to The Cinematologists here: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Our Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

In this bonus episode listen to the Q&A with Sanjoy Roy and Shobana Jeyasingh on stage at the Queen Elizabeth Hall, Southbank Centre, after the London premiere of Staging Schiele on 4 November 2019. This accompanies Episode 5 of Surface Tension which charts the process of creation, rehearsal and touring of Staging Schiele.

Accompanying the full-length online broadcast of Shobana Jeyasingh's latest work, Staging Schiele (available until the end of 2019), Episode 5 of Surface Tension charts the process of creation, rehearsal and touring of the piece. Presenter Sanjoy Roy introduces the latest production which the company have just toured, Staging Schiele and talks to Shobana about the origins of the piece and how her interest in the life, work and death of Egon Schiele was sparked. Conversation covers the rehearsal process, what parts of Schiele’s life and paintings were reflected in the choreography and themes of the male artist and the female nude. Shobana describes the sections of the piece: Mirror / Doppleganger / In the Studio (later called Radical Nude / Censor / Relationships (Schiele with his mother, wife and muse). We jump back to May 2019, when Shobana and company were in the research and development phase for the piece. We talk to company dancer Dane Hurst, who took on the Schiele role, about the research period and using imagery to inspire movement. Fast forward to September 2019, when Sanjoy caught up with Shobana whilst she was making changes to the storyline. Then we hear from composer Orlando Gough, where he talks about the notion of anxiety and how to incorporate it within the music. The music is almost all sung, whispered and shouted by one male voice, which we assume to be Schiele. Next we chat to menswear designers COTTWEILER: Ben Cottrell and Matthew Dainty who talk about getting a feel for Shobana’s take on Staging Schiele, research processes and meeting the dancers before starting to design the costumes. They take into consideration how possible fabrics react to the lighting, stage and set in a very detailed way. Ben Cullen Williams, visual artist, describes his approach to designing the set, a location for the piece. He designed the steel frame structure to be collapsable and flatpack so it could fit in a van. The set provided a structure for the piece but also the psychological state of Schiele which the dancers existed in. The lighting was designed to give a sense of disturbance, unease and anxiety with constant flickering and twitching in and around the set. November 2019, in the foyer of Queen Elizabeth Hall after the London Premiere of Staging Schiele Sanjoy interviews Orlando Gough about the ‘most intense dance piece I’ve ever seen’. Dancers Catarina Carvalho, Dane Hurst and Estela Merlos talk about performing across the duration of the tour, injuries, how they supported each other and how the tone of the piece matured and changed. Finally we talk to Shobana after the performance, about the audience reaction and energy in the auditorium, the challenges of putting on a show, the creative team achieved, and the ’synergy of vision amongst the creative collaborators’ on Staging Schiele.

The live tour hits The Queen Elizabeth Hall in London with Ore and Portia Oduba. See acast.com/privacy for privacy and opt-out information.

Vamos a ver, ¿por qué una guerra en Oriente Medio iba a desestabilizar el mundo de la música? ¿Qué tenía que ver el problema entre Israel y el mundo árabe con la bonanza rockera del mundo occidental? Pues muy sencillo: en la industria discográfica todo dependía del petróleo y sus derivados. Cuando el 6 de octubre de 1973 se declaró la guerra del Yom Kippur, la cuarta guerra entre árabes e israelíes, y en seis días el ejército israelí ocupó el Sinai, los árabes reaccionaron cortando el grifo del petróleo para presionar a Occidente, situando al planeta en su primera gran crisis global desde el final de la segunda guerra mundial. Uno de los segmentos de la industria que con más virulencia sufrió las consecuencias de esta crisis fue la discográfica: no había vinilo para los discos, también era difícil fabricar e imprimir las fundas de los discos, no se podían fabricar tampoco las cintas de los casetes, en fin… un caos. Los nuevos artistas fueron los que más sufrieron las consecuencias de la escasez de materiales ya que las discográficas preferían, con el poco material del que disponían, grabar a figuras consagras que garantizaban un nivel de ventas determinado que grabar a artistas noveles que no les garantizaban nada. Una de las primeras consecuencias de esta crisis en Inglaterra fue la segunda huida de sus músicos, como ya había sucedido unos años antes, a causa de los impuestos. Ya recordareis, el fisco se llevaba el 83% de las ganancias de un artista, hubiese editado un disco y hecho una gira ese año, o no. Uno de los primeros grupos en hacer las maletas fue Emerson, Lake and Palmer. La diáspora fue general. No tardaron en seguirles gente de tanto peso como Led Zeppelin… También lo hicieron los mismísimos The Rolling Stones… Y el ínclito Rod Stewart Y, bueno, otros muchos como Olivia Newton-John, los Bee Gees, Jethro Tull y tantos otros. No obstante estas duras medidas fiscales sirvieron para que gente como Eric Clapton, que salía por entonces de una profunda crisis y problemas con las drogas, se pusiera las pilas y reapareciera a lo grande para no dejar ya su trono de mejor guitarra de rock. Lo hizo en un concierto en el Rainbow de Londres, el día 13 de enero de 1974, para festejar la entrada de Gran Bretaña en el Mercado Común Europeo. Ya puestos, podrían celebrar otro concierto para celebrar su salida. Como dice la canción… la vida te da sorpresas… Vamos a escuchar un directo de ese concierto memorable. Se trata de una grabación remasterizada realizada en el 25 aniversario del evento. Eric Clapton. Por estas fechas se produjeron regresos bastante sonados. Como, por ejemplo, el de Bob Dylan. Aunque nunca se demostró, pero que Dylan regresara a los escenarios y realizara su primera gira después de ocho años parece que pudo tener mucho que ver con la guerra del Yom Kippur. Dylan es judío. La gira iniciada con la Band en enero de 1974 motivó que muchos argumentaran que lo hacía para recaudar fondos para la causa sionista. Sea como fuere, la vuelta de Dylan fue un hito en la historia de la música. De esta época es su famosa Forever Young El otro regreso que teníamos preparado es nada más y nada menos que el de Elvis Presley, el 13 de enero, retransmitido desde Hawai, vía satélite a todo el mundo. Lo vieron 1.000 millones de personas. El planeta se hacía cada vez más pequeño. Esta es la grabación del directo del rey del rock. Así empezaba el programa. Aloha from Hawaii La semana pasada vimos como Queen se convertía en el grupo de referencia para muchas décadas, bueno pues, como artista individual más sorprendente del momento debemos destacar a un músico excepcional: Mike Oldfield Michael Gordon Oldfield nacido en un pueblo cerca de Londres el 15 de mayo de 1953 es un músico, compositor, multiinstrumentista y productor, ganador de un Grammy en 1975 a la Mejor Composición Instrumental por el álbum Tubular Bells (1973). Su hermana Sally y su hermano Terry también son músicos y trabajaron en algunos de los álbumes de Mike. Su hermano pequeño, David, tuvo síndrome de Down y falleció en la infancia. El pequeño Mike empezó a componer a los 10 años y a publicar discos, junto a su hermana Sally, a los 15. A lo largo de su carrera ha trabajado con numerosas figuras, como Kevin Ayers o David Bedfors. Pero fue en el año 1970 cuando empieza a dar cuerpo al trabajo de su vida: Tubular Bells. Lo grabó definitivamente en los estudios Abbey Road en el año 1972. Al principio, el trabajo no fue bien recibido por las compañías discográficas que lo rechazaban por no ser comercial. A fin de cuentas, la obra se compone de dos canciones de 25 minutos cada una, que no era música pop, no era folk y no era rock. Tuvo que ser Richard Branson, propietario de la primera tienda de discos Virgin, que por aquel entonces su estudio de grabación era solo un proyecto, el que decidiera publicarlo. Cuando el disco estuvo grabado se presentó en el festival de música de Cannes, donde ninguna casa discográfica mostró interés en él excepto American Mercury Records, pero querían añadir letra a la música. Definitivamente, Richard Branson toma la decisión de ser ellos mismos los que lanzasen el disco, cosa que hicieron en junio de 1973. El día 28 de ese mismo mes, Tubular Bells se presenta en directo en el London’s Queen Elizabeth Hall. Desde entonces, se han vendido millones de copias en todo el mundo, siendo este el mayor éxito de la casa Virgin y uno de los discos más vendidos de la historia. En 1975 dirige a la Royal Phylarmonic orchestra de Londres para la versión sinfónica de Tubular Bells. Este mismo año sale también Ommadwn. En el año 1979 realiza una gira mundial que acaba con pérdidas de un millón de libras. Como está de deudas hasta las cejas se pone el mono de trabajo y, en lugar de repetir sistemáticamente su Tubular, presenta en 1980 su disco QE2, donde todos los temas tienen, más o menos, una duración convencional. Como en tubular, también en esta ocasión interpreta varios instrumentos y se acompaña con la voz de Maggie Reilly y con músicos como Phil Collins en la batería y Tim Cross en los teclados. Entre los temas de esta obra se encuentra Taurus, que forma en los sucesivos discos una trilogía con Taurus II y Taurus III. En esta época, en EEUU se había producido una especie de sequia creativa y los grupos británicos eran los que llenaban la escena de conciertos y grabaciones. Pink Floyd, los Who, Deep Purple, Paul McCartney, en fin, la crema. Sería en 1975 cuando explotaría el mayor hallazgo musical eminentemente estadounidense: Bruce Springsteeen. Pero al “jefe” le dedicaremos otro programa. No obstante la sequia a la que hemos hecho referencia, todavía hay grupos en los que merece la pena detenerse, como este grupo blanco que hacía un soul muy creíble: Average White Band. También merecen atención, a pesar de su corta carreta, Graham Central Station. Y no faltó un grupo maldito, con pocos discos pero mucha importancia por su propuesta y su legado: New York Dolls, antesala del punk americano, tremendistas, espectaculares, vestidos como prostitutas y travestidos. En fin, lo mejor de cada casa. No tenemos tiempo para más. Hemos conseguido reunir alrededor de nuestro dial a lo mejorcito que nos deparó la crisis del petróleo. La necesidad agudiza el ingenio y nuestros grupos de hoy lo tenían, o tienen, a raudales. El equipo de Nada más que música espera que la selección os haya entretenido. Si ha sido así, habremos conseguido nuestro objetivo. Volveremos la próxima semana, como siempre, con más música, más músicos y más historias. No os lo perdáis. Hasta entonces… ¡¡¡Buenas Vibraciones!!!

Vamos a ver, ¿por qué una guerra en Oriente Medio iba a desestabilizar el mundo de la música? ¿Qué tenía que ver el problema entre Israel y el mundo árabe con la bonanza rockera del mundo occidental? Pues muy sencillo: en la industria discográfica todo dependía del petróleo y sus derivados. Cuando el 6 de octubre de 1973 se declaró la guerra del Yom Kippur, la cuarta guerra entre árabes e israelíes, y en seis días el ejército israelí ocupó el Sinai, los árabes reaccionaron cortando el grifo del petróleo para presionar a Occidente, situando al planeta en su primera gran crisis global desde el final de la segunda guerra mundial. Uno de los segmentos de la industria que con más virulencia sufrió las consecuencias de esta crisis fue la discográfica: no había vinilo para los discos, también era difícil fabricar e imprimir las fundas de los discos, no se podían fabricar tampoco las cintas de los casetes, en fin… un caos. Los nuevos artistas fueron los que más sufrieron las consecuencias de la escasez de materiales ya que las discográficas preferían, con el poco material del que disponían, grabar a figuras consagras que garantizaban un nivel de ventas determinado que grabar a artistas noveles que no les garantizaban nada. Una de las primeras consecuencias de esta crisis en Inglaterra fue la segunda huida de sus músicos, como ya había sucedido unos años antes, a causa de los impuestos. Ya recordareis, el fisco se llevaba el 83% de las ganancias de un artista, hubiese editado un disco y hecho una gira ese año, o no. Uno de los primeros grupos en hacer las maletas fue Emerson, Lake and Palmer. La diáspora fue general. No tardaron en seguirles gente de tanto peso como Led Zeppelin… También lo hicieron los mismísimos The Rolling Stones… Y el ínclito Rod Stewart Y, bueno, otros muchos como Olivia Newton-John, los Bee Gees, Jethro Tull y tantos otros. No obstante estas duras medidas fiscales sirvieron para que gente como Eric Clapton, que salía por entonces de una profunda crisis y problemas con las drogas, se pusiera las pilas y reapareciera a lo grande para no dejar ya su trono de mejor guitarra de rock. Lo hizo en un concierto en el Rainbow de Londres, el día 13 de enero de 1974, para festejar la entrada de Gran Bretaña en el Mercado Común Europeo. Ya puestos, podrían celebrar otro concierto para celebrar su salida. Como dice la canción… la vida te da sorpresas… Vamos a escuchar un directo de ese concierto memorable. Se trata de una grabación remasterizada realizada en el 25 aniversario del evento. Eric Clapton. Por estas fechas se produjeron regresos bastante sonados. Como, por ejemplo, el de Bob Dylan. Aunque nunca se demostró, pero que Dylan regresara a los escenarios y realizara su primera gira después de ocho años parece que pudo tener mucho que ver con la guerra del Yom Kippur. Dylan es judío. La gira iniciada con la Band en enero de 1974 motivó que muchos argumentaran que lo hacía para recaudar fondos para la causa sionista. Sea como fuere, la vuelta de Dylan fue un hito en la historia de la música. De esta época es su famosa Forever Young El otro regreso que teníamos preparado es nada más y nada menos que el de Elvis Presley, el 13 de enero, retransmitido desde Hawai, vía satélite a todo el mundo. Lo vieron 1.000 millones de personas. El planeta se hacía cada vez más pequeño. Esta es la grabación del directo del rey del rock. Así empezaba el programa. Aloha from Hawaii La semana pasada vimos como Queen se convertía en el grupo de referencia para muchas décadas, bueno pues, como artista individual más sorprendente del momento debemos destacar a un músico excepcional: Mike Oldfield Michael Gordon Oldfield nacido en un pueblo cerca de Londres el 15 de mayo de 1953 es un músico, compositor, multiinstrumentista y productor, ganador de un Grammy en 1975 a la Mejor Composición Instrumental por el álbum Tubular Bells (1973). Su hermana Sally y su hermano Terry también son músicos y trabajaron en algunos de los álbumes de Mike. Su hermano pequeño, David, tuvo síndrome de Down y falleció en la infancia. El pequeño Mike empezó a componer a los 10 años y a publicar discos, junto a su hermana Sally, a los 15. A lo largo de su carrera ha trabajado con numerosas figuras, como Kevin Ayers o David Bedfors. Pero fue en el año 1970 cuando empieza a dar cuerpo al trabajo de su vida: Tubular Bells. Lo grabó definitivamente en los estudios Abbey Road en el año 1972. Al principio, el trabajo no fue bien recibido por las compañías discográficas que lo rechazaban por no ser comercial. A fin de cuentas, la obra se compone de dos canciones de 25 minutos cada una, que no era música pop, no era folk y no era rock. Tuvo que ser Richard Branson, propietario de la primera tienda de discos Virgin, que por aquel entonces su estudio de grabación era solo un proyecto, el que decidiera publicarlo. Cuando el disco estuvo grabado se presentó en el festival de música de Cannes, donde ninguna casa discográfica mostró interés en él excepto American Mercury Records, pero querían añadir letra a la música. Definitivamente, Richard Branson toma la decisión de ser ellos mismos los que lanzasen el disco, cosa que hicieron en junio de 1973. El día 28 de ese mismo mes, Tubular Bells se presenta en directo en el London’s Queen Elizabeth Hall. Desde entonces, se han vendido millones de copias en todo el mundo, siendo este el mayor éxito de la casa Virgin y uno de los discos más vendidos de la historia. En 1975 dirige a la Royal Phylarmonic orchestra de Londres para la versión sinfónica de Tubular Bells. Este mismo año sale también Ommadwn. En el año 1979 realiza una gira mundial que acaba con pérdidas de un millón de libras. Como está de deudas hasta las cejas se pone el mono de trabajo y, en lugar de repetir sistemáticamente su Tubular, presenta en 1980 su disco QE2, donde todos los temas tienen, más o menos, una duración convencional. Como en tubular, también en esta ocasión interpreta varios instrumentos y se acompaña con la voz de Maggie Reilly y con músicos como Phil Collins en la batería y Tim Cross en los teclados. Entre los temas de esta obra se encuentra Taurus, que forma en los sucesivos discos una trilogía con Taurus II y Taurus III. En esta época, en EEUU se había producido una especie de sequia creativa y los grupos británicos eran los que llenaban la escena de conciertos y grabaciones. Pink Floyd, los Who, Deep Purple, Paul McCartney, en fin, la crema. Sería en 1975 cuando explotaría el mayor hallazgo musical eminentemente estadounidense: Bruce Springsteeen. Pero al “jefe” le dedicaremos otro programa. No obstante la sequia a la que hemos hecho referencia, todavía hay grupos en los que merece la pena detenerse, como este grupo blanco que hacía un soul muy creíble: Average White Band. También merecen atención, a pesar de su corta carreta, Graham Central Station. Y no faltó un grupo maldito, con pocos discos pero mucha importancia por su propuesta y su legado: New York Dolls, antesala del punk americano, tremendistas, espectaculares, vestidos como prostitutas y travestidos. En fin, lo mejor de cada casa. No tenemos tiempo para más. Hemos conseguido reunir alrededor de nuestro dial a lo mejorcito que nos deparó la crisis del petróleo. La necesidad agudiza el ingenio y nuestros grupos de hoy lo tenían, o tienen, a raudales. El equipo de Nada más que música espera que la selección os haya entretenido. Si ha sido así, habremos conseguido nuestro objetivo. Volveremos la próxima semana, como siempre, con más música, más músicos y más historias. No os lo perdáis. Hasta entonces… ¡¡¡Buenas Vibraciones!!!

Josephine McCarthy is a British adept based in the south west of England. She was raised and educated in Yorkshire in the north of England, and worked for many years in the USA. She began her magical adventures in the 1970’s, and by the 1990’s she was teaching extensively in the USA and UK, giving lectures at conferences, and experimenting with magical forms. She is the author of numerous books on western magic and magical subjects, and is the author of the extensive and free Quareia course in magical training, of which she is director. In this interview, Rudolf and Josephine talk about the similarities between artistic and magical creativity, about what magic can achieve (or not) in everyday's life, about the importance of knowing historical, geographical and other background of the places you live and do magic in, and many other topics of great interest. Some important links to find Josephine McCarthy's work: Her personal website The website of the QUAREIA school of magic Her books on Amazon Music played in this episode: 1) Hooverphonic - Mad About You (recorded live in 2012 at Queen Elizabeth Hall, Brussels) 2) Penelope Houston - Innocent Kiss (from the 1993 Album The Whole World) 3) Penelope Houston - Glad I'm a Girl (from the 1993 album The Whole World) Intro and Outro Musicespecially written and recorded for the Thoth-Hermes Podcast by Chris Roberts

Former Children’s Laureate Malorie Blackman joins Tobi Kyeremateng in conversation to discuss 'Crossfire', the latest novel in her popular Noughts & Crosses series. Enjoy highlights of their Queen Elizabeth Hall discussion, and a reading from the novel, in this exclusive podcast, recorded live at the event on 8 September 2019.

Oldham Comic Con 2019 (or Oldham Comic Con 3, to give it its proper title), run by Dennis Whittle is a comics-centric convention, is now in its third year and managing to attract some incredible names to its guest list, mostly small press and indie but bolstered by some impressive mainstream comics guests, including a couple of international talents. Held this year in the Queen Elizabeth Hall, the show continues its tradition of being a completely free event (something that Dennis insists will always be the case), encouraging a crowd of all ages through its doors... Here, in this recording of one of the Panel Seminars of the day, acclaimed writer Al Ewing spills some beans on his initial comics history, on working on IMMORTAL HULK for Marvel Comics, on the upcoming mega-project, and also teased some news about a creator-owned book that we could be seeing from him, later this year... Thanks to Al for the opportunity to take part in this panel during his very busy convention, and also Dan Brazier (Spider-Dan) for being such a cracking panel host. Find out more about Oldham Comic Con at: https://www.facebook.com/oldhamcomiccon/ Intro Music: 'Punky', bensounds.com

Oldham Comic Con 2019 (or Oldham Comic Con 3, to give it its proper title), run by Dennis Whittle is a comics-centric convention, is now in its third year and managing to attract some incredible names to its guest list, mostly small press and indie but bolstered by some impressive mainstream comics guests, including a couple of international talents. Held this year in the Queen Elizabeth Hall, the show continues its tradition of being a completely free event (something that Dennis insists will always be the case), encouraging a crowd of all ages through its doors... Here, in this interview held with Dennis on a very rare chance for him to stop and take a breather, he talks about what it has taken to put on the show, along with why he's determined not to let Oldham Comic Con to grow to become a monster... Thanks to Dennis for the opportunity to talk during his very busy convention. Find out more about Oldham Comic Con at: https://www.facebook.com/oldhamcomiccon/ Intro Music: 'Punky', bensounds.com

On Friday 3 May 2019, international recorder virtuoso Genevieve Lacey performs with City of London Sinfonia in ‘Absolute Bird: Sounds of the Outback’ at Southbank Centre’s Queen Elizabeth Hall. Here’s what she had to say ahead of our performance. #AbsoluteBird: bit.ly/absolutebird

The Lilac Time special with Stephen Duffy in conversation The Lilac Time is a British alternative folk-rock band that was originally formed in Herefordshire, England by Stephen Duffy, his brother Nick Duffy and their friend Michael Weston in 1986. The band's name was taken from a line in the Nick Drake song "River Man". Since its formation, The Lilac Time has gone through various line-up changes, with the Duffy brothers as mainstays. The band's activity has intertwined with Stephen Duffy's solo and songwriting career. The Duffy brothers and Michael Weston had recorded music that would become the band's self-titled debut, which was first released on Swordfish Records in 1987. Michael Giri and Fraser Kent joined when the band went on tour. The group signed to Fontana, which reissued the band's first album in remixed form in 1988. The group went on to release the albums Paradise Circus in 1989, and & Love For All in 1990, the latter of which was produced by Andy Partridge and John Leckie. The Lilac Time was dropped by Fontana then briefly signed to Creation Records, where the band was subsequently managed by label head Alan McGee. The band's sole release on Creation was Astronauts, in 1990. The Duffy brothers' cousin, noted-session musician Cara Tivey, contributed organ and piano to the album. The band later regrouped with Claire Worrall and Melvin Duffy (no relation to the brothers) and recorded Looking For A Day In The Night with producer Stephen Street for spinART Records in 1999. They then released Lilac 6 on Cooking Vinyl in 2001, followed by Keep Going, which was released in 2003 under the name "Stephen Duffy and the Lilac Time" on Folk Modern. Runout Groove was released on 22 October 2007 on Bogus Frontage. The band played the 2007 Green Man Festival and the Queen Elizabeth Hall as a six-piece. The band's gig at the Green Man Festival serves as the backdrop to the film "Memory & Desire — 30 Years in the Wilderness With Stephen Duffy & The Lilac Time." The documentary was filmed over six years by Douglas Arrowsmith, who included new and vintage Lilac footage. The film is accompanied by a Universal Records album of the same name, which compiles songs from Duffy's thirty years of music making. The Queen Elizabeth Hall concert is to be released as a live recording. No Sad Songs was released on Tapete Records in April 2015. A new Lilac Time album, Return to Us is planned for release in late 2017.

Fine Music Radio — Rodney Trudgeon’s guest on this week’s edition of People of Note is one of South Africa’s foremost pianists who has won numerous awards both locally and internationally, BEN SCHOEMAN. Ben has played in some of the world’s finest concert halls such as Wigmore and the Queen Elizabeth Hall in London, the Konzerthaus in Berlin, the Schloss Moritzburg in Dresden as well as at festivals in Italy, Switzerland and Canada.

Rolo McGinty in conversation talking about life in the Woodentops  The band formed in 1983 in South London with an initial line-up of Rolo McGinty (vocals, guitar, formerly of The Wild Swans and The Jazz Butcher), Simon Mawby (guitar), Alice Thompson (keyboards), Frank DeFreitas (bass guitar), and Paul Hookham (drums). After a debut single, "Plenty" on Food Records in 1984, which received a glowing review from Morrissey in Melody Maker, they signed to the independent label Rough Trade Records, releasing a series of singles in 1985 and their debut album, Giant, in 1986. Generally well received by critics, the album's sound was characterised by acoustic guitars, but also featured accordion, marimba, strings, and trumpet sounds. The album reached No. 35 on the UK Albums Chart. A single from the album, "Good Thing", reached No. 7 on the UK Indie Chart. The band then became more experimental and frenetic when playing live, using more electronic sounds. This first became apparent as documented on the live album Live Hypno Beat (1987), which was recorded in Los Angeles in 1986. The band also started to become more 'raw' and unpredictable live, becoming one of the most exciting independent groups from the UK, while gaining an early hit on the burgeoning club scene in Ibiza with '"Why". In 1987, Thompson left to be replaced by Anne Stephenson of The Communards. The more experimental mood continued on the second album Wooden Foot Cops on the Highway, released the following year, which failed to live up to the expectations set by their debut. Most notably, the listeners of Los Angeles radio station KROQ-FM voted their song "Stop This Car" number 15 out of 106 in the KROQ Top 106.7 Countdown of 1988, outperforming many more established acts, and one of the album's standout tracks, "Wheels Turning", became a dancefloor favourite. The Woodentops continued to play live, touring the world until 1992, and tracks such as "Tainted World" became a regular on New York radio station Kiss FM with DJ Tony Humphries. Vocalist and guitarist Rolo McGinty, who also wrote all Woodentops' songs, resurfaced with the DJ band Pluto in the 1990s, the Dogs Deluxe electronica project and also provided vocals for Gary Lucas's, Gods and Monsters. Guitarist Simon Mawby was briefly a member of The House of Love in the early 1990s. The Woodentops returned to live performances in September 2006 and, in October 2009, they performed in a special concert at the Queen Elizabeth Hall in London's South Bank. They also curated the events in the Front Room of the same theatre with an exhibition of works by artist Panni Bharti, and concerts by musicians Worm, Othon and Ernesto Tomasini.

Ian Page, conductor of the Mozartists and Classical Opera, whose twenty seven year plan to perform the music written by Mozart throughout his life, 250 years on is already underway. In this podcast Ian discusses the value of honest feedback from non-musicians, Sibelius, Wagner, Britten, and lipstick. 1769: A Year In Music is at Queen Elizabeth Hall on Tuesday 29 January, 7.30pm. More details on the Southbank [website](https://www.southbankcentre.co.uk/whats-on/120181-1769-year-music-2019). The Thoroughly Good Podcast is available on Spotify, iTunes and Audioboom.

Jimbo is flanked by James Horncastle, Julien Laurens and Duncan Alexander as they muse on the mixed Champions League openers for Liverpool, Spurs and City.  Plus, West Ham on the up, and more reasons to love N’Golo Kante (and Glenn Murray) RUNNING ORDER:  • PART 1a: Liverpool 3-2 PSG (03m 00s) • PART 1b: City 1 - 2 Lyon (09m 30s) • PART 1c: Inter 2 - 1 Spurs - what’s gone wrong at Tottenham? (14m 30s) • PART 2a: “Killing skill in this country” (22m 00s)   • PART 2b: Juve, Man U, Barcelona and more CL (25m 00s) 
• PART 3a: West Ham v Chelsea preview - with Benji Lanyado (32m 30s) 
• PART 3b: Arsenal v Everton, Brighton v Spurs and Liverpool v Southampton previews (38m 00s) 
• PART 4a: Second assists and what to look out for around Europe (42m 30s) • PART 4b: Man U v Wolves and the rest of the PL weekend 48m 00s) • PART 5: The odds with Paddy Power’s Lee Price (53m 30s) • PART 6: Exeunt omnes (55m 00s)  LIVE NEWS: • It's your final call if you want to join [Jimbo, James Horncastle, Michael Cox and Duncan Alexander for **Totally Football Live in London on Mon 24 Sept at the Queen Elizabeth Hall**](https://www.southbankcentre.co.uk/whats-on/128635-totally-football-show-live-james-richardson-2018) • and [**Totally Football Live in Manchester on Friday 5 October** at the RNCM will feature Jimbo, Rory Smith, Daniel Storey and James Horncastle (again)](https://www.seetickets.com/tour/the-totally-football-show-live) CHARITY NEWS: • we’re working with **CALM**, the Campaign Against Living Miserably, who are dedicated to preventing male suicide.  [Head to the Calm Zone](https://www.thecalmzone.net/) 
PARISH NOTICES: • we’re sponsored by [**Paddy Power **- home of the Money Back Special](http://www.paddypower.com/) GET IN TOUCH: • find us on [**Facebook**](https://www.facebook.com/thetotallyfootballshow/)
 • send us a **[tweet: @TheTotallyShow
](http://www.twitter.com/thetotallyshow)**

Jimbo has Daniel Storey, Sasha Goryunov and Ian Irving for company as they talk Premier League, Champions League, Young Boys and old ladies 
RUNNING ORDER:  • PART 1a: Chelsea’s title challenge (01m 00s) • PART 1b: Tottenham 1 - 2 Liverpool; PSG head to Anfield and Spurs at San Siro (07m 00s) • PART 2: Hammer time! Everton 1 - 3 West Ham (17m 00s) • PART 3a: Man U head to the Vicarage before a meeting with Young Boys (25m 50s)   • PART 3b: Ronaldo breaks his Juve duck and Douglas Costa goes postal (34m 00s) • PART 3c: Man C 3 - 0 Fulham and two special old ladies (36m 00s) • PART 4a: ‘It stinks of Zlatan’ (40m 50s)
 • PART 4b: Arsenal, Bournemouth, Palace, Burnley et al (46m 10s) • PART 4c: A salute to Kevin Beattie (54m 30s) • PART 5: The odds with Paddy Power’s Lee Price (56m 10s) • PART 6: Exeunt omnes (58m 10s)  • Join [Jimbo, James Horncastle, Michael Cox and Duncan Alexander for **Totally Football Live in London on Mon 24 September** at the Queen Elizabeth Hall](https://www.southbankcentre.co.uk/whats-on/128635-totally-football-show-live-james-richardson-2018)  • and [**Totally Football Live in Manchester on Friday 5 October** at the RNCM will feature Jimbo, Rory Smith, Daniel Storey and James Horncastle (again)](https://www.seetickets.com/tour/the-totally-football-show-live) CHARITY NEWS: • we’re working with **CALM**, the Campaign Against Living Miserably, who are dedicated to preventing male suicide.  [**Head to the Calm Zone**](https://www.thecalmzone.net/) 
PARISH NOTICES: • we’re sponsored by [**Paddy Power** - home of the Money Back Special](http://www.paddypower.com/) GET IN TOUCH: • find us on [**Facebook**](https://www.facebook.com/thetotallyfootballshow/) • send us a [**tweet: @TheTotallyShow**](http://www.twitter.com/thetotallyshow)

Jimbo is partnered by Jack Lang, James Horncastle and Dr Tom Markham to wrap up the international break and look ahead to Liverpool v Spurs, Watford v Man U and the return of the Premier League. Plus, George Weah and son; Maradona’s latest gig; and the best songs about footballers committed to record 
RUNNING ORDER: • PART 1a: International round-up, with England, Spain, Scotland, Italy (01m 00s) • PART 1b: Irish troubles on and off the pitch - with Joe’s Dion Fanning from Joe (07m 30s) • PART 1c: More international news, with the Weahs, the Hagis, Richardson, Maradona and JT (14m 10s) • PART 2a: Previews of Liverpool v Spurs, Chelsea v Cardiff and City v Fulham (21m 40s) • PART 2b: The secret of Watford’s success - with Emma Saunders (32m 00s) 
• PART 2c: Everton v West Ham, Newcastle v Arsenal and the rest of the PL weekend (39m 50s)
 • PART 3: Your footballing tunes (51m 20s) • PART 4: The odds with Paddy Power’s Lee Price (55m 30s) 
• PART 5: Exeunt omnes (57m 40s) LIVE SHOWS: • Join [Jimbo, James Horncastle, Michael Cox and Duncan Alexander for **Totally Football Live in London on Mon 24 Sept at the Queen Elizabeth Hall**](https://www.southbankcentre.co.uk/whats-on/128635-totally-football-show-live-james-richardson-2018) • and [**Totally Football Live in Manchester on Friday 5 October at the RNCM** will feature Jimbo, Rory Smith, Daniel Storey and James Horncastle (again)](https://www.seetickets.com/tour/the-totally-football-show-live) CHARITY NEWS: • we’re working with **CALM**, the Campaign Against Living Miserably, who are dedicated to preventing male suicide. [**Head to the Calm Zone**](https://www.thecalmzone.net/) 
PARISH NOTICES: • we’re sponsored by [**Paddy Power**- home of the Money Back Special](http://www.paddypower.com/) GET IN TOUCH: • [find us on **Facebook**](https://www.facebook.com/thetotallyfootballshow/) • send us a [**tweet: @TheTotallyShow**](http://www.twitter.com/thetotallyshow)

Jimbo, Michael Cox, Daniel Storey and Tom Williams give a thumbs up to the start of the Nations League. Plus, John Terry heads to Moscow and a crash course in Comoros  
RUNNING ORDER:  • PART 1a: All hail the Nations League (01m 00s) • PART 2a: England 1 - 2 Spain (06m 30s) • PART 2b: Switzerland up next for England - with Oliver Zesiger (15m 00s) • PART 3: Welsh highs and lows; Ireland out of time; and Scotland on the rocks (18m 50s)  
 • PART 4a: France, Vegedream and more (26m 30s) 
• PART 4b: John Terry signs for Spartak - with Sasha Goryunov (32m50s)
 • PART 4c: Your questions and Africa Cup of Nations qualifiers (37m 00s) • PART 5: The odds with Paddy Power’s Lee Price (45m 40s) 
• PART 6: Exeunt ones (50m 20s) LIVE NEWS: • Join Jimbo, James Horncastle, Michael Cox and Duncan Alexander for **[Totally Football Live in London on Mon 24 Sept at the Queen Elizabeth Hall](https://www.southbankcentre.co.uk/whats-on/128635-totally-football-show-live-james-richardson-2018)** **•** and [**Totally Football Live in Manchester on Friday 5 October**](https://www.seetickets.com/tour/the-totally-football-show-live) at the RNCM will feature Jimbo, Rory Smith, Daniel Storey and James Horncastle (again) CHARITY NEWS: • we’re working with **CALM**, the Campaign Against Living Miserably, who are dedicated to preventing male suicide.  [Head to the Calm Zone](https://www.thecalmzone.net/) 
PARISH NOTICES: • we’re sponsored by[**Paddy Power** - home of the Money Back Special](http://www.paddypower.com/) GET IN TOUCH: • find us on [**Facebook**](https://www.facebook.com/thetotallyfootballshow/) • send us a **[tweet: @TheTotallyShow](http://www.twitter.com/thetotallyshow)**

Jimbo, Julien Laurens, Alvaro Romeo and James Horncastle look ahead to the opening games in the the Nations League. Plus, Danish YouTubers, an MLS update and has (that) Ronaldo bitten off more than even he can chew?
 
RUNNING ORDER: • PART 1a: The Nations League explained…sort of (01m 00s) • PART 2: England v Spain preview (05m 00s) • PART 3a: Denmark’s futsal team (11m 40s) • PART 3b: Germany v France preview (19m 00s)  
• PART 4a: MLS update with George Qureshi (24m 20s) 
• PART 4b: Your questions: away goals, extraterrestrial life and more (29m 50s) • PART 5: Ronaldo’s €30m stake in Valladolid (41m 00s) 
• PART 6: The odds with Paddy Power’s Lee Price (48m 50s) 
• PART 7: Exeunt ones (50m 20s) LIVE SHOWS: • Join **Jimbo**, **James Horncastle**, **Michael Cox** and **Duncan Alexander** for **[Totally Football Live in London on Mon 24 Sept at the Queen Elizabeth Hall](https://www.southbankcentre.co.uk/whats-on/128635-totally-football-show-live-james-richardson-2018)**  • and **[Totally Football Live in Manchester on Friday 5 October at the RNCM](https://www.seetickets.com/tour/the-totally-football-show-live)** will feature **Jimbo**, **Rory Smith**, **Daniel Storey** and **James Horncastle** (again) CHARITIES: • we’re working with **CALM**, the Campaign Against Living Miserably, who are dedicated to preventing male suicide.  [Head to the Calm Zone](https://www.thecalmzone.net/) 
PARISH NOTICES: • we’re sponsored by [**Paddy Power** - home of the Money Back Special](http://www.paddypower.com/) GET IN TOUCH: • find us on [**Facebook**](https://www.facebook.com/thetotallyfootballshow/) • send us a **[tweet: @TheTotallyShow](http://www.twitter.com/thetotallyshow)**

Jimbo, Michael Cox, Daniel Storey and David Preece discuss the Premier League's entertainers (accidental and otherwise), winning runs and goalkeeping blunders

 RUNNING ORDER: • PART 1a: Watford 2 - 1 Spurs (02m 20s) • PART 1b: Chelsea and Liverpool still unbeaten - and Alisson Blunderland (09m 40s) • PART 2a: Champions League draw recap (21m 00s) • PART 2b: Europa League draw recap and a word on the Old Firm/Farm derbies (27m 20s) 
• PART 3a: Arsenal - the accidental entertainers (30m 40s)
 • PART 3b: Burnley 2 - 0 United and the rest of the PL weekend (38m 40s)
 • PART 3c: West Ham woes (40m 50s) • PART 4: The odds with Paddy Power’s Lee Price (49m 00s) 
• PART 5: Exeunt ones (51m 10s) LIVE NEWS • we're in **London on** **[Mon 24 Sept at the Queen Elizabeth Hall](https://www.southbankcentre.co.uk/whats-on/128635-totally-football-show-live-james-richardson-2018)** • and we’re in **[Manchester on Friday 5 October at the RNCM](https://www.seetickets.com/tour/the-totally-football-show-live)** CHARITY NEWS: • we’re working with **CALM**, the Campaign Against Living Miserably, who are dedicated to preventing male suicide.  [Head to the Calm Zone](https://www.thecalmzone.net/) 
PARISH NOTICES: • we’re sponsored by [**Paddy Power** - home of the Money Back Special](http://www.paddypower.com/) GET IN TOUCH: • [**Find us on Facebook**](https://www.facebook.com/thetotallyfootballshow/) •**[send us a tweet: @TheTotallyShow](http://www.twitter.com/thetotallyshow)**

Jimbo, Opta's Duncan Alexander, Tom Williams and James Horncastle talk big bouncy wins, respect, and rethinking possession stats. Plus, Fortnite, the Old Firm, and a farewell to Deuce RUNNING ORDER: • PART 1a: Man U 0 - 3 Spurs, meltdowns and shifting sands (0m 40s) • PART 1b: Watford v Spurs preview (11m 20s) • PART 1c: Leicester v Liverpool and Chelsea v Bournemouth previews (15m 00s) • PART 2a: Ligue 1 and Serie A updates (21m 40s) • PART 2b: Old Firm derby preview - with Andrew Slaven from the Totally Scottish Football Show (29m 50s) • PART 3a: Man C v Newcastle preview - and more on possession stats (33m 00s) 
• PART 3b: Palace and Saints, Fulham and beats, (40m 00s) • PART 3c: West Ham, Cardiff and Huddersfield chat (43m 20s) • PART 4: The odds with Paddy Power’s Lee Price (51m 20s) 
• PART 5: Exeunt ones (53m 50s) LIVE NEWS • Join Jimbo, James Horncastle, Duncan Alexander and Michael Cox in [**London on Mon 24 Sept at the Queen Elizabeth Hall**](https://www.southbankcentre.co.uk/whats-on/128635-totally-football-show-live-james-richardson-2018). • and our lineup in **[Manchester on Friday 5 October at the RNCM](https://www.seetickets.com/tour/the-totally-football-show-live)** is Jimbo, Horncastle, Rory Smith and Daniel Storey CHARITY NEWS: • we’re working with **CALM,** the Campaign Against Living Miserably, who are dedicated to preventing male suicide. Head to the [Calm Zone](https://www.thecalmzone.net/) 
PARISH NOTICES: • we’re sponsored by [**Paddy Power** - home of the Money Back Special](http://www.paddypower.com/) GET IN TOUCH: • find us on **[Facebook](https://www.facebook.com/thetotallyfootballshow/)**. • send us a **[tweet: @TheTotallyShow](http://www.twitter.com/thetotallyshow)**

Jimbo is joined by Michael Cox, Matt Davies-Adams and Harriet Drugde to discuss Watford’s flying start, Ozil’s cold, and crisps on the pitch. Plus, Liverpool hit top spot, more of the same from Arsenal, and a record-breaking weekend for the women’s game RUNNING ORDER: • PART 1a: Wolves 1 - 1 Man City, going into the Matrix (2m 50s) • PART 1b: Liverpool 1 - 0 Brighton (08m 00s) • PART 2a: Fulham 4 - 2 Burnley and Watford’s 100% start (10m 00s) • PART 2b: Newcastle 1 - 2 Chelsea 2, rethinking possession stats 18m 00s) • PART 2c: Arsenal 3 -1 West Ham, Ozil in or Ozil out (25m 00s) 
 • PART 4a: Japan, Europe and Championship news (31m 50s)
 • PART 4b: Bournemouth 2- 2 Everton (40m 00s) • PART 4c: Nil and niller between Huddersfield and Cardiff (44m 10s)
 • PART 4d: Women’s football news (46m 30s) • PART 5: The odds with Paddy Power’s Lee Price (50m 40s)
 • PART 6: Exeunt ones (52m 40s) LIVE NEWS: • [we're in **London on Mon 24 Sept at the Queen Elizabeth Hall**](https://www.southbankcentre.co.uk/whats-on/128635-totally-football-show-live-james-richardson-2018) • and we’re in [**Manchester on Friday 5 October at the RNCM**](https://www.seetickets.com/tour/the-totally-football-show-live) CHARITY NEWS: • we’re working with **CALM**, the Campaign Against Living Miserably, who are dedicated to preventing male suicide. [Head to the Calm Zone](https://www.thecalmzone.net/) for more information 
PARISH NOTICES: • we’re sponsored by [**Paddy Power** - home of the Money Back Special](http://www.paddypower.com/) • have a listen to our new cycling podcast - [**The Bradley Wiggins Show by Eurosport**](https://itunes.apple.com/gb/podcast/the-bradley-wiggins-show-by-eurosport/id1404437099?mt=2) GET IN TOUCH: • find us on [**Facebook**](https://www.facebook.com/thetotallyfootballshow/). • send us a [tweet:** @TheTotallyShow**](http://www.twitter.com/thetotallyshow)