Podcast appearances and mentions of robert hewison

Clint Eastwood is the director and star of The Mule, about a cantankerous 90 year-old horticulturist who decides to become a drug mule. Mark Eccleston reviews. The UK's biggest contemporary art prize, the £40,000 Artes Mundi prize, was won last night in Cardiff by Thai filmmaker Apichatpong Weerasethakul, known for his dream-like films such as Uncle Boonmee Who Can Recall His Past Lives, which won the Palme d'Or at Cannes. He talks to Front Row.In new novel When All is Said, 84 year-old Maurice Hannigan props up the hotel bar in a small town in Ireland and, by toasting the five people important in his life, he tells of his path from poverty to becoming a rich landowner. Debut novelist Anne Griffin explains her real-life inspiration and how she got into her narrator's head.There have been calls by Leave campaigners for London's Photographers' Gallery to be stripped of its funding in the wake of their exhibition of a fully functioning office tasked with reversing Brexit. In the continued uncertainty surrounding the future of arts funding post-Brexit, cultural historian Robert Hewison discusses what organisations such as Arts Council England may need to consider when funding projects in the future. Presenter: Kirsty Lang Producer: Timothy Prosser

We get all up in the art on this episode. Matt visited the National Art Gallery in beautiful Ottawa, ON. We get a walkthrough, you get one of our most cynical takes yet. From First Nations, Métis & Cree artwork, to the paintings of the iconic group of seven, we just can’t wrap our heads around the colonial couplings found in the gallery. Luckily, Emily Carr saved us from total despair. That is, until we try to make sense of postmodern art. It’s like finding lost money in your jacket pocket: confusing. Really confusing.   To follow along as we dissect some art, check-out the pics Matt took while on his tour: https://drive.google.com/drive/folders/1j_AY8KzuF8S5u1rruQovVQsuA-Gl1s2T?usp=sharing   We thank Evil Can Evil for kindly allowing us to play their songs: Winter Rider, Power, Love & Hate, and I’m Alive. Blues filtered through a 1970s' distortion, with a hint of 1960s' rock. A voice full of blues and smoke. Drums that smash the permafrost. A bass that moves snowdrifts. Guitars that lash stronger than a boreal wind. The strength of the North, with the soul of blues and the energy of rock. Evil Can Evil, the nordic rock's ambassadors. Evil Can Evil is a Quebec City quartet founded in 2007. The band is made up of: JF, vocalist and guitarist, Math, drummer, Manuel, bassist and Seb, rhythm guitar. Through stories of dangerous women, broken hearts, identity crises, territorial dispossession and courageous snow plows, Evil Can Evil builds a universe breathing a new life into the tired stoner rock genre. Stoner rock is dead, hail nordic rock. If Evil Can Evil doesn't make you want to dance, then you're more frozen than a mammoth prisoner of the Siberian soil. Evil Can Evil can be found on: Facebook https://www.facebook.com/evilcanevilband/ | Website www.evilcanevil.com | Bandcamp https://evilcanevil.bandcamp.com/album/evil-can-evil | iTunes https://itunes.apple.com/us/artist/evil-can-evil/781711591   If you enjoy podcasts and need a better way to find, review and share shows you love check-out Podknife at https://podknife.com. For updates on the new shows added to the Podknife database and for a featured podcast of the day, follow https://twitter.com/podknife. Podknife: Podcast reviews for everyone.   Concluding thought:  Post-modernism is modernism with the optimism taken out. - Robert Hewison   -------------------------------------------------------------------------- Follow #PodernFamily #Podmosphere and #2PodsADay on Twitter and Facebook for the best in indie podcasts. Listen More. Listen Indie. --------------------------------------------------------------------------   If you enjoyed this episode, we strongly urge you to make a donation to the Gord Downie & Chanie Wenjack Fund and/or the National Centre for Truth and Reconciliation. Please help continue Gord's charitable & activist work. He left us with memories and a lifetime of music to enjoy. Helping the causes he cared about is the best way we can thank him now. https://www.downiewenjack.ca/ https://give.umanitoba.ca/nctr http://secretpath.ca/   Follow us on Twitter: @The_SIM_Pod and on Facebook @thesimpod Email us: semiintellectual@gmail.com Subscribe to the podcast: https://thesim.podbean.com/feed/ iTunes: https://goo.gl/gkAb6V Stitcher: https://goo.gl/PfiVWJ GooglePlay: https://goo.gl/uFszFq Corrections & Additions webpage: http://thesim.podbean.com/p/corrections-additional-stuff/ Please leave us a rating and a review, it really helps the show! Intro Music: Song "Soul Challenger" appearing on "Cullahnary School" by Cullah Available at: http://www.cullah.com Under CC BY SA license http://creativecommons.org/licenses/by-sa/4.0/ Semi-Intellectual Musings does not own any of the songs played in this episode. Follow links above for proper attribution.  

Tom Hanks discusses his new film The Post, co-starring Meryl Streep and directed by Steven Spielberg, which tells the story of the part The Washington Post played in publishing the top secret Pentagon Papers that changed American public opinion about the Vietnam War. Sir Simon Rattle is conducting the European concert premiere of The Genesis Suite, a work with narration based on stories from the first book of the Bible, such as Adam and Eve, the Flood and the Tower of Babel. The conductor discusses the little-known piece from 1945 which was written by seven different European composers, émigrés to America, including Schoenberg, Stravinsky and Milhaud, who each composed a movement. The French culture minister Françoise Nyssen has unveiled plans to launch a heritage lottery. The money will go towards restoring ancient monuments. It follows reports of a fall in lottery receipts in the UK. French journalist Agnes Poirier and cultural historian Robert Hewison discuss the proposal, and consider how far arts and heritage funding should be lottery-dependent. Presenter Kirsty Lang Producer Jerome Weatherald.

Five years on from the launch of government plans to encourage more philanthropic funding of the Arts, Kirsty Lang speaks to key cultural philanthropists about the part they play in funding artistic endeavour. Speaking to Sir Paul Ruddock, Dame Vivien Duffield, Hannah Rothschild, David Speller, Lloyd Dorfman, Michael Oglesby and cultural historian Robert Hewison, Kirsty examines whether the plan is working and asks if more needs to be done to change attitudes.Image (Clockwise from top left): Dame Vivien Duffield, Lloyd Dorfman, David Speller, Hannah Rothschild (Credit: Harry Cory-Wright), Sir Paul Ruddock and Michael Oglesby (Credit: Joel C Fildes)

How did a golden age of cultural funding in UK turn to lead? This is the subject of a new cultural history by Robert Hewison. Cultural Capital: The Rise and Fall of Creative Britain (Verso, 2014) charts the New Labour era of cultural policy, detailing the shift from the optimism of the late 1990s to the eventual crisis of funding and policy currently confronting culture in the UK. The book identifies the faustian pact between government and cultural sector, as increased funding came at the price of delivering economic and social policy agendas and responding to bureaucratic forms of management. The book uses a range of examples to illustrate this problematic bargain, from the disasters of the Millennium Dome and The Public, through an analysis of the 2012 Olympic Games. Alongside the range of cultural policy projects discussed is an exploration of the infrastructure, in particular the government departments and public bodies, which are at the root of the failure of British cultural policy between 1997 and today. These failures, including how policy did little or nothing to broaden the base of consumers for state sponsored cultural institutions, are set against the need to renew the meaning and purpose of culture in government. Written with a sharp wit and full of intriguing commentary on the personalities of the key players, the book is essential reading for anyone keen to understand why Britain continues to struggle with the idea of cultural policy. Learn more about your ad choices. Visit megaphone.fm/adchoices

How did a golden age of cultural funding in UK turn to lead? This is the subject of a new cultural history by Robert Hewison. Cultural Capital: The Rise and Fall of Creative Britain (Verso, 2014) charts the New Labour era of cultural policy, detailing the shift from the optimism of the late 1990s to the eventual crisis of funding and policy currently confronting culture in the UK. The book identifies the faustian pact between government and cultural sector, as increased funding came at the price of delivering economic and social policy agendas and responding to bureaucratic forms of management. The book uses a range of examples to illustrate this problematic bargain, from the disasters of the Millennium Dome and The Public, through an analysis of the 2012 Olympic Games. Alongside the range of cultural policy projects discussed is an exploration of the infrastructure, in particular the government departments and public bodies, which are at the root of the failure of British cultural policy between 1997 and today. These failures, including how policy did little or nothing to broaden the base of consumers for state sponsored cultural institutions, are set against the need to renew the meaning and purpose of culture in government. Written with a sharp wit and full of intriguing commentary on the personalities of the key players, the book is essential reading for anyone keen to understand why Britain continues to struggle with the idea of cultural policy. Learn more about your ad choices. Visit megaphone.fm/adchoices

How did a golden age of cultural funding in UK turn to lead? This is the subject of a new cultural history by Robert Hewison. Cultural Capital: The Rise and Fall of Creative Britain (Verso, 2014) charts the New Labour era of cultural policy, detailing the shift from the optimism of the late 1990s to the eventual crisis of funding and policy currently confronting culture in the UK. The book identifies the faustian pact between government and cultural sector, as increased funding came at the price of delivering economic and social policy agendas and responding to bureaucratic forms of management. The book uses a range of examples to illustrate this problematic bargain, from the disasters of the Millennium Dome and The Public, through an analysis of the 2012 Olympic Games. Alongside the range of cultural policy projects discussed is an exploration of the infrastructure, in particular the government departments and public bodies, which are at the root of the failure of British cultural policy between 1997 and today. These failures, including how policy did little or nothing to broaden the base of consumers for state sponsored cultural institutions, are set against the need to renew the meaning and purpose of culture in government. Written with a sharp wit and full of intriguing commentary on the personalities of the key players, the book is essential reading for anyone keen to understand why Britain continues to struggle with the idea of cultural policy. Learn more about your ad choices. Visit megaphone.fm/adchoices

How did a golden age of cultural funding in UK turn to lead? This is the subject of a new cultural history by Robert Hewison. Cultural Capital: The Rise and Fall of Creative Britain (Verso, 2014) charts the New Labour era of cultural policy, detailing the shift from the optimism of the late 1990s to the eventual crisis of funding and policy currently confronting culture in the UK. The book identifies the faustian pact between government and cultural sector, as increased funding came at the price of delivering economic and social policy agendas and responding to bureaucratic forms of management. The book uses a range of examples to illustrate this problematic bargain, from the disasters of the Millennium Dome and The Public, through an analysis of the 2012 Olympic Games. Alongside the range of cultural policy projects discussed is an exploration of the infrastructure, in particular the government departments and public bodies, which are at the root of the failure of British cultural policy between 1997 and today. These failures, including how policy did little or nothing to broaden the base of consumers for state sponsored cultural institutions, are set against the need to renew the meaning and purpose of culture in government. Written with a sharp wit and full of intriguing commentary on the personalities of the key players, the book is essential reading for anyone keen to understand why Britain continues to struggle with the idea of cultural policy. Learn more about your ad choices. Visit megaphone.fm/adchoices

Creative Britain: Laurie Taylor explores its rise and fall with the British historian, Robert Hewison, who provides an assessment of the cultural policies of New Labour and the Coalition. Why has culture failed to escape class? Also, a new Sexology exhibition prompts an analysis of the changing field of sex research. Kaye Wellings, Professor of Sexual & Reproductive Health Research at the London School of Hygiene and Tropical Medicine, charts a history involving book burning, scandal and shame. Producer: Jayne Egerton.

Gavin Bryars's mould-breaking 1971 score Jesus' Blood Never Failed Me Yet is a work which came about almost accidentally, when Bryars found a recording of an elderly homeless man singing lines from a Victorian hymn. Cultural historian Robert Hewison makes the case for why the work is important, and commentary comes from author and musician David Toop.