Articles on this Page
- 12/25/12--12:30: _Happy Freakmas!
- 12/25/12--12:00: _To Whom This Place ...
- 12/25/12--11:00: _Marlene Dietrich – ...
- 12/25/12--10:00: _The Opera Hour
- 12/25/12--09:40: _FillerDelphia
- 12/25/12--08:30: _The OST Show Xmas N...
- 12/25/12--07:30: _Radio Eco Shock X-m...
- 12/25/12--06:30: _Aladdin - A Radio P...
- 12/25/12--05:00: _Wolf Fifth
- 12/25/12--04:00: _Tunes of Oz
- 12/25/12--03:30: _Esteban Antonio Chr...
- 12/24/12--17:00: _The Nightloop
- 12/24/12--16:00: _The Plays of Noel M...
- 12/24/12--15:30: _The Circled A
- 12/26/12--15:40: _Niche Constructions
- 12/26/12--13:30: _John Cage: Kill Switch
- 12/26/12--12:30: _Cage Matters
- 12/26/12--11:00: _John Cage: a person...
- 12/26/12--09:00: _John Cage: Song Books
- 12/26/12--08:00: _The Hour of Power
- 12/25/12--12:30: Happy Freakmas!
- 12/25/12--12:00: To Whom This Place Belongs
- 12/25/12--11:00: Marlene Dietrich – Beyond Top Hat and Tails
- 12/25/12--10:00: The Opera Hour
- 12/25/12--09:40: FillerDelphia
- 12/25/12--08:30: The OST Show Xmas Nut Selection
- 12/25/12--07:30: Radio Eco Shock X-mas Special
- 12/25/12--06:30: Aladdin - A Radio Panto
- 12/25/12--05:00: Wolf Fifth
- 12/25/12--04:00: Tunes of Oz
- 12/25/12--03:30: Esteban Antonio Christmas Special
- 12/24/12--17:00: The Nightloop
- 12/24/12--16:00: The Plays of Noel Macken
- 12/24/12--15:30: The Circled A
- 12/26/12--15:40: Niche Constructions
- 12/26/12--13:30: John Cage: Kill Switch
- 12/26/12--12:30: Cage Matters
- 12/26/12--11:00: John Cage: a personal profile
- 12/26/12--09:00: John Cage: Song Books
- 12/26/12--08:00: The Hour of Power
Trash and freakbeat classics and, of course, painfully obscure obscurities with Great Britain's leading trash and freakbeat DJ DJ Joe Eakins.
Doreen Massey on the politics of space
A feature by Sabine Schereck. Marlene Dietrich dazzled audiences, whether in a glittering dresses or in elegant tails. She crossed gender like no other star and became a gay icon. What was her appeal to a gay audience? Her glamour? Her strength? Her liberty? What could be read between the lines? Author Clayton Littlewood talks to art historian Simon Watney and Terry Sanderson, organiser of a Marlene Dietrich Tribute (on Saturday 16 February 2013 at Conway Hall, London) and looks at this unusual woman, very much ahead of her time and often described as the ‘last goddess’.
With thanks to the Marlene Dietrich Collection Berlin at the Stiftung Deutsche Kinemathek for their support; Alan Brodie Representation Ltd (www.alanbrodie.com) for their kind permission to use an extract from a letter by Noel Coward to Marlene Dietrich published in "The Letters of Noel Coward" © NC Aventales AG and Barry Day 2007; and the University of Minnesota Press for their kind permission to use an extract from Steven Bach’s book “Marlene Dietrich – Life and Legend”
Opera singer Richard Scott explores opera through the prism of various themes - politics, power, greed, the abominable, magic, lust, comedy. On today's show, since it's very nearly Christmas, he is playing the entirety of Menotti's Christmas opera Amahl and the Night Visitors! This humorous and moving classic was written for American television in the 1950s and tells the story of Amahl, a young boy who delights in telling lies, and his encounter with three bizarre kings who knock on his door one night whilst following a star 'as big as a window' in the night sky.
A 70 minute special seasonal mix by Jonny Trunk.
For the last show before Christmas, Tim McArthur is joined in the studio by guests from the first two series for ALADDIN - A RADIO PANTO! Featuring live music and lots of silliness, Tim is taking on the role of Widow Twankey and is joined by Shona White as Aladdin, David McMullan as Wishee Washee, Miles Western as Abanazar, Sam Buttery as Genie, Katie Kerr as Princess Mei-Li, Gemma Beaton as Luli, Ellen Verenieks as Slave of the Ring, Josh Rochford as Emperor, Danielle Tarento as Officer Nee and Andrew Keates as Officer Na. http://thecurtainupshow.wordpress.com/
Classical, avant-garde and modernist composition, presented by Luuk de Weert.
Audio essay on The Wizard of Oz by Geoff Ryman. Produced by Tim Concanon
A seasonal greeting from Esteban Antonio. Speaking via mobile telephone from his windswept Cornish studio, the musician, philosopher and inventor shares some of his thoughts and previews music from his new repertoire.
For more information please go to:
Produced by Lee Stapleford
Nocturnal oscillations for the wee small hours, all material is either culled from the Resonance FM archive or is specially commissioned works.
Scott Crow is a community organizer, writer, strategist and speaker who advocates the philosophy and practices of anarchism for social, environmental, and economic aims.
For almost two decades he has continued to use his experience and ideas in co-founding and co-organizing numerous radical grassroots projects in Texas, including Treasure City Thrift, Radical Encuentro Camp, UPROAR (United People Resisting Oppression and Racism), Dirty South Earth First! and the Common Ground Collective, the largest anarchist influenced organization in modern U.S. history to date.
In addition to grassroots organizing, he has worked for regional and national organizations, including Greenpeace, Rainforest Action Network, Ruckus Society and A.C.O.R.N. With his partner, he produced the documentary film Angola 3: Black Panthers and the Last Slave Plantation. These political activities lead to him being labeled a “domestic terrorist” by the FBI beginning in the late 90s with investigations that continued for almost a decade.
A segment from a longform collage of binaural recordings made in Madagascan rainforests.
On Monday October the 29th Resonance FM's Richard Thomas
composed/programmed an elaborate event called "Kill Switch" as part of The
Wire magazine's "Cage Rattling" series on and after composer John
The title Kill Switch makes reference to synthetic biology. Cage had an often anthropomorphic engagement with the concept of nature, and used algorithms, cybernetic control systems and the like to generate pseudo-free biocentric content. The evening included talks from artists, synthetic biologists, political activists and former Cage associates discussing biological experimentation, bio-politics, social ecology, anarchist concepts of urban space, utopian Spanish communities and more. There will be music too, from three ensembles and three soloists performing original works from open scores constructed solely from the notes C, A, G and E or the equivalent frequency values in Hz and Khz.
Participants included Aleks Kolkowski, Richard Scott, Faizal Salauroo, Dan Hancox, Oscillatorial Binnage, Nils Norman, Panos Ghikas, James Butler, Aaron Peters, Arco Ensemble, plus video and audio from Murray Bookchin. Below is a text written for the Wire magazine about the event by the author of the event Richard Thomas.
"Kill Switch (subtitled: Anarchy And Order And The Music Of John Cage)
is a slightly oblique omnium-gatherum; a sequence of elliptical talks,
demonstrations and music/sound events. I say oblique as there is very
little direct discussion of Cage. Nor is there any music from the
maestro either. Indeed, I wanted to avoid a straight evening of music
because I think the one thing that needs to be engaged with, with
regards to Cage, is the legacy of his ideas.
It always strikes me that it is his conceptualisation of music that
really resonates and less so the actual work. So, in Kill Switch,
Cage's ideas catalyse other discourse and actions, but the core
propulsive unit of the event is not an idea original to Cage at all
but one that certainly informed his praxis – anarchism.
Anarchism and its relations to art, space and biology are, for me,
perennially fascinating concepts; Cage described himself as an
anarchist but what did he mean by this and how does his empathy with
anarchism extend to his practise and ideas?
The title Kill Switch is a reference to synthetic biology and the
concept of a genetic control switch that delimits the parameters of
genetic/microbial life. This inspired me to base the overarching
concept of the piece around Cage's conflicted compositional habit of
creating pieces which have "freedom within certain parameters". Cage
had an often anthropomorphic engagement with the concept of nature and
used algorithms,cybernetic control systems and the like to generate
pseudo-free biocentric content.
Anarchism has also at times deployed a biocentric concept of
organisation – notably in the writings of Kropotkin. In the 1930s the
peculiar anarchist, art critic, curator and poet Herbert Read deployed
a Kropotkin influenced analysis of abstract modernist painting and
sculpture. This chimes quite harmoniously with some of Cage's ideas,
especially in terms of looking to biology for organisational
imperatives or structural morphologies; seeing within the openness of
abstract art and sculpture a potential portal into the mutable,
utopian, spatial realm of a future anarchist social organisation and,
importantly, a refutation of social-realist didacticism that was the
prominent leftist aesthetic.
The end encroaches, as does the detail: I'll be introducing the event
and talking digressively throughout about the ideas motivating it.
However, there will also be talks from artists, synthetic biologists,
political activists/writers, and former Cage students/collaborators,
discussing Cage himself, biological experimentation, bio-politics and
the politics of space, anarchist concepts of architecture and the
urban, utopian autonomous Spanish communities, anarchist social
ecology and much else.
There will of course be music too, though, as mentioned earlier, there
will be none from John Cage, at least not in the orthodox sense. On
the evening, three ensembles and three soloists will perform original
works from open scores. Ironically, the instrumentalists will discover
Cage himself is the biggest limitation in that, as open as the scores
are, the performers are, paradoxically, extremely limited in the range
of notes that they can deploy. The performers are only permitted to
play the notes C, A, G and E or the equivalent frequency values in Hz
and Khz. To quote Marcel Duchamp, an éminence grise of Cage: 'There
are no problems only solutions.' I prefer the less complacent, more
cynical formulation of Duchamp's sometime collaborator Man Ray: 'There
are no solutions only problems.'
Cage quotes and music/montage.
"The main item is a recording of the Toynbee Theatre 'Song Books' that will begin around 5.30pm. Before that starting at 5pm will be a repeat of Carol Finer's Clearspot show starring Penny Homer that introduces John Cage's magnum opus. 'Song Books' is performed by an ensemble of 15, including several ex-members of The Scratch Orchestra. At about 6.32 Stefan Szczelkun will read improvisation rites from 'Nature Study Notes' with Carol Finer. The improvisation rites were collected and hand-written by Cornelius Cardew in 1969 and served as the main literary reference point for the early Scratch Orchestra."
Writer, academic, activist Nina Power discusses politics and history.