FT Life of a Song: Recent Episodes
Financial Times
Each month FT music critics and contributors discuss the story of a song, from its origins and early recordings through cover versions good and bad. Formerly called FT Arts.
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From the unstoppable rise of hip-hop to the 'millennial whoop', what does today's new music sound like? And how has social media changed the relationship between artists and fans?
Harriet Fitch Little, India Ross and Griselda Murray Brown discuss Drake, Cardi B and DJ Khaled - in particular 'Wild Thoughts' ft. Rihanna and Bryson Tiller from 2017, which leans heavily on the melody and mood of Santana's 1999 hit 'Maria Maria', the coming-of-age soundtrack for the oldest cohort of millennials.
Warning: this podcast contains a live 'millennial whoop'.
When "Wuthering Heights" was released 40 years ago this year, it became the first song written and performed by a woman to reach number one in the UK charts. What was the song's — and Bush's — special appeal? Why have there been more parodies than straight covers? And why is it so popular now, with re-enactments of the music video taking place around the world? FT music writers Jude Rogers, Helen Brown and David Cheal discuss the song and its afterlife.
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Set against a backdrop of protest and upheaval, the songs released in 1968 represent a turning point in music. FT pop writers David Cheal and Peter Aspden are joined by author Tot Taylor to debate the year's most important songs and artists, from Tyrannosaurus Rex, The Beatles and Pink Floyd to Joni Mitchell and Tim Buckley.
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What makes a good Christmas song? Should it be cheesy or serious? And why do millennials love them?
FT pop writers discuss festive classics old and new - from carols to Mariah Carey, Greg Lake to Phil Spector, Sufjan Stevens to Run-DMC. Plus, which 2017's best Christmas song: Gwen Stefani's 'You Make it Feel Like Christmas' or Sia's 'Santa's Coming for Us'?
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Billie Holiday’s 1939 'Strange Fruit' was called 'the first significant protest in words and music, the first unmuted cry against racism'. Other singers attempted it, from Nina Simone and Diana Ross to Jeff Buckley and Kanye West. But could any match the power of the impassioned original? FT pop writers David Cheal, Fiona Sturges and Helen Brown discuss the song's origins and afterlife.
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From Bob Dylan to Adele, the song that was first called 'a spare ballad undermined by greetingcard lyrics' is now a karaoke tearjerker. FT pop writers David Cheal and Helen Brown debate the origins, meanings and cover versions of 'Make You Feel My Love'.
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In a special episode to mark the publication of The Life of a Song book, FT pop critics Helen Brown, David Cheal and Ludovic Hunter-Tilney debate whether a song can really change the world. Hear the stories behind the hits, from Bowie's 'Starman' to Jay-Z's 'Hard Knock Life (Ghetto Anthem)'.
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It achieved distinction in an era of elemental riffs, and journeyed effortlessly to and fro across the Atlantic. It also marked a turning point in the career of the greatest guitarist who ever lived: Jimi Hendrix. FT pop writers Peter Aspden and David Cheal discuss "Wild Thing" 50 years after Hendrix's groundbreaking performance at the Monterey Pop festival.
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The singer’s old label boss called the song ‘a morbid mess’, but it shot to number one in the US. Ahead of the 40th anniversary of Elvis’s death in August, FT pop writers Peter Apsden and David Cheal discuss the song's origins, dark appeal and afterlife.Credits: 104pro Media, Legacy Recordings, Entertain Me Ltd, Spectrum, Omnivore Recordings, Vengeance Records
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Twenty years after they headlined Glastonbury, Radiohead return to the British music festival. FT pop writers Ludovic Hunter-Tilney and David Cheal discuss the band's lullaby of despair 'No Surprises' from their 1997 album OK Computer.Credits: Sire/Warner Bros, mudhutdigital.com, XL Recordings, Easy Star, SKIP Records
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David Honigmann looks at how a sleeping Keith Richards dreamt up a riff that would later develop into a number one hit for Rolling Stones and become one of the most recognisable rock anthems of all times. Credits: ABKCO Records Inc, Universal International Music B.V, Rhino Atlantic, Virgin Records Ltd.
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David Cheal looks at how Bob Dylan took inspiration from an old Scottish border ballad while writing this era-defining apocalyptic vision of what he saw as the violent, ignorant and hypocritical socio-political landscape of 1960s America. Credits: Sony Music Entertainment Inc, A Wing & A Prayer Ltd, Vanguard Records, Virgin Records. Patti Smith Nobel ceremony recording courtesy of: Nobelprize.org.
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Helen Brown looks at how Serge Gainsbourg's infamously salacious love song originally written for Brigitte Bardot would become a hit for the French composer and his English girlfriend Jane Birkin, despite facing widespread bans and condemnation. Credits: Mercury France, Mercury Music Group, Rarity Music, Parlophone UK, Barclay.
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Ian McCann takes a look at one of the greatest and most culturally influential rap songs by genre pioneers Grandmaster Flash & The Furious Five. A hit urban anthem, it almost wasn't recorded... Credits: Castle Communications, Warner Bros, Wagram Music, The Island Def Jam Music Group, Atlantic Records
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Ian McCann looks at how a turn-of-the-century Neopolitan ballad was adapted into a hit for Elvis, before becoming an anthem for ice cream lovers and football fans alike. Credits: Bongiovanni, Delta, AP Music Ltd, Nuova Canaria, Randy's Group, Inc, Autarc Media GmbH
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Sue Norris explores how a B-side by a little known American singer, Gloria Jones became a cult hit on the 1970s English northern soul scene, before being turned into one of the most recognizable pop songs of all time by Soft Cell. Credits: Universal Music TV, Universal Music Enterprises, Parlophone UK, Interscope Records, The Island Def Jam Music Group, Tacca Musique
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Helen Brown looks at how the most successful Disney song of all time became an unlikely favourite among prisoners and a "coming out anthem" for the LGBT community. Credits: Walt Disney Records, Black Crow Records
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Peter Aspen looks at how The Eagles turned a few improvised chords into one of the most iconic, and enigmatic, rock songs of the 1970s. Credits: Rhino/Elektra, Parlophone UK, UMG Recordings, Elemental Records, Sony Music Entertainment
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Sue Norris on how Cissy Houston and Gladys Knight respectively transformed the sound, and meaning, of Jim Weatherly's country number. Credits: X5 Music Group, Jim Weatherly, Carinco AG, Capitol Records LLC.
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Harriet Fitch Little on how Dolly Parton's anti-work anthem went from the movies to the White House to a muddy field in Glastonbury. Credits: Sony Music Entertainment, Capitol Steps, Pumpin' UK Records, Dolly Records, BBC/Glastonbury
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Amy Walker on how a saccharine love song was transformed by Otis Redding into a provocative and impassioned soul classic. Credits: Baierle Records, Cool Note, 104pro Media, Daxa production, Digital Remasterings, ABKCO Music & Records Inc., Rhino Atlantic, Universal Island Records, Roc-A-Fella Records, LLC/Shawn Carter
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David Cheal traces the song's journey from a forgotten 1950s melodrama to an enduring love ballad covered by Nina Simone, David Bowie and George Michael. Credits: Old Style, Blooming Jazz Records, Rhino/Warner Bros., Parlophone UK, One Little Indian Ltd, Lakeshore Records, Sony Music Entertainment UK Ltd.
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The Japanese hit has been renamed and redefined by western artists from the Gipsy Kings to Snoop Dogg. Credits: JB Production, K-Tel, New Jersey, 2012 Carinco Neue Medien AG
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Paul Anka originally wrote the song for, and in the persona of, Frank Sinatra, claiming he'd "never written something so chauvinistic, narcissistic, in-your-face and grandiose."
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For more than 50 years, this ballad's haunting charms have proved irresistible to many of the world's leading musicians. Credits: Firefly Entertainment, Black Sheep Music, X5 Music Group, Manhattan Records, UMC, Mute/BMG, Sony Music Classical, RCA Records Label
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Songs can be mixed blessings. Screamin' Jay Hawkins' most famous one brought bliss to all who touched it - except its composer. Credits: AP MUSIC LTD, Universal Music International Ltda., Rhino
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The song crystallises a moment in time between the optimism of the Summer of Love and the darkness on the desert horizon. Cathi Unsworth explores its history. Credits: Boots Enterprises, Inc., 4AD, Columbia, Ever
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Joy Division's stripped-down sound signaled a new direction for music in 1978, but the lyrics to this song would prove horribly portentous. Credits: WM UK, London Records, Universal Music International Ltda, Palare, BBE
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Ian McCann charts the transformation of UB40’s number one hit, from Neil Diamond’s country ballad to iconic reggae ditty. Credits: Virgin Records, Universal Music International Ltda, Sanctuary, Capitol Records, Authentic Jamaican Music, K-Licious Music
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The song that defined Fleetwood Mac's high water mark went on to be covered by country-folk and hip-hop artistsCredits: Rhino/Warner Bros, Charly Digital, Universal Music International Ltda, S4DK
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David Honigmann follows Led Zeppelin's 'Stairway' from its origins in a Welsh cottage to 'Wayne's World', the White House and bedrooms everywhere
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Prince wrote his song about partying in the face of nuclear threat during the cold war but it gets heavy rotation to this day
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This 1853 Christmas Carol, set to the melody of a 13th-century Nordic Hymn, has since fallen into the hands of Joan Baez, Tom Jones and Ritchie Blackmore of Deep Purple.
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Greg Lake died this week, and this track remains an enduring Christmas classic.Credit: Syco Music, Universal, Decca, Symphonia
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Buddy Holly's 1958 London performance of the song inspired the young Mick Jagger to form his own band. Credits: Universal, Not Now Music
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It's been the theme tune for the BBC's review series 'Film' since 1971, but Nina Simone's cover turned it into a civil rights anthem.Credits: Universal, Eagle Records, Rhino Atlantic, Decca
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Gene Wilder died Listening to Ella Fitzgerald’s cover, but it was Judy Garland who brought “Over the Rainbow” to fame.Credits: Spectra Records, Warner Bros, Blackbird, Documents 2
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Leonard Cohen's most famous song nearly wasn't released after being rejected by his record label. It is now among the most covered songs, with notable contributions from Jeff Buckley, John Cale and Rufus Wainwright. Credits: Sony Music, UMOD, Syco Music, Columbia, Nonesuch
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“Yesterday” came to Paul McCartney in a dream one night in 1963. It’s now among the most covered songs in history, with efforts from the likes of Elvis, Marianne Faithful and Marvin Gaye.Credits: EMI, TNA Records, RCA Legacy, Universal Music
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Snippets of Isaac Hayes' classic were used by trip-hop pioneers Portishead and Tricky. Richard Clayton tells the life of a sample. Credits: Decca, Universal Music, Virgin EMI
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The origin of Deep Purple's 1971 hit is almost as famous as its instantly recognisable guitar riff.Credits: Parlophone UK, Thompson Music P/L
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Peter Aspden deconstructs the creation of Bob Dylan's legendary song over the course of a single day in the studio. This podcast was originally published in November 2015; it is republished in celebration of Bob Dylan's Nobel Prize for Literature.Credits: Columbia/Legacy
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Originally sung by slaves, the spiritual became a jazz and blues hit in the 1960s, with a cover by the British blues-rock musician Graham Bond.Credits: Repertoire Records, Isis, Edition Ahorn, UMC
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Fiona Sturges follows Patti Smith's lustful 1970s song of youthful abandon.Credits: Arista, Columbia, Coqueiro Verde Records, Stun Volume
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Richard Clayton on how Tracy Chapman's searing ballad of low income life carried her to global acclaim.Credits: Elektra, King Tubby's Music, Virgin EMI
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Boney M's unlikely disco ballad was a hit on both sides of the iron curtain but was banned by Soviet authorities. Harriet Fitch-Little explores its indestructible appeal. Credits: Ariola Express, Century Media, Super Cassettes Industries, MCI
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Bruce Springsteen's bleak ballad of American life has been promoted by politicians from Ronald Reagan to Donald Trump. David Honigmann examines the song's fraught relationship with power. Credit: Columbia
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Janis Joplin achieved a posthumous No.1 hit with a rueful tale of love and loss, written by her old flame, Kris Kristofferson, which in turn helped launch him to stardom. Richard Clayton follows the song's bittersweet success. Credits: Columbia/Legacy, UMC, Top Town Records, Rhino/Warner Bros, Play Digital, Ricordi
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Billy Holiday's secular hymn was born out of a blazing family row and its swaying melody went on to become a jazz standard, with versions by Tony Bennett and Sonny Rollins. Mike Hobart follows its history. Credits: Jazz Moon, Saga, Columbia/Legacy, Island, Geffen Gold Mine
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Kate Bush retreated to a farmhouse to craft her richly layered song of love and insecurity. It reaffirmed her place as a pre-eminent songwriter and went on to feature in the London Olympics closing ceremony. Richard Clayton follows its history. Credits: Noble & Brite, Beams, Frontiers Records, Elevator Lady, Italians Do It Better, Obsolete Media Objects
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Before Julie Andrews' famous film performance, John Coltrane had turned this Broadway number into an off-kilter jazz classic. Mike Hobart charts its history. Credits: RCA, FourMatt, Hallmark, EMI, Decca, Universal.
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Rising above personal tragedy, Edith Piaf wrote a defining classic for post war France.Helen Brown follows its path, as read by Anna Metcalfe.Credits: The Restoration Project, Marianne Melodie, Universal Music Group International, Thousand Mile Inc, Naïve
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It took Wilbert Harrison a long time to get traction with his ode to fidelity, but it became a hit for him, Canned Heat and later Bryan Ferry. Richard Clayton traces its progress. Credits: The Restoration Project, Marianne Melodie, Universal Music Group International, Thousand Mile Inc, Naïve
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Bob Dylan’s cryptic number is one of the signature songs of the 1960s, signalling a shift in his career. It helped launch The Byrds to stardom and was pivotal in the development of indie rock. Richard Clayton follows its history. Credits: Columbia, Legacy, Spectrum, Naxos
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The grand hymn of redemption took a long path to its current stature in American spirituality, from John Newton’s original lyric to the civil rights movement of the 1960s. Ian McCann follows its turbulent history. Credits: Rhino Atlantic, Marathon, Ameritz Music, Bandleader Recordings, UMC
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Sam Cooke's political lament, released after his untimely death, went on to become a civil rights anthem. Sue Norris charts its history.Credit: Universal Music Group International, Rhino Atlantic, Time Life Music, RCA
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What drew jazz musicians like Miles Davis and Chet Baker to a twinkly tune from Disney's 'Snow White'? And what became of the child star who first sang it? Lilian Pizzichini traces its history
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Bobbie Gentry's understated ballad was reworked by jazz musicians, the 'rebel-country' movement and Motown - and even parodied by Bob Dylan. Ian McCann traces its history
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Written for The Shirelles in 1960, Carole King and Gerry Goffin's song nailed the insecurities of a new generation of women. Helen Brown looks at a classic of the female singer-songwriter canon
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Jimmy Webb's mournful ballad became one of the most-covered songs of the 20th century. Sue Norris explores its appeal for artists from Nick Cave to Isaac Hayes.Credit: Imperial, Capitol, Mute, Enterprise
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Before becoming one of the most sampled tunes in music history, "Apache" was an unexpected UK number 1. Richard Clayton tracks its journey.Credits: Wrasse Records, EMI, Puzzle Productions, Open Records, Sepia, Sanctuary
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How is music streaming changing the experience of listeners? Are the algorithms that guide us through this new world an adequate replacement for DJs, critics and knowledgable record shop owners? Could endless choice paradoxically be making us more conservative in our tastes? Lorien Kite discusses these questions with Spotify's Will Page and FT pop critic Ludovic Hunter-Tilney.
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"I Feel Love" by Donna Summer changed the future of music, paving the way for today's EDM. David Cheal tracks its incredible influence.Credits: UMC, Vanilla OMP, Warner Music TV, RCA
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Written in a log cabin when Bon Iver had all but given up, "Skinny Love" was an unlikely pop hit. Richard Clayton investigates its rise, from covers by Birdy and Ed Sheeran to X Factor hopefuls the world over.Credit: 4AD, Atlantic, Elle, Sunbiz Sessions, X Factor
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Ben Lerner is one of the most highly praised and unconventional writers of his generation. The 37-year-old recently met John Sunyer, a commissioning editor on FT Weekend, to talk about why he's 'doomed to write more novels'. Here, he reads one of his favourite poems.
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Miles Davis' "So What" is one of the most famous compositions in jazz. Ian McCann explores its many incarnations, from Ronny Jordan's funk hit to Smiley Culture's musings on racial unrest. Credit: Not Now Music, Columbia/Legacy, Universal-Island Records, Universal.
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Is the abundance of information in the age of Google and Facebook storing up problems for future generations? Richard Ovenden, who as Bodley's Librarian is responsible for the research libraries of the University of Oxford, talks about the opportunites and concerns of the digitisation of memory with John Thornhill, the FT's innovation editor.
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"Every Rose Has Its Thorn" by Poison's Bret Michaels was the last popular flourish of transvestism in rock. Ludovic Hunter-Tilney discovers what inspired the classic power ballad. Credit: Capitol Catalog, Hollywood Records, Kidz Bop, BMB/Poor Boy Records
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Before "Everything I Own" became a reggae classic, it was an ode to paternal love by Bread's David Gates. Ian McCann traces the history of one of the 1970's greatest romantic ballads. Credit: Rhino, Parlaphone UK, Sanctuary, Atlantic Records
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The coolification of Phil Collins is among pop's most curious turnarounds. Richard Clayton explains what the song owes to gangsta rap, "gated reverb" - and a drumming gorilla. Credit: Rhino, Atlantic, Def Jam
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Tim Buckley's ode to doomed love has exerted a siren-like attraction for artists including This Mortal Coil, Robert Plant and John Frusciante. David Cheal examines its enduring power. Credit: Rhino, Warner Brothers, Chrome Dreams, 4AD, Virgin EMI, Parlaphone UK, Virgin UK
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Woody Guthrie's "This Land Is Your Land" has been used in the campaigns of George HW Bush, Obama and, most recently, Bernie Sanders. Richard Clayton investigates the colonial overtones and contested legacy of America's alternative national anthem. Credit: Smithsonian Folkways Recording, Daptone Records, Delta, North Face and Jib Jab.
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Jethro Tull's prog rock hit rejected the hippy idealism of Swinging London. Ian McCann explores its influence on musicians from Maynard Ferguson to Francis Dunnery. Credit: Parlophone UK, Wounded Bird Records, Rak, Warner Music.
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David Cheal discovers how this hymn to friendship eventually came to divide its creators Simon and Garfunkel, but went on to inspire more than 200 cover versions. Credit: Columbia, RCA, Legacy, Atlantic Records.
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How did Bill Withers' little blues inspire a 1990s R&B hit and a Simon Cowell-produced football anthem? Ian McCann charts its history. Credit: Columbia, Legacy, Sony, Ministry of Sound, Syco
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This song has its roots in an ancient refugee crisis and the more recent struggle for racial equality. Over the years, it's been adopted by Fats Waller, The Four Lads and the rapper M.I.A. Written by Helen Brown and read by Anna Metcalfe. Credit: Hit Wonder, Document Records, Diamond Coast, Sinetone AMR and XL Recordings.
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Jacques Brel's impassioned tribute to the sailors and drunks of the port of Amsterdam inspired covers by Mort Shuman and Scott Walker. David Cheal traces its journey from David Bowie's stripped down version to Thierry Amiel's performance, which triumphantly returned the song to its original French.
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"Lady Marmalade" began life as a sleazy soul anthem by Bob Crewe and Kenny Nolan before being funked up by Labelle, given an R&B twist by Sheila E and overlaid with cheesy rap for the film "Moulin Rouge". Ian McCann charts its evolution. Credit: Epic, 20th Century Records, Fania, Warner Bros., Polydor Associated Labels
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Blind Willie Johnson's gospelly, moaning adaptation of an 18th-century hymn might have seemed an odd choice for the disc of music attached to Voyager 1 in 1977. But artists from Ry Cooder to Jack White have been drawn to its ethereal power. Credit: Legacy/Columbia, Warner Bros., Alligator Records
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Mike Hobart charts the history of the tune that catalysed modern jazz and - through Charlie Parker - saw the beginning of bebop. Credits: Prestige Elite, Wild Plantage, Chronological Classics, Spotlite Records, Essential Jazz Classics
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Which song links a Haile Selassie UN speech with a Bob Marley vamp and the moment Sinead O’Connor was booed by 20,000 Bob Dylan fans? David Honigmann discusses “War”. Credit: Sony Legacy, 1992 Island Records, Rastafari Records, Keltia Musique
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The quintessential grunge anthem, ‘Smells Like Teen Spirit’ hinted at the racial politics, school shootings and ennui which entangled America’s Generation X. David Honigmann traces the song’s evolution. Credit: Universal Music TV Campaign Division, Columbia, UMC (Universal Music Catalogue), Rhino Atlantic
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Mike Hobart explores the history of Chic’s "Good Times", a last-gasp salute to disco inspired by the Great Depression and Harlem Renaissance. Credit: Atlantic Records, Sanctuary, Castle
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A pocket symphony, “Surf’s Up” was written by Brian Wilson at the peak of his creative brilliance. David Cheal discusses the Beach Boy who didn’t surf, and how he caught the wave of emerging 1960s counterculture. Credits: Capital Catalog, Smog Veil Records
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How did a dirge-like song about a serial killer written by a Marxist playwright and a left-wing composer become a swinging jazz classic and global commercial success? David Cheal follows a trail not yet gone cold. Credits: Naxos; Decca Music Group Ltd; Not Now Music; Delta
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An unforgettable track whose lyrics emerged from an all-night writing session, “Sunshine of Your Love” has been covered by Jimi Hendrix and Ella Fitzgerald. David Cheal seeks the source of the song’s primal brilliance. Credits: Legacy Recordings; Polydor Ltd; LRC Ltd; Groove Merchant Records
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A ballad as much about reunions as separations, Auld Lang Syne can signify everything from the year's end, to closing time in Japanese department stores. David Cheal explores the many incarnations of this sentimental Scottish song. Credit: Culburne Records; Lismor Recordings; Anti/Epitaph
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This much-loved Christmas Carol uses words published by Cecil Sharp in 1911. But to what extent did he graft Christian elements onto a very different original? FT arts editor Jan Dalley traces the gender shifts which define the song’s evolution. Credit: Universal-Island Records Ltd; Warner Classics
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A new short story for the holidays, from the winner of the 2013 Man Booker International Prize. The reader is Christine Spolar
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It was written for Otis Redding but he never sang it, became a hit for the Bee Gees and covered by numerous bands in various genres but who was the unlikely inspiration for 'To Love Somebody'? Ian McCann tells the story. Credits: Bee Gees/Reprise; Ace Records; Sanctuary; London Records
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John Leyton's 1961 "death disc" was born out of a séance and banned by the BBC but still reached Number 1. Cathi Unsworth tells the song's eerie tale and follows the trail of tears it left behind. Credit: Puzzle Productions/DMI; Goldenlane Records; Caribe Sound; EMI
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This year’s carol was specially commissioned by the FT with the help of Nicola Clase, Sweden’s ambassador to the UK. Jane Owen talks to Clase about the piece, which was composed by Johan Hugosson and features lyrics adapted from medieval Scandinavian rune poems. It is sung by the choir of Stockholms Musikgymnasium conducted by Bengt Ollen.
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David Cheal explores how Lou Reed got prostitution, transvestism, oral sex and drugs past the BBC commisariat with a group of white English 'coloured girls'. Credits: RCA/Legacy, Spectralite, Sony BMG Music Entertainment
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David Cheal investigates the roots of an explosive song often cited as the first ever rock 'n' roll record. Credits: Charly Records, Gralin Music, Famous Flames Recording Company, Proper Box.
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Jan Dalley tells the story of the aria that united opera and football fans alike in a strange example of the power of posh music. Credits: ZYX Music, Naxos, Monument, Arista.
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Michael Jackson's first foray into rock helped dismantle barriers of genre — and race — in the early 1980s music business. Maria Crawford tells the story. Credits: Epic, Mercury Records.
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From the origin of the "grapevine" itself, through Motown and Marvin Gaye to The Slits' punk reinvention, Hilary Kirby charts the evolution of a classic. Credits: Motown Record Company, Motown Records, Island Def Jam Records.
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Going back to the roots of Lamont Dozier's 1977 hit, David Cheal uncovers TV inspiration, Woodstockian vibes and a question mark over the authorship of that famous guitar lick. Credits: Warner Music TV, Rhino/Elektra, Marathon Media International, Orlando Julius Afro House of High Life.
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First recorded in 1934 by Lead Belly the 'Homicidal Harmoniser', David Cheal follows the waltzing lament of 'Goodnight, Irene' through interpretations by the Weavers, Ry Cooder and Bryan Ferry. Credits: Hallmark, H&H Music, Rhino/Warner Bros, Virgin Germany.
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David Cheal follows Modest Mussorgsky's dramatic 19th-century composition from orchestral standard to Disney classic and floor-filling disco anthem. Credits: Disney Records, Masterworks Jazz, Bee Gees/Reprise.
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A Motown classic and Beatles favourite that went on to become perhaps the first postmodern pop song: David Cheal on the many lives of 'Money (That's What I Want)'. Credits: Motown Records Inc., EMI, Simitar.
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David Cheal digs into the story of the Britney Spears hit Toxic finding Bollywood samples, acoustic deconstruction and a role as currency in an imagined apocalyptic future. Credits: Jive, Saregama, Beeswing Records
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“I had to phone someone so I picked on you-hoo-hoo”: David Cheal on the song that gave David Bowie his breathrough moment. Credits: Parlophone UK, RCA Records, EMI Records
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Mike Hobart tells the story of Jimmy Forrest’s 1952 hit, an R&B smash that and crossed over to the pop charts with James Brown’s reinvention.Credits: Maarten Eilander, Soul City Blues, The Island Def Jam Music Group
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Written for a 1935 romcom, this song complies with the strict moral codes of the time, but turns Hollywood convention on its head, says Mike Hobart. Credits: 4:Squared Entertainment, Nostalgia Music Catalog, Universal Island Records
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Nat King Cole's 1948 hit made an unlikely celebrity of its back-to-nature songwriter, and established Cole's solo career - but, says Mike Hobart, it also lived through racial bigotry and legal action before covers by Sinatra, Bowie and Lady Gaga. Credits: The Restoration Project, Columbia Records, Interscope Records
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It may have been written by a man who never even set foot in the state, but that hasn't stopped 'Georgia on My Mind' becoming a Southern anthem. Mike Hobart looks back on the song's origins. Credits: Rendez-Vous Digital,The Island Def Jam Music Group, Not Now Music and EG Jazz
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Mike Hobart traces the Rodgers and Hart tune's journey from Broadway musical number to ubiquitous torch song to mood-changing jazz masterpiece
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Podcasts have existed for more than 10 years but have recently seen a surge of interest, spurred by the success of the true crime drama Serial, which has been downloaded more than 70m times. What is driving the so-called “podcast renaissance”? How are they different from radio shows? And do they pose a threat to traditional broadcasting? FT technology editor Ravi Mattu is joined by literature professor Sarah Churchwell, veteran podcaster Helen Zaltzman and Mark Friend, who is responsible for BBC Radio online. Produced by Griselda Murray Brown and Lily Le Brun
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Herbie Hancock's soul jazz classic 'Watermelon Man' originally drew on his 1940s Chicago childhood but went on to be given funk, disco, ska, pop and hip-hop makeovers, says Mike Hobart. Credits: Roslin Records, Columbia/Legacy, Salt & Pepper, History Of RnB Records
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The rousing spiritual from folk opera 'Porgy and Bess' has become one of the most recorded tunes of all time, says David Honigmann, with Miles Davis, Janis Joplin and Peter Gabriel among the artists who covered it. Credits: Columbia/Legacy, Mercury Records, Hallmark
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David Honigmann on why Bob Dylan, Joan Baez, Dolly Parton and Saint Etienne have all been drawn to Silver Dagger's cautionary tale of heartache and "wicked loving lies". Credits: Sugar Hill, Saint Etienne, Columbia/Legacy
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The Specials' 'Ghost Town' became the soundtrack to the 1981 Brixton riots. Thirty years on, its message of disaffection remains relevant, says David Honigmann. Credits: Chrysalis Records Ltd, Hyperdub, Tru Thoughts.
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David Honigmann explores one of the handful of songs recorded by the blues singer Robert Johnson, in which he is pursued by the Devil, society or his own demons. Credits: UMG Recordings, Inc., Blue Note Records, Universal Island Records Ltd., Not Now Music Ltd
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Elvis Costello wrote the song during the Falklands War yet, David Honigmann says, its specific political subtext didn't deter Suede, The Unthanks and others from covering it. Credits: Domino Recording, Universal Music Catalogue)/Elvis Costello, Topic Records Ltd, RabbleRouser Music
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David Honigmann on the Louis Armstrong blues song that inspired a poem by WH Auden and recordings by Bob Dylan, Van Morrison and others.
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Recorded by musical perfectionists Steely Dan, sampled by hip-hop trio De La Soul and recycled in other pop songs, the story of 'Peg' is one of originality and appropriation, Peter Aspden says. Credits: MCA Records Inc, Rhino, The Echo Label Limited
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Peter Aspden on the 'floating song' recorded by Alan Lomax in 1930s Kentucky that went on to be covered by Woodie Guthrie, Bob Dylan and, of course, The Animals. Credits: Concord Music Group, Marathon Media International, BMI
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Peter Aspden tells the story of 'Misirlou', the swaying Anatolian love song that was reinvented as a 1960s surfers' anthem before gaining a massive audience with Pulp Fiction and sampling by The Black Eyed Peas. Credits: Parker Street Records, JB Production, Universal Music Group
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Peter Aspden tells the story of Burt Bacharach’s feelgood anthem ‘Raindrops Keep Falling on My Head’
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Peter Aspden on 'A Whiter Shade of Pale', the melancholy 1967 Procol Harum song whose melody was 'sparked by Bach' and which set off a legal battle that went all the way to the House of Lords. Credits: ANM, AP Music, DLG Digital, Demon Music Group
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From heartfelt but humble song to all-conquering power ballad, Peter Aspden tells the ultimately tragic story of 'Without You'
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Ludovic Hunter-Tilney looks back 50 years to the time of the British Invasion and Petula Clark's evocation of Anglo-Americana. Credit: Sanctuary Records/BMG; Universal
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From a heavy metal hit to its use in the Abu Ghraib tortures, Metallica’s ‘Enter Sandman’ strikes some sinister chords with Ludovic Hunter-Tilney. Credit: Elektra
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From Billy Paul’s adulterous original in 1972 to Amy Winehouse's gender-bending twist on the song 30 years later, Ludovic Hunter-Tilney gets to grips with 'Me and Mrs Jones'. Credits:Philadelphia International, 143, Island
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Ludovic Hunter-Tilney looks at 'It's the Hard Knock Life' from Broadway's musical Annie and its influences on Katy Perry's 'Roar' and Jay-Z's 'Hard Knock Life (Ghetto Anthem)'. Credits:Columbia, Roc-A-Fella, Columbia
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Ludovic Hunter-Tilney reveals the Old Testament legacy in popular music: from Robbie Williams' 'Kiss me' to Perry Como's 'Song of Songs' and Kate Bush's 'The Song of Solomon'. Credits:Chrysalis, Noble And Brite, RCA Victor
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Ludovic Hunter-Tilney uncovers the back story of Vanilla Ice’s hit Ice Ice Baby. Credits:Ultra, EMI
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David Cheal tells the tale of the Burt Bacharach penned classic 'I Just Don’t Know What to Do With Myself', from the 1964 soul of Dusty Springfield to its 2001 raw-rock treatment by The White Stripes. Credits: Philips, Stiff, Elephant
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David Cheal traces the journey of ‘Guantanamera’, from a 19th-century Cuban national hero to a 21st-century recycling campaign, via Celia Cruz and the peace movement of the 1960s. Credits: RCA Victor, Bravo Hit, Universal Music AB, Columbia
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David Cheal tells the story of Randy Newman’s ‘Baltimore’, through covers by Nina Simone, The Tamlins and Billy Mackenzie. Credits: CTI, Warner Bros., EMI
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The anarchist and anthropologist David Graeber discusses both the stupidity and secret joys of bureaucracy with the FT's Martin Sandbu and Lucy Kellaway
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The Life of a Song: David Cheal follows the fortunes of Neil Diamond’s ‘I’m a Believer’, from The Monkees to Robert Wyatt to the movie 'Shrek'. Credits: Colgems, Virgin, Interscope, Sony Music
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From recordings by Memphis Minnie and Led Zeppelin to sampling by Dr Dre, Eminem and Massive Attack, David Cheal traces the various incarnations of ‘When the Levee Breaks’. Credits: Columbia, Atlantic, The Chronic Interscope
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In the first of a new series, David Cheal looks at the song covered by artists from Brenda Lee to Elvis Presley, Willie Nelson to the Pet Shop BoysCredits: Sony Music Entertainment, EMI, Sony BMG
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Greek culture taught the rest of us how to live ‑ and it’s not time to write off that particular debt yet, says Peter Aspden
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As two recent biopics come under fire from those depicted, the FT’s arts editor ponders what compels movie-makers to embellish ‘true stories’
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The Belgian artist has been found guilty of plagiarism. But intellectual property law is a poor fit with contemporary art's mash-ups, multiples and reworkings, says the FT's arts editor
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Peter Aspden visits the basement treasure-house where recordings of Florence Nightingale, 1940s electronica and other rarities are stored alongside some equally exotic audio technology
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Politicians love to keep things simple, at least in their public pronouncements. Artists, by contrast, embrace complication, nuance and imagination – so who better to tackle slippery questions of national identity as the UK prepares for a general election?
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Between 1962 and 1972, the magazine set new standards for its industry – and in doing so created the perfect collectible, says Peter Aspden
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'Ambition', by the award-winning author Helen Simpson, is read by Christopher Villiers.
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The London venue’s exhibition of Presley memorabilia is curious mix of the banal and the resplendent – and none the worse for that, says the FT’s arts writer
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In lending one of its Parthenon sculptures to Russia, the British Museum has provoked Greece and exposed the hollowness of so-called ‘cultural diplomacy’
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Here today, washed-up tomorrow: that’s supposed to be the career trajectory for musicians in the pop age. But, as two recent projects show, great artists will always find ways to keep their signature work fresh and relevant
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By focusing on the personal rather than the political, Polish director Krzysztof Kieslowski created a quietly subversive masterpiece, Peter Aspden says
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20 years after the launch of the National Lottery, Jan Dalley celebrates how it has become the most successful form of cultural crowd-funding ever
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How a legal dispute over the use of a John Lennon song in a sneaker advert paved the way for today’s cultural mash-ups – and put paid to the notion of artists “selling out”
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As pop star Swift, 24, takes a stand against Spotify and dancer Guillem, 49, announces her retirement, Peter Aspden reflects on two very different divas
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Galleries display only a fraction of the works in their collections. Art historian Bendor Grosvenor says it’s time they faced down their conservation departments and liberated their hidden masterpieces
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Art may be essentially egalitarian as it illuminates the human condition – but that hasn't stopped members of the Porsche Travel Club getting special access to the Sistine Chapel. Should we worry if the wealthy corner the finest cultural experiences?
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The FT’s arts writer enjoys the troupe’s dance extravaganza at the Barbican – and explains why the fusion of hip-hop and martial arts might just conquer the world
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As London's National Gallery prepares to open a blockbuster exhibition of the artist's late works, art historian Bendor Grosvenor looks at the chaotic world of Rembrandt connoisseurship.
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The received wisdom is that contemporary art is just what a regenerating city needs, a stimulant for minds and economies alike. But are the wilfully puzzling tropes of the avant-garde really what the public wants?
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The singer-songwriter is about to turn 80 – a rite of passage not only for him but also for rock music. Peter Aspden celebrates a musician with a rare talent for staying ahead of the times
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The singer’s New York sculpture show confirms that contemporary art has replaced music as the go-to means of expression for young people with attitude, says the FT’s arts writer
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With their ever-growing ability to crunch data and analyse patterns, computers are valuable tools for art research – but that doesn’t mean art historians will soon be a thing of the past, argues Bendor Grosvenor
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On holiday in Greece, the FT’s arts writer travels to some out-of-the-way ancient sites and wonders whether they still hold lessons for 21st-century visitors – or are just another aspect of vacation kitsch
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Courtauld Institute student and arts writer Aindrea Emelife reflects on the current neglect of Surrealism in the art world – and considers what significance the movement might still hold for today’s young rebels
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The editor of arthistorynews.com welcomes the decision of the National Gallery in London to let visitors photograph works – and hits back at critics who say it will make people look at art in the ‘wrong’ way
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Film screenings are becoming ever more inventive, with fine dining, unusual venues and even hot tubs thrown in to lure audiences. But for Antonia Quirke, nothing can match the downbeat charm of a black-box cinema on a weekday afternoon
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Dolly Parton, Judi Dench, Louise Bourgeois. . . in recent years, women in all branches of the arts have enjoyed major career successes in their 60s, 70s, 80s and beyond. But what’s behind this phenomenon? The FT’s arts editor has some suggestions.
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The FT’s arts writer meets one of street art’s biggest names and reflects on what is lost when underground culture becomes part of the commercial mainstream
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Peter Aspden visits the V&A’s ‘Disobedient Objects’ exhibition and reflects on the art of protest in the age of rapid digital dissemination.
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As the Imperial War Museum unveils a £40 million refurbishment, Ludovic Hunter-Tilney reflects on the ubiquity of violence in popular culture.
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As Arts Council England announces its latest round of funding, FT arts editor Jan Dalley reflects on what the language of “investment” means for the art of our time.
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When David Cameron presented Li Keqiang with a ‘Downton Abbey’ shooting script recently, the gesture was fraught with subtext. But what should a post-imperial premier give to his rising-power counterpart? Peter Aspden has some suggestions. . .
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The UK’s culture secretary is a ‘Star Trek’ fan who wants the arts to be ‘accessible to everyone’ - while the filmmakers of the defiantly highbrow ‘Life May Be’ remind us that there are merits in other ambitions.
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As Sotheby’s prepares for a selling exhibition of the street artist’s work the FT’s arts writer reflects on shock culture – and the art market’s appetite for it.
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A developing theme in new music sees artists navigating the fine line between criticism and complicity - and revelling in the contradictions.
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Though shortlisted for the prestigious photography award, Nigeria’s Abraham Oghobase has been refused a visa by the UK government. That’s a sorry state of affairs for a country that professes to be in the vanguard of cultural openness, says the FT’s arts writer. This week’s column is read by Alexander Gilmour.
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In a despatch from Hong Kong, the FT’s arts writer reflects on the city’s ‘Tate bricks’ moment, and what it tells us about the fast-changing status of contemporary art in China
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As St Paul’s Cathedral prepares to unveil a Bill Viola installation, the FT’s arts writer considers the potentially enriching relationship between sacred settings and contemporary art
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A brush with institutional hauteur in Nice makes the FT’s arts writer long for the determinedly inclusive museums and galleries of the UK
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In the 1980s and 1990s cinema audiences were in thrall to powerful women in erotic thrillers such as Body Heat and Basic Instinct. But whatever became of the genre and is it ripe for a comeback?
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The Director of Cultural Partnerships at King's College London reflects on the growing appetite among artists and arts organisations for evidence about the impact and value of what they do
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The BBC’s self-parodying show goes too far – in the direction of complacency, complicity and all-round smugness. But comedy can be a remarkable force for exposing the flaws of the society from which it springs
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Driven by ubiquitous video technology, a new wave of films – such as the award-winning ‘Gaza: Chronicles of a Conflict’ – favours rawness and immediacy over explanation and context
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Art and Mammon are uneasy bedfellows: witness the recent furore over the Sydney Biennale. The solution, says the FT’s arts writer, is for institutions to embrace debates over their funding, not run from them
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Tate Britain’s new show explores our fascination with ruins. But where yesterday’s aficionados looked to the remains of ancient civilisations, today’s ruinous visions are of the future
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A militarist matchbox, a spoof banknote, a Lennon album. . . the FT’s arts writer presents a very personal history of the past half-century in 10 objects
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Matthew McConaughey’s career revival provides a neat case study of how an actor can wrest back control of his image. It also tells a broader story about our weakness for a certain kind of Acting.
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Forget Sartre. The Royal Opera’s new ‘Don Giovanni’ suggests that, in a hyper-connected world, hell is the absence of other people
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The death of the veteran folk singer prompted numerous tributes to his integrity and idealism. But it was his mythical spat with Bob Dylan that really defined his era’s cultural politics
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As King’s College, London, devotes an exhibition to its charismatic alumnus, the FT’s arts writer reflects on the artist and film-maker’s earliest inspirations
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Christian Bale’s hairpiece in the Oscar-nominated movie caper epitomises the preposterousness of the 1970s – but the decade’s unabashed lack of polish looks increasingly appealing in our technology-dependent age
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Businesses like buying contemporary art to show off their forward-thinking and investment savvy. Fair enough – but it still sits oddly with artists’ desire to provoke and subvert
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In a persuasive new book, the trend forecaster James Wallman says that our appetite for material possessions is giving way to a hunger for experiences. How will that shift be reflected in the arts?
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As Miami’s sparkling new Perez Art Museum hosts a big retrospective of the Chinese artist’s work, the FT’s arts writer reflects on culture’s role in challenging oppression
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An exhibition of Soviet-era sporting paintings shows how, even in a repressive political climate, artists still made work with real human insight
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Author Mohsin Hamid reads his short story 'Alien invasion in the G.L.A.C.', commissioned by the Financial Times for the new year.
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The FT’s arts writer finds that, for all the acquisitive buzz around art fairs, they still richly cater for people’s inquisitive side too
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Efforts to restore historic buildings to their original splendour tell us as much about today’s tastes as they do about yesterday’s
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The French conceptualist’s exhibition at the Palais de Tokyo is a sense-scrambling rethink of the relationship between art and the environment in which it appears
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They seem always to be on, but ‘Rules of Engagement’, ‘The Big Bang Theory’ and their ilk shouldn’t be taken for granted: these immaculately crafted, relentlessly inoffensive series open a window on American society
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A concert sponsored by insurance company Direct Line aims to help time-challenged audiences snatch some shut-eye – but a wakeful FT arts writer finds that the relationship between art and sleep is not a straightforward one
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The market for Orthodox icons has been revivified by Russian money in recent years – yet the genre’s spiritual charge and innate conservatism make it a challenging field for collectors
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Neglected in his lifetime, the singer-songwriter is now revered, as an event devoted to his album ‘Bryter Later’ demonstrates. But it’s doubtful his genius would have flourished any better in today’s impatient world, the FT’s arts writer says
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A new film portrait of the Italian director reveals a man unafraid to confront difficult questions. It’s a kind of artistic responsibility that now feels old-fashioned, the FT’s arts writer says
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The Futurists’ fervent belief in progress heralded disaster; now we worry about what the future will bring. But the FT’s arts writer finds grounds for optimism – and an unexpectedly hippy vibe – at a London ideas festival
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A forthcoming season on Channel 4 aims to demystify our sexual behaviour – to be ‘open’ and ‘honest’ about a 'normal part of all our lives'. Good luck with that, says the FT’s arts writer
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Spicing up traditional settings with a dash of contemporary style has become a cultural commonplace. But let’s not pretend it’s anything more than an aesthetic compromise, the FT’s arts writer says
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Culture is becoming a refuge for the digitally brutalised: an evening at the opera, or cinema, or theatre, is where we go to escape technological overload, the FT’s arts writer argues
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Citing pressure of visitor numbers, the museum banned sketching at its recent “David Bowie Is” exhibition – a move that shows how hard it is for curators to reconcile accessibility and academic values, the FT’s arts writer says
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“Those who live to please, must please to live.” But these days it’s often our privilege to watch the performers having a good time
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It’s loud, insistent, adolescent and playing now at a Mediterranean resort near you. And as the FT’s arts writer finds, there’s no way you’ll ever get the volume turned down
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Thomas Hirschhorn’s South Bronx installation brilliantly embodies the belief that art should be part of everyday life
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The sheer scale of suffering in the 1914-18 conflict is hard to grasp. As preparations begin for the centenary commemoration, the FT’s arts editor argues that culture has a vital role to play
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Omnicom/Publicis, Penguin/Random House – the cultural landscape is dominated by ever fewer, ever bigger businesses. Yet artists and audiences alike are finding benefits in shunning their embrace
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The late pop singer, whose work has just gone on show at London’s Royal College of Art, was a far more nuanced figure than his punk image would suggest, argues the FT’s arts writer
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Braving Daleks and Cybermen at the Royal Albert Hall, the FT’s arts writer reflects on the unlikely synergy between classical music and a children’s sci-fi series
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London’s Jewish Museum may seem an odd venue for an exhibition about the late pop diva. But the show is not so much a celebrity portrait as a way for a family to reclaim its daughter, says the FT’s assistant arts editor
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The Nevada resort, a byword for pleasure-seeking in the here and now, is starting to take its history seriously, says the FT’s arts writer
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Visa problems and nervousness on the part of potential sponsors have made life hard for London’s festival of contemporary Arab culture. But as the Arab Spring gives way to harsher realities, such forums are needed more than ever, says the FT’s arts writer
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Countries are vying to project their worth through art, sport and broadcasting. But ‘soft power’ is not always easy to control, says the FT’s arts writer
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Where there is a public clamour for explanation, writers and artists should be unafraid to step in, says the FT's arts writer
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The thought of French purists fretting over ‘les snackbars’ has long-tickled English-speakers
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Pre-first world war Vienna has some curious parallels with Spain today
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The praise lavished on football’s retiring greats has been wildly overblown, says the FT’s arts writer. Other cultural pursuits are far worthier of grown-ups’ attention
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As Margate’s Turner Contemporary gallery celebrates curiosity, the FT’s arts writer does his best to concentrate on the mind’s ability to wander
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Europe’s film-makers want protection from the might of Hollywood. That’s understandable, argues the FT’s arts writer, but also wrong-headed: the two traditions are deeply intertwined
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As a new documentary profiles the soft rock megastars, the FT’s arts writer reflects on their dramatic fall from grace – and their enduring appeal
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Doha’s aspiration to become a global centre for culture is admirable – its squeamishness over ancient Greek sculptures less so, says the FT’s arts writer
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Artists responded vigorously to the confrontational politics of Margaret Thatcher’s premiership – but the vivid creativity of the time had its roots in an earlier era, argues the FT’s arts editor
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As performance artist Marina Abramovic showed, the paradox of our digital age is our hunger for personal presence, says the FT's arts editor
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Even at a time of economic hardship, crowd-funding schemes could be a money-spinner for the arts because of the way they play on human psychology, says the FT’s arts editor
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We love French culture, yet according to a recent study there’s something in it that makes the French miserable. But every nation’s artistic mindset has its drawbacks, argues the FT’s arts writer
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The emirate’s contemporary arts event considers some thorny regional issues in a deceptively laid-back way, says the FT’s arts writer
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As a stage version of the classic BBC sitcom comes to London, the FT’s arts writer reflects on the series’ pioneering mix of comedy and drama
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‘Robot and Frank’ paints a benign picture of silicon-based life-forms. But the film’s ‘near-future’ setting is one that often wrong-foots screenwriters
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Like it or not, the vibrancy of London’s art scene is due in part to the efforts of marketeers, public relations teams and great coffee shops, says the FT’s arts writer,
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With his brother Jake, the British artist has tackled some of modernity’s grisliest themes. The FT’s arts writer finds out why he’s now trying his hand at music
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The German band’s shows at Tate Modern were wildly oversubscribed. But hot tickets and artistic pleasure don’t necessarily go hand in hand, says the FT’s arts writer
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The FT's arts writer reports on Mat Collishaw's transition from conceptual shock artist to ‘proper’ draughtsman - and why, unlike revolution or virgin birth, an economic recession makes a poor subject for art
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With "The Rite of Spring" in Paris and the Armory Show in New York, 1913 was a key moment for modernism. But it also marked a turning point in Britain's attitude to its past, says the FT's culture columnist
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Based on a novel by Peter Stephan Jungk, 'The Perfect American' is the story of one of the 20th century's biggest entertainment moguls. The FT's arts writer gives his verdict on the work's premiere at the Teatro Real, Madrid.
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Thinking differently is what makes Bowie stand out in the noisy world that killed off HMV. And it will be the key skill in the disembodied cultural universe of the future, says FT arts writer Peter Aspden.
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London will host seven international art fairs during October, including Frieze London and Frieze Masters, and there will be three more in European cities. FT Arts editor Jan Dalley, dealer and gallerist Thomas Dane, FT Collecting columnist Georgina Adam and Stephanie Dieckvoss, director of Art 13, a new event launching in March 2013, discuss the global appetite for this kind of showcase and the dangers of “fairtigue”
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As the 10th edition of the London Design Festival launches, designer Tom Dixon, London Design Museum director Deyan Sudjic and designer and online thinktank founder Rabih Hage discuss its impact with FT Architecture critic Edwin Heathcote
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As the 10th edition of the London Design Festival launches, designer Tom Dixon, London Design Museum director Deyan Sudjic and designer and online thinktank founder Rabih Hage discuss its impact with FT architecture critic Edwin Heathcote
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It's 100 years since the birth of Woody Guthrie, bard of the Great Depression, storyteller of genius, and huge influence on Bob Dylan, Bruce Springsteen and the rest.Billy Bragg, whose upcoming tour plays tribute to Guthrie; Tom Paley, veteran folk musician; and Mojo journalist Colin Irwin discuss this remarkable man and his legacy with Richard Clayton, FT pop critic. With clips from Woody Guthrie's "This Land Is Your Land” and “Pretty Boy Floyd”, Billy Bragg’s “My Flying Saucer” (set to lyrics by Guthrie), and the title track from Tom Paley’s new album Roll On, Roll On. Produced by Griselda Murray Brown
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Documentary films are breaking UK box office records and are, arguably, having more success than ever before. As "The Queen of Versailles", one of the hits of this year's Sundance Film Festival, heads for UK cinemas, Raphael Abraham discusses the new appetite for reality with critics Nigel Andrews and Leslie Felperin
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Elgar, the Beatles and Dizzee Rascal have all had a starring role in London’s Olympic Games, with some astonishing scenes that told the world the story of Britain’s contribution to popular culture. But can British music continue to punch above its weight?In this special edition of the Arts Podcast, FT pop critic Ludovic Hunter-Tilney is joined in the studio by Laura Battle, an FT classical music critic, Peter Aspden, the newspaper's culture columnist, and Paul Morely, radio and TV presenter and music critic.With music by The Beatles, Thomas Ades, Roy Harper and Amy Winehouse.Produced by Griselda Murray Brown and John Sunyer
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Can art fulfill the purpose of religion in a pluralist, secular society? Can we reconcile religious dogma with individual artistic creativity?FT arts editor Jan Dalley discusses the long and sometimes fraught relationship between religion and art with Alom Shaha, physics teacher, film-maker and author of "The Young Atheist's Handbook", history painter Tom de Freston, and art critic Richard Cork.Produced by Griselda Murray Brown
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The Cultural Olympiad spans four years and encompasses more than 500 events – culminating with the current London 2012 Festival. This unprecedented artistic marathon has cost a reported £97m – but is it worth it?Jan Dalley puts this question to Sarah Weir of the Legacy List, a post-Olympic charity for arts, culture, education and skills; William Sieghart, founder of the National Poetry Day and of Winning Words, a national project to incorporate poetry in the games; and Peter Aspden, FT arts writer. Produced by Nicholas Spencer
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Spoken word is a form of poetry usually written to be performed in front of an audience, and often associated with hip hop culture. In recent years its popularity has soared in the UK – and now, as part of the London Literature Festival, the Southbank Centre is hosting the final of “Shake the Dust”, a national poetry slam for teenagers.So, what’s the difference between “page” and “stage” poetry? Does spoken word have a political bent? And can poets hope to change anything? Jan Dalley puts these questions to the poet, rapper and playwright Kate Tempest; poet and artistic director of the “Shake The Dust” Jacob Sam-La Rose; and critic Suzi Feay.Produced by Griselda Murray Brown
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The Olivier award-winning playwright Simon Stephens is often drawn to dark subjects. “Pornography” tackled the 2005 London bombings; “Punk Rock” depicted violence at an English private school; and his controversial recent play “Three Kingdoms” shed light on the European sex trade. Now, Stephens’ adaptations of two classics – one old, one new – are about to open in London: a rewriting of Ibsen’s A Doll’s House and a dramatisation of Mark Haddon’s novel The Curious Incident of the Dog in the Night-Time. He talks to Jan Dalley and Sarah Hemming.Produced by Griselda Murray Brown
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Forget “London 2012”, this summer it’s all about the 1990s – with the Stone Roses reunion gigs, Suede headlining the Hop Farm festival, and Blur playing the Olympics closing ceremony gig.As 40-something fans relive the glory days of “Cool Britannia”, FT pop critic Ludovic Hunter-Tilney looks back at the renaissance of British rock 20 years ago, and asks – was it all it was it cracked up to be? And what is its legacy? He is joined in the studio by Richard Clayton and David Cheal.Featuring music from the Stone Roses, Oasis, Blur and Pulp. Produced by Griselda Murray Brown
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In 1926, LP Hartley called The Great Gatsby “an absurd story”. Now, it is hard to imagine that F Scott Fitzgerald’s 1925 novel was ever considered less than a masterpiece. And it seems particularly popular in our recessionary times – with the remarkable eight-hour play Gatz having had rave reviews in York, and now about to open in London; and Baz Luhrmann’s film version starring Leonardo DiCaprio and Carey Mulligan released later this year.Jan Dalley talks Gatsby mania with Sarah Churchwell, Professor of American Literature at the University of East Anglia; Mark Ball, artistic director of the London International Festival of Theatre; and the critic Matt Trueman.Produced by Griselda Murray Brown
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The late choreographer and high priestess of Tanztheater Pina Bausch once said she was not interested in how people move but in what moves them.As part of the London 2012 Cultural Olympiad, the Barbican Centre and Sadler’s Wells will stage Bausch's 10 Cities.Peter Aspden talks to Alistair Spalding, artistic director of Sadler’s Wells and a friend of Bausch, and to FT dance critic Clement Crisp, who “owns to a mistrust of Tanztheater, or dance-theatre, or Euro-tedium – call it what you will.”Produced by Griselda Murray Brown
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Hip hop may have started in the Bronx, but today’s rappers are millionaires with business empires that extend way beyond music. Ahead of Jay Z and Kanye West's European tour of their joint album Watch The Throne, Raphael Abraham talks to FT critics Ludovic Hunter-Tilney and Richard Clayton about the evolution and future of rap.With clips from The Sugarhill Gang, Jay Z and Kanye West, Evidence and DJ Shadow.Produced by Griselda Murray Brown
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From Dickens’ London to Wordsworth’s Lakes via the painter George Shaw’s suburban “edgelands”, the British landscape has long permeated writing and visual art. On the opening of the British Library’s exhibition Writing Britain: Wastelands to Wonderlands, Jan Dalley talks to the poet Owen Sheers; the exhibition’s curator Jamie Andrews; and FT art critic Jackie Wullschlager. The travel writer Robert Macfarlane is on the line. Plus, Faber's 1998 recording of Harold Pinter reading his poem “Joseph Brearley 1909-1977” © Faber & FaberProduced by Griselda Murray Brown
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In 1919 Walter Gropius founded the Bauhaus school in Weimar, Germany "to create the new structure of the future". Its teaching combined fine art with craft, and its adherents saw design as the key to a better way of life. Were its utopian aims misguided? What is its relevance today?On the opening of a major exhibition at the Barbican Centre in London, Neville Hawcock puts these questions to Lydia Yee, co-curator of the show; Edwin Heathcote, FT architecture critic; and Peter Aspden, FT arts writer.Produced by Griselda Murray Brown
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Nelson Mandela once said, “Somehow, Shakespeare always seems to have something to say to us.” This year, the bard is saying it in 37 languages. Globe to Globe, a six-week festival starting on April 21 at Shakespeare’s Globe in London, presents all 37 of Shakespeare's plays, each by a different international theatre company.But what is lost in translation? Can other countries really do Shakespeare better than Britain? And how do the plays relate to the world today?Jan Dalley is joined by Dominic Dromgoole, artistic director of the Globe; Professor Robert Grant, formerly of Glasgow University; and Peter Aspden, the FT’s arts writer. Roger Granville, producer of the Dari Persian "The Comedy of Errors" from Kabul, joins down the line.Produced by Griselda Murray Brown
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Ahead of the Victoria and Albert museum’s new exhibition 'British Design 1948-2012', Jan Dalley asks: can great design build a better society? Can Britain be called a leader in the field when its manufacturing industry is all but dead? And are we doing enough to foster a new generation of artists and designers?She is joined by the furniture designer Matthew Hilton, co-curator of the V&A show Christopher Breward, and FT arts writer Peter Aspden.Produced by Griselda Murray Brown
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She's the most successful female recording artist ever – and now, 30 years after her first single, Madonna has released her twelfth album, 'MDNA'. It's already caused a stir, with the video for the opening track 'Girl Gone Wild' banned on YouTube for being 'too raunchy'.But is she still good? What's more important: Madonna the brand or the artist? And, at 53, should she really be wearing those hot pants? Neville Hawcock puts these questions to FT writers Lucy Kellaway, Ludovic Hunter-Tilney and Richard Clayton.With clips from 'Girl Gone Wild', 'I'm a Sinner' and 'I'm Addicted'.Produced by Griselda Murray Brown
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We’ve heard a lot about the new generation of British playwrights – but how much of it is hype? Does age matter in writing? And who are the names to look out for? Jan Dalley is joined by young writer Bola Agbaje, whose first play ‘Gone Too Far’ won an Olivier Award; Steven Atkinson, artistic director of the HighTide Festival for new writing; and Sarah Hemming, FT theatre critic.Produced by Griselda Murray Brown
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Ever been to a classical club night or an opera in a warehouse? This week on the arts podcast Jan Dalley talks to her guests about how people consume classical music today. She is joined by Gabriel Prokofiev, composer, DJ and grandson of the Russian composer Sergei; Frederic Wake-Walker, artistic director of pioneering company The Opera Group; and FT writer Laura Battle. With clips from Gabriel Prokofiev's 'Concerto for Turntables and Orchestra', and Elena Langer's 'The Lion's Face', commissioned performed by The Opera Group.Produced by Griselda Murray Brown
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Jan Dalley is joined by Louis de Bernières, author of Captain Corelli’s Mandolin, the playwright Mike Packer, and journalist Carl Wilkinson to discuss literary adaptations. At the Oscars this month, six of the nine movies up for Best Picture are based on books – and the film version of de Bernières’ novel Red Dog is released in the UK on February 24. Why are adaptations so popular? Are filmmakers and investors just playing it safe in uncertain times? And how does it feel to see your novel – or play – on the big screen?Produced by Griselda Murray Brown
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The Indian film industry is famously prolific, turning out hundreds of movies of year. Some of these are "masala movies" – made to appeal to all ages, with plenty of melodrama and musical numbers – but others are very different. Like the rest of India, Bollywood is changing fast.Jan Dalley is joined by Rachel Dwyer, Professor of Indian Cultures and Cinema at SOAS, and Prakash Bakrania, who distributes Hindi films in the UK for Reliance Entertainment. She asks them: is Bollywood escapist? Is it starting to tackle real life issues? And do different films fare well at the Indian and global box offices?Produced by Griselda Murray Brown
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The arts podcast reviews new albums by two of the most venerable singer-songwriters around: Leonard Cohen's "Old Ideas" and Paul McCartney's "Kisses on the Bottom". Have they still got it? Does their latest work speak to modern times? And just what are we to make of Macca's album title? Neville Hawcock is joined in the studio by Ludovic Hunter-Tilney, FT pop critic, Peter Aspden, FT arts writer, and Gautam Malkani, FT writer and novelist.Produced by Griselda Murray Brown
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As the winners of the BBC’s Sound of 2012 poll are announced, FT deputy arts editor Neville Hawcock asks three of the judges: who are the real “tastemakers”? What’s more important nowadays, a rave review or hits on YouTube? And how do unsigned artists make it? He is joined in the studio by FT pop critics Ludovic Hunter-Tilney and Richard Clayton, and NME assistant reviews editor and blogger Laura Snapes; music clips from Sound of 2012 winner Michael Kiwanuka, as well as Context, Emeli Sandé and Skrillex.Produced by Griselda Murray Brown
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The British Film Institute has just launched a season of Woody Allen comedies, ranging from his knockabout beginnings to the recent Midnight in Paris, his biggest commercial success to date.Like Match Point (2005) and Vicky Christina Barcelona (2008), Midnight in Paris was hailed as a “return to form” by some – but has he really still got it? How does his recent output compare to the earlier films? And do those classics still resonate today?Raphael Abraham is joined in the studio by Geoff Andrew, Head of Film Program at the BFI, Peter Aspden, FT arts writer and Nigel Andrews, FT film critic.Produced by Griselda Murray Brown
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Author Amy Waldman reads her short story set in Afghanistan 'Mile 54', commissioned by the Financial Times for the new year.
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Margin Call, the latest in a line of films on the crash of 2008, depicts a Wall Street investment bank’s last ditch attempts to save itself from impending disaster. Written and directed by first time feature director J.C.Chandor – and starring Kevin Spacey, Demi Moore and Jeremy Irons – The New Yorker called it “the best Wall Street movie ever made”.It’s been marketed as a thriller – but how do you create excitement when the action consists of men in suits peering at computer screens and talking on Blackberries? Does Margin Call have anything new to say on the much-debated causes of the collapse? Andrew Hill, FT management editor, puts these questions to Alex Preston, ex-City trader and author of This Bleeding City; Peter Aspden, FT arts writer; and Leo Robson, film and television critic. Produced by Griselda Murray Brown
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From shouts of “he’s behind you” at a Christmas pantomime to truly “immersive” productions in which audience members shape the action, audience participation is rife. The radical Belgian theatre company Ontroerend Goed – known for shows that test theatrical as well as moral boundaries – are now staging their latest play, Audience, at London’s Soho Theatre.Sarah Hemming, FT theatre critic, talks to Matthieu Sys, an actor in Audience, Neville Hawcock, the FT’s deputy arts editor, and the critic Suzi Feay about the changing role of the audience. Produced by Griselda Murray Brown
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London has seen many Hamlets in recent years - David Tennant, Jude Law and Rory Kinnear to name but a few. And now Michael Sheen take the prized role in the Young Vic's new production.Jan Dalley talks to actor Simon Russell Beale, David Lan, artistic director of the Young Vic, and Sarah Hemming, theatre critic for the FT, about the enduring appeal of the troubled Dane.Produced by Griselda Murray Brown
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Postmodernism defined itself against the stifling clarity and seriousness Modernism. It put style before drab functionality. It embraced pop culture and garish colour. But it got a bad rep. “PoMo” was called vacuous and kitsch, and in the 1980s it became associated with corporate culture and consumerism. Now this controversial cultural movement is the subject of a major exhibition at London’s Victoria and Albert museum, "Postmodernism: Style and Subversion 1970–1990".Neville Hawcock talks to Glenn Adamson, co-curator of the show, and to FT columnists Edwin Heathcote and Peter Aspden. Produced by Griselda Murray Brown
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On the occasion of his British Film Institute retrospective, Ken Loach, the acclaimed director of films such as Kes, Land and Freedom and the Cannes Palme d’Or winning The Wind that Shakes the Barley, talks about the state of political filmmaking. He is in the studio with Raphael Abraham, Peter Aspden and Lucian Robinson.Produced by Griselda Murray Brown
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The Arts Podcast remembers Amy Winehouse, the brilliant but troubled British singer who died tragically, at just 27, on July 23. Jan Dalley talks to FT pop critics Ludovic Hunter-Tilney and Richard Clayton about her musical roots and unique appeal; how her increasingly wild lifestyle influenced her songs; and her legacy – what was her impact and who are her successors?Produced by Griselda Murray Brown
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War Horse has just won five Tony Awards; last year the RSC put on an acclaimed production of Matilda; and now Punchdrunk are staging their first show for children, The Crash of the Elysium.Is children’s theatre on the up – or is it still the poor relation of “proper” theatre? Where is the new writing among the successful adaptations? And what are the best shows on in Britain this summer holiday?Jan Dalley puts these questions to Tony Graham, artistic director of London’s Unicorn Theatre, Sarah Hemming, FT theatre critic, and Neville Hawcock, deputy arts editor – as well as to four budding young critics.Produced by Griselda Murray Brown
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The Edinburgh Festival – the world’s largest arts festival – is really a collection of different festivals that take place across the Scottish capital every year throughout the month of August.There is the stately International Festival and the so-called “Fringe” festival – a more unruly, sprawling affair with a reputation for experimental theatre and bawdy stand-up. There’s also an acclaimed Book Festival, as well as an Art Festival and even a Festival of Spirituality and Peace.Jan Dalley, FT arts editor, turns her attention to the Edinburgh’s theatrical offerings. She is joined in the studio by Ian Shuttleworth, FT theatre critic, and Matt Trueman, theatre blogger and critic for Time Out.Produced by Griselda Murray Brown
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It premiered at Cannes to cheers and boos, and went on to win the Palm D’Or. Some called it a masterpiece; others dismissed it as overblown nonsense. But what’s so divisive about Terrence Malick’s ambitious new film? It’s a coming-of-age story set in 1950s Texas but it also has long sequences that explore the natural world and the origins of the universe. Does it work? And is its strong religious strain likely to turn off non-believers?Raphael Abraham is joined in the studio by Nick James, editor of Sight & Sound magazine, Peter Aspden, FT arts writer, and Leo Robson, film critic.Produced by Griselda Murray Brown
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What's happening in the world of pop? FT critics Ludovic Hunter-Tilney and Richard Clayton join Neville Hawcock in the studio to look forward to this summer's pop festivals - and to ask whether pop itself has become too backward-looking, as Simon Reynolds argues in his new book Retromania. Are we really addicted to the past? And are YouTube and now the Apple iCloud part of this trend? Produced by Griselda Murray Brown
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Established in 1895, the Venice Biennale has been called anachronistic - with its focus on separate national pavilions despite the international nature of today's art market. Is it an outdated model? If so, why are more countries than ever taking part this year?It is a series of exhibitions not an art fair - yet Venice has long been a centre of trade. Just how commercial is its Biennale?Jan Dalley puts these questions to Jackie Wullschlager and Peter Aspden, and picks some highlights ahead of the 54th Venice Biennale.Produced by Griselda Murray Brown
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Established in 1895, the Venice Biennale has been called anachronistic - with its focus on separate national pavilions despite the international nature of today's art market. Is it an outdated model? If so, why are more countries than ever taking part this year?It is a series of exhibitions not an art fair - yet Venice has long been a centre of trade. Just how commercial is its Biennale?Jan Dalley puts these questions to Jackie Wullschlager and Peter Aspden, and picks some highlights ahead of the 54th Venice Biennale.Produced by Griselda Murray Brown
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This year 3D films look set to be bigger and more expensive than ever - with Werner Herzog's Cave for Forgotten Dreams just out in the UK, the latest Pirates of the Caribbean installment on its way, and offerings from Spielberg and Scorsese. But has the novelty worn off? Neville Hawcock, deputy arts editor, puts the question to Peter Buckingham of the BFI and Nigel Andrews, FT film critic.Produced by Griselda Murray Brown
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There are a lot of musicals moving into London's West End right now – including "Shoes", "Million Dollar Quartet", "Betty Blue Eyes" and "The 25th Annual Putnam County Spelling Bee" - and rumbling in the background is the hoo-ha in New York over "Spiderman". What is the enduring appeal of the musical? Is it more diverse than its critics imagine? And, are musicals a good thing for the theatrical landscape? Jan Dalley talks to Jamie Lloyd, director of the Donmar's "Spelling Bee", and FT theatre critics Ian Shuttleworth and Sarah Hemming.Produced by Griselda Murray Brown
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Will Colin Firth take the Oscar for best performance? Will The Social Network win best film? Is awards season trend-spotting a dangerous game? And, what makes an Oscar-winning film?On the eve of the 83rd Academy Awards, Jan Dalley, FT arts editor, puts these questions and others to FT film critics Nigel Andrews and Leo Robson.Produced by Griselda Murray Brown
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Does bad language have a place in the opera house? Is the life of a stripper turned reality TV star a suitable subject for operatic treatment? And, can opera find a viable way of reflecting culture today?The day after the premiere of Mark-Anthony Turnage's "Anna Nicole" at Covent Garden, Andrew Clark, FT classical music critic, puts these questions to Gina Thomas, UK cultural correspondent of the Frankfurter Allgemeine Zeitung, and Laura Battle, FT staff writer and critic.Produced by Griselda Murray Brown
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It’s awards season in the music industry, with the Brits in London following hot on the heels of the Grammys in LA. The Brits have been revamped this year – but will they lose the unscripted edginess of previous years? How can they compete with the might of the Grammys? And is Tinie Tempah better than Mumford & Sons? FT pop critics Ludo Hunter-Tilney and Richard Clayton join deputy arts editor Neville Hawcock to discuss the hype and the hopefuls. Produced by Griselda Murray Brown.
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The launch of Sky Atlantic on February 1 – the result of Sky's exclusive five-year deal with HBO - raises questions about British and American television drama. Is the US - with cult series like The Sopranos, Mad Men and now Boardwalk Empire - enjoying a Golden Age of TV drama? What about Britain? Has its Golden Age been and gone? Jan Dalley, FT arts editor, is joined by Mark Duguid, senior curator of the British Film Institute National Archive, Huw Kennair-Jones, Sky1’s commissioning editor for drama, and John Lloyd, the FT’s television columnist.Produced by Griselda Murray Brown
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As the Royal Ballet rehearses Christopher Wheeldon's 'Alice in Wonderland', its first new full-length ballet in 15 years, Peter Aspden talks to Royal Ballet principal Tamara Rojo, Sadler’s Wells artistic director Alistair Spalding and FT critic Clement Crisp. Does 'Alice' represent a return to traditional values? Are ballet companies doing enough to encourage new work? And, what is the relationship between classical ballet and contemporary work?Produced by Griselda Murray Brown
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On the announcement of the BBC's 'Sounds of 2011' list, FT pop critics and panel judges Ludovic Hunter-Tilney and Richard Clayton look back at the year in pop, and forwards to 2011. What do polls like this say about the state of pop? And what do we want our pop music do to - soothe the soul or confront difficult issues? They talk to deputy arts editor Neville Hawcock about their artists and bands of the year: Rumer, Warpaint, Everything Everything, Ellie Goulding, Kings of Leon and Arcade Fire - their band of 2010. Produced by Griselda Murray Brown
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Slapstick; sexual jealousy; and mistaken identity. At its best, farce can be sublime – its intricate plotting and sheer silliness combining to blissful comic effect. But should we take farce seriously, or is is mere lowbrow entertainment? What makes a good farce, and how should a director approach it? On the opening of Georges Feydeau’s 1907 farce 'A Flea in Her Ear' at the Old Vic in London, Jan Dalley puts these questions to its distinguished director, Sir Richard Eyre, who was artistic director of the National Theatre for a decade, and to Sarah Hemming, the FT's theatre critic. Produced by Griselda Murray Brown.
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As the ninth Art Basel Miami Beach takes place this week, Andres Schipani discusses the growing presence of Latin American collectors and galleries at the international art fair. He is joined by Mark Spiegler, director of Art Basel Miami Beach; Tim Marlow from London's White Cube gallery; Elizabeth Neilson, who heads the London-based Zabludowicz Collection; and Henrique Faría from Venezuela's Faría Fábregas gallery.
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Is it acceptable for an artist to have his work produced by others? And what are the implications of the artist as businessman on conceptual art as we know it? As a new generation of artists openly declare themselves marketing men, FT arts editor Jan Dalley discusses the business of art with Jackie Wullschlager, FT visual arts critic, and Peter Aspden, FT arts and culture writer.
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Is the operatic tradition defunct? Where and how should new operas be put on? And which are the great modern operas? On the opening of Alexander Raskatov's A Dog's Heart at the Coliseum in London, Jan Dalley, FT arts editor, puts these questions to Andrew Clark, the paper's chief classical music critic, and Nicholas Payne, former director of The Royal Opera, the English National Opera and Opera North. Plus, Martin Bernheimer, the FT's classical music critic in New York, discusses what he sees as the conservatism of American opera-goers.
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The music scene is currently awash with aging rockers and pop groups re-united. Take That, complete with Robbie Williams, will tour next year; space rockers Hawkwind, formed in 1969, tour the UK next month; while Lemmy, born 1945, is currently taking the stage with Motorhead. Whatever happened to “hope I die before I get old”? Aren’t they old enough to know better?Neville Hawcock, deputy arts editor, talks to Peter Aspden, the FT’s arts writer, and Richard Clayton, who regularly reviews pop for the paper.
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How best to celebrate Chekhov's 150th anniversary? Sky Arts 2 have chosen to mark the occasion with "chekhov: comedy shorts" - four one-act plays transposed to the small screen, with a cast of well-known comedians including Johnny Vegas and Steve Coogan. But do they make good television? In this week's arts podcast, Neville Hawcock, the FT's deputy arts editor, talks to the paper's theatre critic, Sarah Hemming, and television columnist, John Lloyd, about the venture.
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It's been a big week for contemporary British art. First the opening of the British Art Show 7 in Nottingham, then the second instalment of Newspeak at the Saatchi Gallery in London. To round it off, on Sunday Channel 4 will show “Modern Times”, the fifth in its series The Genius of Britain, this time presented by Janet Street-Porter. Peter Aspden, FT arts writer, and John Lloyd, FT television columnist, discuss art and celebrity: Charles Saatchi, Damien Hirst and the inimitable Janet Street-Porter. FT art critic Jackie Wullschlager reports on the British Art Show. Does it really represent the art of the nation?Produced by Griselda Murray Brown
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As the final object is revealed, FT arts editor Jan Dalley talks to Peter Aspden about the significance of the BBC Radio 4 series 'A History of the World in 100 Objects' presented by Neil MacGregor, director of the British Museum.
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From formaldehyde sheep to giant horses, Simon Schama - in this recording of his FT Frieze week lecture - traces contemporary animal attractions to great works in the history of art
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Shadow Catchers, the latest exhibition at London’s Victoria & Albert Museum, is a showcase for ‘camera-less’ photography – where images are captured directly on photographic paper without the use of a camera. Deputy arts editor Neville Hawcock and Francis Hodgson, the FT’s photography critic, discuss the ideas behind the exhibition, and the works of the five contemporary artists on show, with the show’s curator, Martin Barnes.
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“The cultural bore of the autumn is the lover of Mad Men.” So wrote FT arts writer Peter Aspden in his weekly culture column, provoking a storm of reader responses – some grateful, others outraged. As it enters a fourth series, has Mad Men made the fatal mistake of falling in love with itself? Is the series losing its sense of time and place, and are the characters becoming stale? We look at Mad Men's plot, historical significance and, crucially, its impact on fashion – the skinny ties, hourglass figures, and excessive drink consumption. Has it influenced our own sense of style? In this week’s arts podcast, FT columnists Peter Aspden, John Lloyd and Nicola Copping are in the studio with arts editor Jan Dalley. Produced by Rob Minto and Griselda Murray Brown
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Arbus in Aberdeen, Long in Lakeland - Tate director Sir Nicholas Serota talks to FT arts editor Jan Dalley about next year’s Artist Rooms programme of touring exhibitions. In its past two years, the scheme has drawn tens of thousands of visitors in towns throughout the UK to shows by Beuys, Ruscha, Woodman, Hirst and others – but how easily can the model be replicated elsewhere? Jan Dalley interviews Sir Nicholas Serota in his office at Tate.
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