C86 Show - Indie Pop

Tony Jenkins in conversation with David Eastaugh  https://www.facebook.com/kbsbookstore https://theportlandarms.co.uk/wp/product/the-loft-the-kobayashi-bookstore-29th-may-26/

Greg LoPiccolo in conversation with David Eastaugh  https://www.youtube.com/watch?v=73usDk7AK1w https://www.youtube.com/watch?v=M7rwGjK38Ro Tribe was an American alternative rock band from Boston, which was active in the late 1980s and early 1990s. They released three albums including two on Slash Records.  However, their popularity in Boston did not translate their local appeal into national fame and they disbanded in 1994. Greg LoPiccolo later stated that "When Warner Bros didn’t pick up our option for the third album; that was kind of a momentum-killer." Terri Barous, now Brosius, and Eric Brosius and Greg LoPiccolo later joined video game developer Looking Glass Studios and did sound/voice/music work on various games. They would later become critical members of Guitar Hero developer Harmonix.

John Kosh in conversation with David Eastaugh https://koshdesign.com/ Kosh is a Multi-Grammy award winning art director and former creative director for Apple Records. In the mid-sixties, he was designer for The Royal Ballet and The Royal Opera House, where he produced a gold foil covered program for the anniversary Royal Gala attended by her Royal Majesty, Queen Elizabeth II. At the age of 22, Kosh was responsible for designing the innovative entry portal to the “Young & Fantastic” avant garde art and sculpture exhibition on The Mall in London’s West End. Following his work for The Opera House, he met John Lennon and Yoko Ono in 1968 as they had admired his work as art director of Art & Artists magazine. They invited him to meet them one evening at Hammersmith Hospital, where Yoko was recuperating. Shortly thereafter they offered him a desk at Apple Records at 3 Saville Row. His first project was the “War Is Over (if you want it)” Christmas card, which led to the worldwide WAR IS OVER billboard campaign that continues to this day. He designed The Beatles’ Get Back picture book with the Let It Be album package, the Abbey Road album cover, John & Yoko’s elaborate Wedding Album box set, and Hey Jude. Kosh was one of the few attendees at the Beatles’ farewell rooftop concert. While working for Apple Records, he designed Mary Hopkin’s Postcard, Billy Preston’s That’s The Way God Planned It, George Harrison’s Radha Krisna Temple and The Plastic Ono Band’s, Life With The Lions, plus singles, “Give Peace a Chance”, “Instant Karma”, “Cold Turkey” and “Power To The People.”  

Mark Brydon in conversation with David Eastaugh  https://www.mark-e-brydon.com/ Brydon established himself in the Sheffield music scene, most notably with the funk band Chakk whose advance from MCA Records financed the building of FON Studios. His biggest contribution to British art pop to date would come as a result of meeting Róisín Murphy, with whom he formed Moloko, at a party.      

Ian Trowell in conversation with David Eastaugh https://www.intellectbooks.com/an-endless-discontent https://www.amazon.co.uk/Throbbing-Gristle-Endless-Discontent-Global In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery, showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’, providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television.