Mark Lowen

They have had their hands on that wheel for a long time, but we are here still talking about Bond 64 years later. And I think they will still be looking over the backseat at who's driving.

They have had their hands on that wheel for a long time, but we are here still talking about Bond 64 years later. And I think they will still be looking over the backseat at who's driving.

They understood that there is a market for this, and you can add cool casting, cool music, cool cars, cool tailoring. They have had their hands on that wheel for a long time. People will say they've been dogmatic or overprotective, but we are here still talking about Bond 64 years later, and I think they will still be looking over the back seat at who's driving.

They understood that there is a market for this, and you can add cool casting, cool music, cool cars, cool tailoring. They have had their hands on that wheel for a long time. People will say they've been dogmatic or overprotective, but we are here still talking about Bond 64 years later, and I think they will still be looking over the back seat at who's driving.

Electronic Music was a very new thing in the late 1950s. It had been pioneered in Germany, a studio in Cologne by their broadcaster. And another one in Paris, making sounds from music concrete, which is found sounds, sounds recorded from life or electronic sources.

Electronic Music was a very new thing in the late 1950s. It had been pioneered in Germany, a studio in Cologne by their broadcaster. And another one in Paris, making sounds from music concrete, which is found sounds, sounds recorded from life or electronic sources.

And Daphne Oram and Desmond Briscoe at the BBC, they were studio managers of Broadcasting House, they were very interested in this stuff and felt the BBC should get involved. And the BBC wasn't really interested in electronic music, but what they were interested in was new ways of producing sound effects for, you know, radio drama on the third program.

And Daphne Oram and Desmond Briscoe at the BBC, they were studio managers of Broadcasting House, they were very interested in this stuff and felt the BBC should get involved. And the BBC wasn't really interested in electronic music, but what they were interested in was new ways of producing sound effects for, you know, radio drama on the third program.

And so that's how the Radiophonic Workshop came about, you know, creating the sounds of, well, the thoughts of a man sitting in his bath, rubbing his back with a loofah, for instance, and plays such as Private Dreams and Public Nightmares, and eventually, of course, Quatermass and Doctor Who and everything else.

And so that's how the Radiophonic Workshop came about, you know, creating the sounds of, well, the thoughts of a man sitting in his bath, rubbing his back with a loofah, for instance, and plays such as Private Dreams and Public Nightmares, and eventually, of course, Quatermass and Doctor Who and everything else.

Well, this is a lot of the building blocks from the original archive. The sounds that made up the stuff that we've been listening to all our lives. They've been influencing people like The Orb and Orbital and Pink Floyd and even Prince used a Radiophonic Workshop sample. It's been part of our lives for generations and this is a way of paying back. We've produced this sample library of

Well, this is a lot of the building blocks from the original archive. The sounds that made up the stuff that we've been listening to all our lives. They've been influencing people like The Orb and Orbital and Pink Floyd and even Prince used a Radiophonic Workshop sample. It's been part of our lives for generations and this is a way of paying back. We've produced this sample library of

Mark Ayres, a current member and archivist of the BBC Radiophonic Workshop.

Mark Ayres, a current member and archivist of the BBC Radiophonic Workshop.

I think it's going to be a very painful moment, Olli, even though really I think a lot of people who expected it to happen, because Hamas has long alleged that the Bibas family, or at least Shiri Bibas and her two sons, who were the two youngest hostages taken on the 7th of October, were killed in an Israeli bombardment. Israel has never confirmed that.

I think it's going to be a very painful moment, Olli, even though really I think a lot of people who expected it to happen, because Hamas has long alleged that the Bibas family, or at least Shiri Bibas and her two sons, who were the two youngest hostages taken on the 7th of October, were killed in an Israeli bombardment. Israel has never confirmed that.

But when the hostages started being released, the living hostages, on the 19th of January, If those two boys had been alive, everybody expected them to be in the early release groups and they haven't appeared. So I think that this is kind of the inevitable. And yet it will be extremely painful because, as you say, they have become very much the kind of icons of... Untertitelung des ZDF, 2020

But when the hostages started being released, the living hostages, on the 19th of January, If those two boys had been alive, everybody expected them to be in the early release groups and they haven't appeared. So I think that this is kind of the inevitable. And yet it will be extremely painful because, as you say, they have become very much the kind of icons of... Untertitelung des ZDF, 2020

Es scheint so zu sein, ja. Denn zu Beginn planten drei lebendige Flüchtlinge, die am Samstag geöffnet wurden, und das wurde doppelt. Und wir wissen, dass das von Hamas geplant ist, als ein Gedanke von guter Glauben in den Beratungen, die in Kairo wieder anfangen werden, um in die zweite Phase des Flüchtlings zu kommen.

Es scheint so zu sein, ja. Denn zu Beginn planten drei lebendige Flüchtlinge, die am Samstag geöffnet wurden, und das wurde doppelt. Und wir wissen, dass das von Hamas geplant ist, als ein Gedanke von guter Glauben in den Beratungen, die in Kairo wieder anfangen werden, um in die zweite Phase des Flüchtlings zu kommen.