Good evening, everyone. Greetings. Nice to see you all here. I'm Colleen Cosmo Murphy and welcome to another special Classic Album Sundays event here at the British Library. So great to be back and we've never hosted an event in this room. We're usually in the auditorium where we've hosted events with Jazzy Bee from Soul to Soul, Louis Vega, John Grant, Paloma Faith, and so many more, but I'm especially excited about tonight's guest. First a little about Classic Album Sundays. We've been telling the stories behind our favorite albums since 2010 when I founded it. We host listening sessions and listening events around the world. We also have an online album club for our Patreon members and our website hosts artist interview videos, playlists, podcasts and blogs all about the elixir of life music. Now the British Library is also presenting a range of events that are all linked to Irish culture and to Ireland and that will culminate at the end of this month with the Irish Writers Festival. So joining us tonight is an Irish artist, of course. She cut her teeth as half of the duo, Maloko. She's released a string of solo albums that has her own brand of avant-garde electronica, art pop and edgy disco, of course, including her latest Roshine Machine. And tonight we're going to explore some of the artists and the musical stepping stones that have inspired her music and we'll also explore some of her own songs that have been kind of key significant pieces of work from her musical career and as part of her evolution as an artist. And at the very end, we'll give you the opportunity to ask your own questions. So let's give a very big heartfelt welcome to Roshine Murphy. Thank you so much for coming along tonight. Thank you for spending some time with us. You're so welcome. Now you've really been kicking it lately. I mean, we checked your Instagram feed. We're hanging out with Janet Jackson, doing the after party for Balenciaga. Also that stunning, stunning performance at Glastonbury. I mean, let's just give her another round of applause, right? How does it feel? I mean, you are at the top of the world right now. It's the same as it always is.  Yes, yeah, being a mom alongside all of this. Also, you have a role in a new Netflix series. Do you want to tell us a little bit about that? I do, yes. I'm playing a witch. An Irish witch. Yes, well, she is, yeah. And she's based on my father's sister.  That was great fun. Is it called The Bastard's Son and the Devil Himself? That's the name. And it's out on Netflix now, so you have to watch that. Kind of good for the Halloween spirit, it sounds like. That's right, yeah. Well, tonight we're going to take a look and listen to some of the music that's really inspired you and also your own work itself. And the first song that we're featuring is one that you picked is Shirley Bassey.  And it's a beautiful song, absolutely beautiful. Can you tell us a little bit about how this song inspired you and when you first heard it? Well, my father was a big fan of Shirley Bassey. And Shirley Bassey was always on the TV when I was a kid. And she's, you know, I mean, her vocal on this is exceptional and perfect, really. And I used to always see her on the television and be entranced by her as a child. And I found this record at a car boot sale in Manchester and I sort of bought it to kind of play to me dad because I knew me dad loved her. And I think she was the kind of woman he wanted to die with somebody like Shirley Bassey or in a Ferrari. I think that's what his dream was. But so, yeah, no. And that song, I didn't know that it was Jacques Braille when I first heard it. And it's a translation. But it's been influential, I think. I think it's not a bit, sing it back. Sing it back a bit. The kind of total surrender of love, the total just acceptance that you actually don't have free will. And you can't control who you fall in love with and how much you love them. And I think that's kind of really central to a lot of my songwriting.  But when I fall in love, I'm, you know, I'm a, I'm a puppy. I'm, I'm, I'd have been in the shadow of your dog just to keep you by my side, as she says. And, and also I went to a amazing voice coach years ago, singing coach years ago, just two or three times. And her name was Elena. And she worked with Shirley. And I would be singing at the grand piano with her and I'd see this like picture of Shirley Bassey on the grand piano. The hands out like this. And Elena told me that, that she worked with Shirley to, to do that. Or no, she didn't actually, she didn't claim that. She said that Shirley did that naturally. And that that, she explained to me that the voice can come through the body and not just through your mouth, you know. And it really changed me. And I think, because I love Shirley Bassey as well, I think I was sort of in the beginning of Maloko. I was, you see me dancing. I thought it was really cool to be always like this. And then suddenly I was like that. And it was to sort of help with singing as much as anything else. But it's really fed into a lot more of the way that I perform. And it's one of the archetypes, I guess, that I play with. Now that song, was it a special song for you and, and Mark Briden from Maloko? Because he remixed it in 2000. Yeah, there's a Shirley Bassey compilation of remixes called Diamonds Are Forever. And he actually remixes that song under a different alias. Yeah, well that might have been because I loved that song, yeah, I think. So it's something that you played when you were together. Yes, to him, yeah. Yeah, right. But that lyric, you know, I'd have been in the shadow of your dog if I thought it might have kept you by my side. You know, there's also that conversational element to the songwriting. You get a lot in European songwriting, like I figured out when I was doing Italian songs. For me, Santi. Yes. I did an Italian EP singing other people's songs mostly. In Italian. But I'm realizing that the content was very conversational. It was very close. And yeah, I've been influenced by that type of thing. Second half maybe of my career, let's say. Or starting sort of toward the end of Maloko. Well, let's have a listen to the song. Yeah, shall we? It's amazing, isn't it? I mean, I'm just listening to it and I'm thinking there's an awful lot to be said for having to be better than everybody else. The precision there and you can hear her playing with the microphone, like with the sound, with the compression. That she knows like about frequency even to that detail, to that level, not just notes. But how the voice is going to react to this and the compressor and the tape. And like without knowing all those things, but just like a producer would know. And yeah, I mean having to be better than everybody else. I think she probably had to be better than everybody else. I think Dusty Springfield was also a lot like that as well because she actually produced a lot of her own albums. But she never wanted to give herself the credit. She thought people wouldn't like her anymore.  But also she had a great engineer as well, so she wanted to give him some respect. But she knew exactly how the records should be produced, how the band should work. She would instruct the band. So a similar thing, I'm just thinking of women, you know, female musicians and singers in the late 1960s. You know, they might just look like, oh, they just sing the song. But no, a lot of them were behind a lot, much more than just singing the song. I mean, I think listening as well to the song there reminded me of the first time I saw it, I heard it. And I didn't know when it was finishing, you know, it keeps finishing. And then it starts again. And this thing like that structure echoing the idea of the song as well, the idea of the thing finishes, but it begins, it finishes, but begins. And that suspense when it finally ends, is this really the end? You know, that's so clever. It is very clever, it reflects the lyrics. Yeah, it's really great. And lots of drama, which I can hear in your music as well. Drama is so subjective. Well, the next song is all about drama, that's for sure. I mean, it's on the opposite side of the spectrum. I mean, when this song was released in 1969, it's a debut single by the Stooges, Iggy Pop's first band. A song, you know, we say the Stooges is probably along with the MC5 helped invent punk rock. And there's only three chords on this song, so it does sound like a lot of punk rock. But it's produced by John Kale, who also plays sleigh bells and a single piano note throughout the whole thing too. So you almost get like a drone-like effect mixed with this punk rock. Of course, the songs of Stooges, I Want to Be Your Dog, what a great song. And why did you choose this as one of your seminal tracks that you were inspired by? Oh, God, it just was visceral when I first heard it. I used to go to a nightclub called Isabela's in Manchester. It was the first nightclub that I used to go to. And it was a psychedelic club actually, and they played lots of garage rock. And they played modern stuff as well, like the Pixies and Mudhoney and the, you know, pretty kind of grungy stuff, Sonic Youth and Dinosaur Junior and all that kind of thing. Well, mixed with MC5. And this came on one time. And I just thought it was perfect. It was just perfect to dance to in the way that we danced to stuff there. And it was, because it kind of had like you could mush to it, but you could also do like psychedelic stuff, 60s stuff. And I just found it perfect, perfect.  The idea is this. And there's no question. Like, and again, we have this sort of submissive thing that I like. I don't know. That is romantic. It's very romantic that he wants to be her dog. Giving yourself over to somebody else. Yeah. And it's so funky. And it's you, like you say, it's sort of, it's like drone anticipates a lot more than just punk. It's super influential record. It's really funky, really jazzy. I was going to say, if we can listen to it, we should also listen to it to only the left side and only the right side, who I have to give props, Leila Arab. Do you know this producer, Leila? He was on Warp. She told me this, and it's true. She showed me that one side on the left side of the stereo, it's like jazz. And on the right side, or I don't know which way around it is, but anyway, on the right side, it's rock. And they're like two different records if you separate them. So let's see if we can do that. We'll try that. Yeah, let's try that in the middle of the song. But one thing I wanted to ask about Iggy in particular, have you ever seen him perform live? I have. I saw him with the Stooges when they were doing raw power. They were doing a tour where they were doing raw power, but they did a few other things as well. And they didn't disappoint at all. It was unbelievable. I mean, his energy, he used to, for those of you that don't know, he would sometimes mutilate himself on stage. I mean, one gig, he carved an X into his chest in LA, you know, brought to the hospital. And then of course, I mean, his drug taking in the 70s is well known, but he was as a performer, the energy level and the control that he has. Yeah. Is that an inspiration to you as well? It's the commitment. It's the commitment. It's the fact of when I, I bet he thinks like I do sometimes, which is when I go out on stage, I'm not talking about drama, but I sometimes think, I do always think it could be that I die on stage tonight. Be careful. Watch the edge of the stage when you're falling all over the thing. You know, where is it? How high up is it? You know, like, because I want to lose it. So enter in heels. Oftentimes I might be in the high heel as well. But yeah, I take that from him.  And when I saw him, it was well into his, I'd say it was 60 when I saw him playing or even more. And he was like a bullet from a gun from the minute he went out to the minute he went off. And that is what, what I want to be. Honestly, you are. Let's have a listen to the song. So Francis, maybe somewhere in the middle, you can like just put it all to the left, you know, just isolate, drop one, one channel so you can have a listen.  You really spend a lot of time on the performance aspect of performing. It's not just playing the song. Do you prefer performing on stage to working in the studio? No, I think they're perfect sort of counterbalance, honestly. I enjoy, I enjoy the two sides of it. This is two sides of a coin. And what about the, in terms of the performance side, what is, do you have like a mission when you go out on stage before you go out on stage? Is there something that you think of that to kind of get you motivated or is there some way that you want to connect with the audience? Oh, it's really like a perfume, you know. Honestly, it's all these millions of things you're trying to achieve at once, honestly. Like some freedom, some precision, some flow state, I think is probably what you want. And when you say flow state, that's what I try to achieve when I'm DJing as well, so you're not thinking. Yeah. Yeah, yeah. So you're doing more than you ever do at the same time, but you're not actually thinking about it. Then it's brilliant, yeah. Yeah. Okay, now your next choice is another one. I mean, I love all this diversity of the songs, by the way, and they're ticking a lot of boxes for me personally. And I remember when I picked up this record, I don't know, 30 years ago, it was the most expensive record I'd ever bought at that point. It was $30. Oh, wow. I've spent more on records now, on single records, but this whole, this whole album, this whole EP is fantastic. It's Gwen Guthrie, and in Gwen Guthrie, amazing artist, she's a songwriter as well. She wrote for Sister Sledge, Angela Bofill, Roberta Flack, I think Aretha Franklin as well. She, Benny King, she also did BVs for Aretha Franklin, backing vocals, Madonna, Stevie Wonder, and then she had her own solo career as well. And she worked extensively with Sly and Robbie, Sly Dunbar and Robbie Shakespeare, the duo that were part of the session band at Compass Point Studios, Chris Blackwell from Island's recording studio in the Bahamas. And a lot of the songs feature Sly and Robbie, and this special EP are all remixes by the then-paradise garage DJ, Larry LeVan. And can you tell us a bit about why you picked this song, Seventh Heaven? Well, it's like a zenith in sound. The mix, the Larry LeVan mix is, I heard it many times, I think, on the dance floor in Sheffield, before I met Mark Bryden. And then when I met Mark and we were kind of talking, oh, I love this song and I love that song. And I said, oh, I love that song Seventh Heaven. And he was like, I love that song too. And we were really bonded. It was a romantic song for us, I'm being honest. Really? And then, yeah, he had this, he had a great record collection. He had this on vinyl, the EP.  It was something that really sort of more clicked into place as a solo artist when I went into overpowered and so on. Just trying to get anywhere near something as beautiful as this is, you know, a lifetime's ambition. And sonically, this is all very expensive, you know. Try to remember that, you know.  And most of the stuff that it was recorded on isn't, you can't get it anymore. It doesn't even exist. And like, I'm not a, what's a sonifier? What's a sound fetishist? Audio file? Audio file. But I can hear proper frequencies. And I've always been able to hear it, I think, even as a child. I knew when something sounded amazing, particularly in the situation of a recording. And I'm always trying to get this from the people that I work with. That's why I go to the madfellas that I go to, to make records with. Now, musically, is this something that may have also inspired your latest album, Roshin Machine? Yeah, I definitely, definitely inspired Parrot, big, big influence of Parrot. And yeah, the extended, the extendedness of it. Just the fact that he did a remix album, you know. Oh, we did a remix album. So it's very similar to Lara LeVanne taking Gwen Southerly's work. Yeah, this was a reference, obviously. I hate even saying that, it's like, you can't say, oh, we were like talking about peanut butter and this and that. But yeah, it's embarrassing to even try and sound like this. Should we listen to it? It's so good. We love that one. My gosh. Even her vocal delivery, though, what about her vocal delivery appeals to you? Because I can hear. Oh, I just, you know. How that might inspire you as well. Yeah, I think. It's funny, you know, when I was listening to these records then, I didn't understand them at all. And just like, it's a long time ago and I've learned a good bit and I still don't really understand them, but I understand them a lot more. What's, why is it that I love it? Why is it that I love her singing? Why do I want to be that light and precise and, yeah, soulful, I suppose. But yeah, it's nice to kind of get older in some ways too. It doesn't take anything away from hearing music for me that I understand a little bit more about the process and what the parts are and what's playing what and why it sounds like this. When I listened to it years ago, I wouldn't have known what was going on with those drums as much as I perhaps don't know now, but I know a little bit. You know, I know that there's a delay on it and I know that there's like, it's genius, the way that it's sort of wonky, but it still works. Because, you know, there's a lot of house that later, that sounds a bit like that, that's got this kind of like wonky delay. And it's really nice a lot, most of the time actually, that early house with the wonky delays on everything. But it's never as good as that. You know, that is just perfect. It's perfectly wonky, you know. So that's a difficult thing to get. But it's interesting what you said, like the more you know about music and how it's made, it doesn't make you like it less. It almost can become more magical. Yeah. You know, you think, how do they do that? Well, it's a language, endless kind of language that you're learning, I suppose it never stops. And some, we were talking because we were looking at some books in there with that have, you know, with writing, music writing, what's it called? Musical notation. Musical notation. And, you know, I was saying it's a language and then what did you say something like it's more than that? It's like, but it's like multi-dimensional. Yeah, it is multi-dimensional. Yeah. And then people can even, they can just write it just without even hearing it. They'll know exactly what a high E sounds like. They'll know exactly what it sounds like. That's pitch perfect. And the tempo and the timing and everything just to be able to write it out as he would be able to, you know, write a book is quite incredible. But it's not just that, is it? And with recording, recorded music, there's all these other languages as well. There's these technical languages, the studio languages, all that. And so that it's just multi-dimensional, you know, there's not just notes or bangs. It's just goes on and on how many bangs and how many notes you can have and how they can different, they can sound. And the frequencies of notes, there's millions of them in there and all that. But it doesn't get any more. Yeah, I'm definitely one of those people that gets up every day and listens to music every day. And I still love it. I love it if I'm on my own. I love it if I'm with people. You know, I still love it. Yeah, I'm the same way. It's always sad to go into a home with no music and no books. Unless they haven't got good taste. And then it's better if they don't have the stuff. Maybe it'll be a good thing now. Power code. You're talking about producers, which kind of leads me into the next one. The production is by Dr. Octagon, which is Cool Keith. And it's produced by Dan Nakamura, who's down the automator. And also Cutmaster Kurt. And it's the song 3,000. And a really interesting, interesting record. Kind of like an American version of what was like the trip hop scene. But has it come out on James LaValle's label? Can you tell us a little bit about why you picked this song? It was very influential on me, you know. I think the fact that the whole album was a concept album. And I haven't really done that. The way that he went looking for words and concepts and ideas before in terms of writing. You know, you can hear that he's got loads of like medical stuff and science stuff and mathematical stuff and philosophical stuff in there. And he had an idea that he wanted to pursue. And he researched. And I think that influenced me. Say when it came to, I'd be reading something about Oxytocin. And you know, and I'd think, ah, right, song about that. I think that influenced me. Because I listened to this album over and over and over and over and over and over again. I just found it the most exciting, like modern forward thinking thing. You know, when I heard it, I just thought, Jesus. You know, there was no like outcast or anything like that. There was no, there wasn't anything like this at all. And yeah, I mean, that's, that's all Keith I'm talking about. I mean, Automator and, what's the other guy's name? Yeah, uh, cut master Kurt. Master Kurt did the most brilliant. Is he the scratchy guy then? Yeah. And there's Kubert, who's doing all the scratches as well. The scratches are just unbelievable on this record, the whole album. And I picked, what did I pick? 3000. 3000. Yeah. I mean, I could have picked a lot of different tracks off that album. But, um, yeah, because of the forward momentum of the idea in the lyric, like that was what the whole thing gave me. This, this modernist, this futurist, um, look, look outside of now, look forward, look outside of the planet, you know, um, that I just love. Well, I find that very positive. And, um, yeah, I guess I, I believe in people. So I, I sort of really like modern stuff. Janelle Monáe does it very well as well, uh, with her concept albums. Would you ever consider like playing a part, a persona on a record? Well, I have done it in songs, obviously. Yeah. True. Which songs can you think of of your own that you think that you've really had to put another hat on? Oh God, there's a good few actually. Um, but most obvious coming to my mind is Mother Dear, I think it's called, on the first Maloko album. It's the first or second.  And my mother was like, everybody thinks that's me. He said, Mom, I'm just playing a part. It's not at all. Yeah. So yeah, that was just a fantasy. I'm trying to think of a few more. There's a few, there's a good few. I think. Well, why don't we play the record? You can think of which ones, which other ones, uh, that come to mind. So let's have a listen. So now, so now when, you know, I think if somebody says, or there's something that's very modern or very fresh or just like very futurist, you know, then I'll always go, yeah, cause rap moves on to the year 3000.  Yeah, it really does. Just jumping in there with 3000. That was even before 2000. That was before 2000. Yeah, that's like too close. Think about like the David Bowie song 1984. I remember the thing that must have seemed like so in the future with the George Orwell wrote it. And then I remember playing that album on the Christmas New Year's Eve of 1984. And I was like, here we are. We're here already. Um, we got to talk about Maloka because you were in post punk, post rock bounds before Maloka. No, I was in one band and one gig. Like it was a disaster. It was actually brilliant. That's great. It was really brilliant. It was too good to do again. What was it like? It was, we were called Anturk always car crash there. And it was in a pub and in stop port. And we did a lot of flyer ring and a lot of people turned up. I think was the name of the band. I think really. And, um, and we hadn't rehearsed at all, not at all. And I used to go to the rehearsal room and switch the light off and get off with the bass player. And, um, I was a screamer only. And then at one point I was just going, I was, somebody was talking like as if they were in a radio and they were going to break over nine on one or whatever it is. We've had an accident here. You know, the band's called car accident. And then I'm going, oh my God. Things like that. That was it. And then I had a fight with a few people. And then they all had fights with each other and all the band ended up on the, in there and you all ended up up here.  And we didn't know what we were doing, but everybody had a great time. That sounds amazing. That sounds amazing. Well, Maloko developed quite differently. And then, um, most of you have heard the story about how that developed in terms of, do you want to quickly tell us just as a recap? Yeah. I met a fella. We fell in love. And at the same time we started to record stuff. And he was, he was a very brilliant producer already at a big studio called Font Studios, which on the first night that we met, we went there in the middle of the night at 4am and recorded me saying, do you like my tight sweater? See how it fits my body. And, and then we'd forgot about it for a while.  And then his manager brought the tape to London without saying anything. And he had put a couple of other, um, instrumental things on there and called it a thing. It was called the num skulls. And he, he got as a record deal based on that. That is crazy. So you're kind of learning on the job now. I mean, we're always learning on the job, but you have to, you're kind of having to fast track a bit here. Yeah. You know.  Well, I didn't. Yeah. I mean, because I was just messing about until I wasn't like, so when I was ready, I was well into it before I even sang. And then we were well into having put the record out, I think when we suddenly thought, let's do a gig. So we did take it in our strut, you know, in our stride as it were. It wasn't planned in any way. And then you released, do you like my tight sweater? Then I'm not a doctor, which has sing it back. And that becomes a global club hit with a remix by Boris Lugos. Yes. Was that surprising for you when that became such a huge song in the clubs? No, it wasn't surprising when I, because the first minute I heard the remix, I knew it was a hit. I mean, I could see literally myself like a hologram in the living room on top of the pops. That was it. I'm going on top of the pops. I could see it. Wow. So I was a hundred percent sure that was going to catch fire that remix. Yeah. And I think I was very sure and it was me that was very sure that the song had to be remixed. And then it would be a perfect song to remix. Why did you think it needed to be remixed? So this is what, 1996, 97? Yeah. I've been in New York and I'd wrote the song on a dance floor, on the body and soul dance floor. Which dance floor? The body and soul. The body and soul. Yeah. I really did. Well, the lyric, sing it back, bring it back. That came to me there. And I brought this whole, but it wasn't just that. I brought this new love of house music back. I renewed love of that kind of tempo music that hadn't felt since the late 80s in Manchester or the early 90s, maybe, where Sheffield had kind of gone, had all gone a bit main room and a bit sort of, Maloka was a reaction to house music becoming very successful and sort of mediocre, really, the scene. And he had made house records and everything. Of course, you know, they all had in Sheffield. And many of them, I think most of them, got burnt by it because they felt like they were going to, they were making really important records. They really knew they were. But I think the industry thought, if they had to hit even, they thought it was just a fluke. And this would be all over in a year or two years. So nobody was ever really given a chance to be a serious album artist if they were interested in this type of music at that point. So we were a sort of reaction to that. And then I went to New York and I went to, primarily it was really Body and Soul that blew me away. It was the one that I went to. I was there for six or seven weeks and I went every week to Body and Soul. I even went on my own. I wasn't, didn't need to go with anybody. That's the best kind of club. And yeah, and he, Francois, would play the big vocal tracks and things I'd never heard. And then he would turn it down and everyone in the crowd would know every single word and they would sing it. And they'd still be in time when he put it back on. It's just like that. So this was me feeling, sing it back to me. It was a good house thing, you know. And so I came back saying, it's got to do this. It was the first song we wrote for the second album. And then, and then, and then we carried on and we didn't go that way with the album. And in the end, we sort of mixed it to go back to fit more in, although it is beautiful, the version on the album. It is really lovely. It's not that clubby. So I always felt like it was a bit, because the first version, we did have sing it back. That's a remix of sing it back, the one that's on the album. The first version is much more like keep pushing or something by Boris Delugos, you know. It was really weird. So then when I heard Boris Delugos asked for the parts, I knew it was going to be good. He's a great producer, really great producer. Of course, things to make and do is a massive album. There's a number two on the charts, I think, and the time is now another huge, huge hit for you. But we want to fast forward to your album statues, because by this time you've put out some great records and you've been learning about the process of songwriting and production along the way. What was, what did you learn about songwriting working with Mark? I mean, most of it is what I learned with him. Like the rest is all just sort of bits and bobs on top.  He, I didn't, I would sing and not know I was out of tune. You know, I would not have, I'd be like, that's brilliant in it. He'd be like, no, you're going to have to sing it in tune, Roshine. Things like that, you know, structure, arrangement, no idea. Come out with parts, I mean, still a bit like this, honestly, much better and left my own devices now very often on this. But in the beginning, no idea, you know, oh, that's a great part. There's another great part. There's another great part. There's another great part. And no arrangement. And so he would know that as well. And so, yeah, he was just really great. And he was a great player. And he was a great love maker. I was just going to ask what your fondest memories, but I guess he just answered it. So, and now it was all a beauty. It was such a beautiful time, you know, such like what I think back on it to be in love and to be Jesus. And now I have an actual job as well. Like, I mean, I'm just, I'm signed to make a record. And it was like, I mean, we're together and we're always, we wanted to be together. We wanted, I think that's why he did it with me, because he wanted to be with me, because we wanted to be together. Now, when you did this album, Statues, this was released after your breakup, correct? Yes, yeah. It was actually written after the breakup or during after. And what was that experience like? It must have been very difficult. I think a fluid map recording rumors and all the... It was hard, yeah. Yeah. It wasn't easy. Yeah. And yeah, but everybody really brought their game, you know, to the show. We had poor old Eddie Stevens in the middle of it all as well. He kind of kept it together. He did lots of, he did all the arrangements. And he even conducted the arrangements and things.  And so we'd known him for a few years and given him more and more and more to do within the recording of the music as we'd gone along. And so he was kind of a good middle man and he's always the most straight down the line person that I know. But it was hard, yeah. There were ups and downs, really. Yeah. It was tricky. And did you feel vulnerable kind of like pouring your heart out on a record? No, I think we all were ready to pour our hearts out. We just were ready to just pour our hearts out. I mean, we were just really like, also we'd come creatively to that point too, not just, it was a together thing. I had tried so many different characters like I was saying and ideas out to discover about songwriting along the way. And it was starting to egg at me. It was starting to make me, you need to let more of yourself out. You need to be more emotionally. I wanted that anyway. And then, of course, this was all happening. So it just happened to coincide that we wanted that. And I think Mark wanted that too. He wanted to show how brilliant he was, how brilliant he was, you know. And the depth of what went on making that record was really, and the mastering guy nearly had a breakdown. He just kept coming in and going, I don't know what to do. You know, because there was that many like layers in it. And he was also, anybody who got drawn into that record got like completely focused and obsessed, anyone who got drawn into it. And it didn't do that well when it came out. It wasn't seen as part of the zeitgeist when it came out. But it's a magic record. And also it was a very expensive record, a very serious record. And at some point during the 90s, maybe before the late 90s, people started saying things like, keep it simple, stupid, like intelligent people, like really brilliant people, got obsessed with catching the wave of somewhere between brilliant and commercial. And the best records that I think that were ever like that, things like Feel Love, let's say, Marauder Records, they're not really made with that knowledge. They're not, there's a sense of accident that happens as well. And you don't really get anywhere when you, I think, you don't really get, you can't go that far with that sort of attitude. You can't keep creating and keep being interested in it yourself if you're going to be that simplistic. But yeah, it was hard. And then we put it out and it was hard. Actually, it was hard when we put it out. Because you also had to do a lot of the promo, I suppose, because you had to split up. Well, we had a great expectation for it. And it didn't really live up to that when we first released it. It'll live forever. I do believe that now as a record. But yeah, it just didn't fit. We weren't with anything at the time. But then we toured and we had the best tour we ever had. We toured for like two years. And we went everywhere and we killed everywhere. We killed, again, like everyone involved in it was just like, right, it might be the end, you know. And just went for it. Well, the song you've selected is Forevermore. We were talking about Francois Kaye earlier. He did a wonderful dance mix of that. Which I play more than this. I played it in New York? Yeah, I just played it in New York last week. And I sing it. I sing over that Francois version so much. But this is also incredible. And going back to Eddie as well, the arrangement, the brass arrangement on this, it's unbelievable. But the actual song arrangement took an awful lot of time to figure out. Maybe it didn't actually. Not the arrangement of the long version. But Bloody Eddys was a nightmare trying to radio Eddie. That's always a very unfun job because you have to be ruthless. Sometimes it falls into place. But with a song like this with all that different build and coming and then another thing comes on top and another thing, yeah, it was hard. Yeah, I don't think we got the radio Eddie right. I think I'd probably do a better one now, to be honest. Well, let's have a listen. Anything you'd like to mention? The radio edit. Not the radio edit. Okay, let's have a listen. It's such a dense production. It's very Trevor Horne. I think that's what it is. Very Trevor Horne, the whole thing was, yeah. And I think that's what it was with the mastering engineer. It was like, if I get rid of it, if I emphasize this frequency, I lose that frequency. He spent weeks sweating and crying like his heart was broke. Bless him.  It was the first song we wrote actually for this album. And it was a whole heartbreaking night, actually, but I'm not going to go into that. And, but yeah. But I think so much of Eddie, when I hear this, his melodies there and the breath, dong, dong, dong, dong, dong, dong, dong, dong.  And doing his little spins and that and his bowler hat and then jumping up on the... Hammond Orgen was, of course, another member of the band at this point, so jumping up onto the Hammond and playing it with his feet and stuff like that, and just think of him that way, or just standing there in front of the orchestra, just seeing him like really shine because he was so important to us and in the sense of, well, Maloko when we started, we were a duo, electronic duo, and it's not that easy to turn a record like Do You Like My Tide Sweater or any of our records into a live thing, or any of my records, actually, any of my solo records. It's nigh-on impossible actually, it's virtually impossible with sensitivity anyway, you know, without bludgeoning it to death. It's most obvious elements or whatever, and we had a very bad time. Well, we had a good time. We had a band first that was like guys from Sheffield, they were brilliant in the sense that they couldn't play anything to do with the record, but they could play a stuff, yeah, and so we kind of muddled together this very dubby, punky version of the songs that were on the first album that we made and toured it. But it was just nothing like our music, and when Eddie came in, he was somehow able, he became our musical director immediately, and he was somehow able to nod to the record, more than nod to the records, but it was amazing as well. We had a time in between where we tried to make it like the record, and we didn't have Eddie and it was rubbish. It was like a lot of session players playing quite nicely, not as much parts as we usually have on the record, etc.  So anyway, it was a learning curve, but when he came, it was like, F is, you know, have fun, let's, let's all do some, have a mosh pit too, and I want to be your dog in the little back lounge of the bus afterwards, and it made it just really great fun, and because I think you can have fun when you've done the work previously, when you put the work into the rehearsals, and put the work into the set, put the work into the way the set flows, and then you can have fun. It's always all in the preparation. It is. It totally is. Now, during Maloko and afterwards throughout your solo career, you've also collaborated with a lot of different people. During Maloko, you collaborate with Boris, who goes for one of his own tunes that you co-wrote with him. You collaborate with David, David Byrne, Fat Boy Slim, The Feeling, Dave Morales, The Crookers, a lot of different people, Freeform 5, but also Handsome Boy Modeling School, which is a project of Dan the Automator, who we were talking about earlier, along with Prince Paul. Can you tell us how that came about? Just Dan reached out and wanted me to do a song, and I was like, well, you know how much of a fan I was of Dr. Optigan, and then Prince Paul, you know, I was a huge fan of his as well. I was like a dream, but obviously I was petrified, so he said... Why were you petrified? I had no reason to be actually in the end, but I had to go to San Francisco to record it, but I was very prepared. I wrote the song on my four track, and it was literally exactly as it went down, and it took like two takes, but they both of them came to the airport to pick me up, they're hilarious as well, and I didn't know what way to take them and everything, and it was all a bit much, and then they straight to the studio in Dan's house, straight to the booth. Literally, I hardly sat down, went in, and then it was done, like, and then they did nothing to it whatsoever. Nothing. The groove just went round and round and round and round, and Jay-Live was where he was, and everything was where I put it, and I found that very refreshing, honestly, the no fiddling, the like, it's good, and a story thing, and yeah, they were just great, and then I did, I had two, three days off with them in San Francisco. What did he do in San Francisco? I bought weird toys, and Dan bought me this amazing, like, golden kimono, which I subsequently wore in some of the shows, Maloko shows, because he was so happy with the song, so splashed out on me, and we just said, yeah, it was just a good time. And do you feel these collaborations with other musicians and other projects, do you bring something back to your own work from them? Yeah, obviously, and I think every time I work, especially in depth with a producer, I go in and I think I know why I'm working with them, and I don't know why I'm working with them, I don't know them, and it's every time you find out, oh, shit, I don't know them, and, you know, I guess maybe because I was so intimate with Mark in the beginning, that I assume a sort of intimacy, and I assume I know what I'm dealing with, and every time it's a new surprise, like, I had no idea when we'll talk about Matthew, I suppose, soon, but I had no idea what his process was until I went in, and it was mind-bending, and so on with everyone, honestly. And how about this project in particular, what did you take out of it, aside from, like, hey, two takes, and it must have been kind of freeing, liberating in a sense, but what else did you take from the project? I thought missing him was good, because I lifted it up a little bit, because I was really under pressure to show off, and a bit like Dusty Springfield would probably have felt in that situation, like, I'm not good enough, I better be good, I've got to be better, and because I had such respect for where I was, and also the songwriting was straight up soulful songwriting, and I really wanted to do that, you know, it was getting to the point where I really wanted to do that, and this one was very crystallized, the way that it came out of me. Let's have a listen, this is Handsome Boy Modeling School featuring Roisin' with The Truth. So after the demise of Maloko, you went straight in to do your first solo album with Matthew Herbert, and can you tell me what that experience was like? Do you feel he liberated you in some way? Yes, absolutely. In a funny kind of way, because it was more structured, so he would only work sensible hours, so eleven o'clock till six, those were the sort of hours, and it was very, very regular, it was every day, five days a week for about three months, and he's like that anyway, everything has a reason, he has a like a path that he uses, people call it rules, but it's not really, honestly, jealous people call it rules, trust me, they're like, oh, so many rules, I can't be doing with it, yeah right, because yours music just sounds like this, and you're jealous, you know, so he has this magic way, which is like, I went in there again, not knowing what to expect, I think and I knew what to expect, but I'm not having any idea, and he said, you know, bring something in with you, and I thought it was going to be a discussion piece, so I brought an article from the newspaper, which was about long time, and it was something that Brian Eno was very interested in, he put a clock into a rock, and it was going to be there for seven hundred years counting time, and it was a statement about how everything's running faster, people are running faster and faster and thinking about time and stuff like that, and I thought it'd be really interesting conversation, and I went, I brought, and he went, what did you bring, and I went, I brought this, and he went, well go and hit it on the microphone then, make some sound out of it, like, and so rustling it, and jumping on it, and hitting the microphone with it, and all that, and that turned into, if you're in love, it was the first song we did, and I would be too nervous to do make shit up in front of him, like I did with Mark, so I was also very structured, and I worked on a little cassette for a track at night, when I went home, on the track that we'd make together, with all the bits and bobs and whatever I'd brought in, sounds and everything, and then I'd write it, and then I'd come in and record it the next day, and then we'd start another track, and then I'd go home at night, and I'd write it, and then I'd come back in, and it'd all be on the cassette, but of course magic happened when I interacted with his studio, because he used all different types of sounds, he made sounds with different types of household objects, using your body, I mean that must be quite freeing as well, yeah, because it felt like, it felt like he had very open-minded ears, and the ears were just like, they were like hearing everything, and they were loving everything, you know, and that's a very amazing place to be when you are going into a situation like that, and I'd only ever done it with Mark, and music that is, and I was worried, you know, that I wouldn't be good enough, and all this, and he just loved every sound I made, so did he give you confidence with your own voice? He did, and I think also because everything was that little bit more subdued in his music, and I could really hear me, and I do think that he used a particular arrangement of compression, and microphone, and desk, and stuff, that very, very, very much suited my voice, very much, and so when I was singing in that, I felt great, you know, and I felt really like there were tones that were coming out of my voice that I hadn't done since I was a child, you know, since I would sing jazz songs, you know, to me, in the array, people all sing in Ireland, or did then, and all my people sang, and I would sing like, yeah, you know, like Ella Fitzgerald things and stuff like that, and I felt I found those frequencies, I could hear them the way that we were recording, and so at the same time as being very safe in there with him and protected, and he too is protected by the fabric or the structure of how he works, it's always like, it'll be there, it'll be there, that takes away an awful lot of pain, you know, it'll be there, it'll be there, if I let that fall, like that, it'll be there, and it's like, it's the same with the voice, and same with the words, and same with the little, writing a song or all little words and frequencies that you just throw down, and it's all there. What a great way to embark upon your solo career, I think that's really wonderful, and the product of this, of the two of you pairing together was Ruby Blue, your debut solo album, and you've chosen the song through time, do you want to tell us a little bit about it? It's a beautiful song, you know, and the thing that he does in the middle, and also his harmonies, like the way he got me to do vocal harmonies, immediately, do this, do that, and like I would be singing these harmonies, and as they started to stack, is that me, you know what I mean, like the thing that Harry can do, and he's so good at that, and it's in this, it's beautiful. Well let's have a listen, this is through time from Roisin's debut solo album, Ruby Blue. This one's easy to cue, thank you. Murphy's Law. I would love to listen to the whole thing, but in the interest of time, we have to fast track through your entire solo career to get to your latest album, which was now released, oh my gosh, over two years ago, which is unreal, and released smack dab in the middle of a global pandemic, well done. So yeah, you produce great great albums all throughout, you know, the naughties, and we land at Roisin Machine, and this album is so fully realized. Now I was listening to it again today, and just beginning to end, it is seamless. It really has like an intent behind it. What was the intent when you embarked upon this record? Well, we embarked upon it 10 years before we sort of started on it in earnest. We did a few singles along the way just through the years that Parrot was producing for me, and it came out of overpowered actually. I wanted to make Roisin Machine after overpowered. I wanted us to go more house than we'd been more under boogie disco sort of elements with overpowered, and I wanted to really go for it with the house, like proper house as they say, you know, and I thought Parrot's the best one in the world to do it. So we did simulation and jealousy. Yeah, they came out like many, many years before, years between them as well, I think, and I just think that why did we not pursue it? There wasn't a reason to, nobody really cared, honestly. Yeah, I went to, I'm not going to say, but I went to some dance, I went to one dance music label, and it was like, yeah, we'll put out a single, but you know, you have to give us all the money, and you know, and it was really terrible. So I didn't, I didn't do it, and it sort of put me off for a while. The world wasn't ready somehow to take that fully seriously, I think. Because it was dance music. Yeah, yeah, because it was house music, nobody really knew the difference, honestly. There were some people then around that time, or maybe a little later, like, that did start to interest me on that level, like Hercules and Love Affair and at Zari and Third, and even my partner's act that I did a couple of songs with, the Lucchese and Brigante, this lovely sort of, they did some lovely house, Baleariki kind of house that was serious and soulful, and yeah, so it was about, it was really part of that in the beginning, and then I got carried away with making records with Eddie, which I very much enjoyed doing, and I would have played if I had all the night time in the world, I'd play it, something from everything, but, and I had babies and things like that as well, and I remember sending him Incapable, and he was like, he scratched his head for about a year and a half about it. Eddie or Peret? No, Peret. Like, how can it be a disco song as she says she's incapable? Things like that, and then suddenly he sent it to me, and it was like the best thing ever, you know, the way it just bounced along, the equilibrium in that, in that song, that's why I always say it's like a bouncy ball, sometimes songs are amazing because of that, everything's just gelling. I can't explain it to you. It's very slinky and very sexy. When I play it live, it's just that groove like is so nice.  It's not capable of it, sorry. She's a character, yeah, it's not really me either. But I like to, I have strength, there's strength in me, yeah. But songs like, and going back to through time, song writing is probably more like script writing than it is like writing a book because the action has to be the description, the action has to tell the story. So like in through time, sort of the action is through time, and that expresses time as well as says time as well as sometimes it's less obvious than that, but something like incapable is cheeky like the song's cheeky, it bounces like that personality would bounce, just float through life, you know, with that song on. So yeah, it's like, I like things that have traction like that, to the music, to the whole mood, everything explains it. Like in a scene, in a film, or in a play, you don't say, you don't tell people what's happening, you, things happen that you make the connections between, and it tells the story in action. So you leave them along, yeah. Yeah. Yeah. Well this, I want to play it now because I definitely want to make sure we don't have much time left, because we've been chatting so much and I want to make sure that we have time for our Q and A. One thing I'd like to tell the listeners at home is that if you would like to ask a question, there is a dialogue box in the form below the video window, and you can write your questions in there, and John will be monitoring them and he'll, he'll tell me some of the questions and read out some of the questions as well. So let's have a song, listen to the song incapable, and you can think of your question that you'd like to ask for a shame, we'll see if we can get to you. Love that song so much. Okay, now it's time for you to ask your questions. Let's see, who has a question? There's a lady right in the back and the very, very back. Okay, yeah, I suppose I would start back. Thanks. Hi, Roshin. Hello. I wanted to ask you about your collaboration with Matthew Herbert and a performance that you did at the Big Chill quite a long time ago. Yes. When you were tapping a beat with your feet and layering it. Yeah. And he was layering it up and it developed and developed and developed and it was absolutely refreshing. Well, thank you. And I wanted to know how that felt to do that live, that kind of process of creation. Doing Ruby Blue Live was like going back to the beginning.  It wasn't Matthew, by the way, it was Eddie still. It was Eddie Stevens who was my musical director all the way through that figured it out. And I think Ruby Blue, there's some footage of us doing it at the Paradiso in Amsterdam. And it really was unbelievable what we did. I only kind of realized recently how it was incredible that we, that mostly Eddie managed to figure out a way to transform the concept of that album into a live, into a live thing. And we took the brass section with us. That was amazing. They're all terrible alcoholics. Very funny. And yeah, we just, yeah, there was an amazing show, actually. I have to give it to Eddie because nobody was doing that. It was like even the technology wasn't really good enough to do it. Then you can do it quite easily now. And so it was very, very temperamental. So to answer how it felt, it felt very dangerous, very temperamental. And when it worked, it was really unbelievable. Sorry. Sorry. It was exciting. Anything could have happened. Yeah, we could sample the wrong thing, for example. Is it working? Hi, my name is actually Roshni. I have a bit of a philosophical question. How do you find your calling in life or your purpose? Do you think you found it or do you have any advice? Because you consistently bring so much joy to so many people. So how do you think others can do the same? I think I have found my calling because I always wanted to be creative. And that was all I ever wanted to even grow one up. And if you ask me when I was a little girl, what do you want to be, Roshni? I said, artist, I want to be an artist. And it was really, I was all I was interested in. So I think going to a younger age group to say to, I think the only thing I could say would be surround yourself with good people. I mean, that's point A, really. My journey in music started not as a person making music, but as somebody who surrounded herself with people who were really into music and went to see lots of gigs and bought lots of records. And that's all we were interested in. That's all we wanted to know. Well, no, we wanted to know about books and art and all those things as well. But this was the one thing that sort of brought all of us together.  I can't say everyone who loves music isn't a psychopath. But like, I think it's a pretty good indicator of people love, love, love music. And then everything that happened to me happened because of that. I think we have a question from the people watching online. Yeah, we have a question from Adam watching at home. And he loves the Cosmidelica, your remix of Murphy's Law. And it's one of his favorite tunes. And will the sisters of Murphy be working together again any time soon? I hope so. But it's such a good mix, man. It was one of them that just landed on the doorstep that was like, oh, Jesus, such a huge production and everything. So yeah, it was brilliant, brilliant mix. Thank you. This gentleman right here. And I do it live. I'm doing it live this weekend in Manchester, that one. We've been playing it a lot. Thank you. This gentleman right here. We have a microphone coming. Long time listener, first time caller. And so it came up a couple of times this evening, I think, around your second album, statues. I think Matthew Herbert's Rubu Blue is unexpected. And you mentioned that you went to a record company and with a pitch for a Roshi machine, but they weren't quite ready. It just seems to be that you're ahead of the curve, right? I'm just wondering, are you aware of how influential you are on other artists coming through? Because I'm just thinking you've gone... No, because they never admit it. Go on. No, no, it like, with gone fishing, for example, right? Beyonce has just brought out a house album and it's just got like two million hits. And you did that like, eight years ago. And it's just like, you should get more credit for it. Thank you. That's so nice. That's so nice. This gentleman here, yep. I get plenty of credit, though. And honestly, my head would get far too big if I got any more. Thank you. Hi, Roshi. Hi. There's been a lot of duet albums around, doing the rounds, thinking of Gaga and Tony Bennett. If you had the opportunity to do a duet's album, who would you pick? And don't say Tony Christie. Well, I wouldn't. I'm only joking. I don't bloody... I've never thought, I've never thought about that. I could see myself doing, I know him so well, with somebody like that, yeah. No, I really, I really don't know. Would it be people that you sang to when you were younger, like Sinatra or Ella Fitzgerald? Yeah, I mean, I would love to sing with Frank Sinatra. I love Frank Sinatra so much. I brought up in a world that loved Frank Sinatra, everybody. And I heard a lot of it grown up, a lot of it. And a lot of people singing his songs, too. Yeah, he would be, he would be a dream to sing with. Because that is possible.   That's possible as well, isn't it, with the technology? Oh, yeah, you could do an AI one, couldn't I? Yeah. Oh, God, life's too short. I think we have another question from online. Yeah, we have a question from Madison Friedank, who says, your amazing YouTube videos during COVID really brought a lot of joy and fun during that strange period of time. What lifted you up during that time? I was very creative during that time. I wrote most of my new record during that time. Not most, well, a good bit of it. And I wrote a good bit of Roche machine, actually, during that time. And I wrote other stuff. So I was very creative that way. And then I, that just spilled it. That was all in my living room. I was encouraged to get on to Ableton Music Software by the producer, DJ Cozy, that I've worked with on my recent, my next album, which is finished. And because he works on, he turns Ableton inside out. That's how he works. So we did a lot remotely. And I did a lot. And I did a lot of gardening for the first time. And now my gardening is starting to show itself. Yeah, things are growing from two years ago, three years ago. I'm starting to have a real garden here. So lovely things, actually. I did lots of lovely things. I'm sorry to tell you. It wasn't so bad. Well, you did inspire a lot of people because your performances from your living room was so inspirational. This gentleman here. Hi, Cosmo. Hi, Roche. Hello. So you were talking earlier about lyrics, remixes, choosing the remix, and how to, what to play live, what version to play live. We didn't have a chance to talk about Herless Toys because one of my, not only my favorite songs of yours were probably, of ever, is Unpeltainable. And the song, the lyrics, like everything, I wanted to know about the process of producing that song, you know, it stops these long notes and then it has the beat. But then I saw you playing it in All Points East. I was just hypnotized because you found this incredible electronic version and this riff, like really hypnotic bass line. So yeah, I just wanted to know how you come about this first version of it, playing with the drama of that song and then adapting it to such a powerful electronic dance song. Well, Eddie actually remixed it, especially for a live version. There wasn't a mix of it like that. And we wanted to do, I actually wanted to do a much less, a much more vulgar version than he came up with, which is always the case. My natural vulgarity is held down by these, these guardians that are around me. So it took me a minute to get used to what he did with it, that live version, but it was really, really, really, really, really good. Yeah, it was good. But I was thinking more, let's go more EDM, let's go more like festival, because I think that song could be, you know, that, that like, lighter in the air, big festival dance thing, you know. But now he's too tasteful for that, so it didn't turn out. It was one of them where I was like, I can't do that routine. It happens to me sometimes.  Well, we are going to have to wrap it up. So I just want to ask you one last question. You have a new album that's coming out. Any kind of hints as to the musical direction or your intention with it? It really goes in all directions, this one. And Cosy describes it as a planet, as an entire planet. It's not like grocery machine at all. It's maybe got more in common with the Ruby Blue. I mean, he loves that song that I played from Ruby Blue. And he kind of like, sort of like thinks that my voice needs to sound that good all the time. And not many producers really do that. Not many really care and really care what I actually sound like. And to the degree that he does, his ears are just like so sensitive.  So you see how when I'm working with someone, they all reflect it into the other people that I work with. And so when I'm talking about these albums, I'm like, great, what they did. You know, but it is, you know, and so, yeah, he just has to make it sound good. That's it. There's no other rules involved in it. There's no, your ego can't get in the way of that. You're not allowed to, if he wants to get rid of something, he'll get rid of it. This is me explaining what it sounds like. No. What it sounds like, it's very soulful, it's very modern, it's uber modern, and it's absolutely brilliant. It's absolutely really, really, really good. I'm getting excited now thinking about you hearing it. Oh, we can't wait to hear it. So thank you to all of you for coming along tonight. So pleasure to see all of you. Thank you to the British Library for having us back. It's always a joy to have Classic Album Sundays events here at this iconic, iconic institution. It's always an honor. And Roshine, you're so busy right now. Thank you so much. You're at the top of your A game. You are doing so well. I'm so happy for you. And thank you for spending a couple of hours with us here at the British Library tonight for Classic Album Sundays. Thank you. Thank you so much. Thank you.


The University of Phoenix was placed on probation by the Department of Defense due to recruiting and administrative violations. This means that new students will not be able to use tuition assistance at the college. The school does maintain its accreditation and standing as an academic institution. UNITAS 2015 kicked off October 13th. Naval forces from the U.S., Chile, Colombia and Mexico are participating in the annual multinational exercise. The training exercises focus on strengthening communications and relations between partner nations. United Kingdom Second Medical Brigade trained alongside U.S. Navy sailors at the Navy Expeditionary Medical Training Institute during Operation Integrated Serpent. The two-week exercise is designed to promote training, cultural awareness and understanding of each other's medical capabilities. For these stories and more, visit navy.mil


Welcome back. In our last lecture we proved that there are infinitely many primes. So, if we really want to study numbers we have infinitely many prime elements at our disposal. That is a good result to have. Primes are some of the very interesting numbers and it is a good thing that there are infinitely many primes. Because actually it turns out that primes one could perhaps even say that if there is a property that an infinite set should satisfy then prime numbers will satisfy that. Any reasonable property of course. For instance there is this twin prime conjecture which says that there are infinitely many primes p such that p plus 2 is also a prime. On the other hand one can write down any set of consecutive n integers such that there is not a single prime in this set. And you should be able to construct this set for yourself. You have seen all the required concepts for producing such a count example in the last lecture itself.  At the end of the last lecture I promised that we will see the fundamental theorem of arithmetic. What does this theorem say? It says that if you take any natural number n bigger than 1 then this n is uniquely a product of prime integers. This is a non-trivial theorem and a very basic theorem. That is why this is called the fundamental theorem of arithmetic. So, before going to prove this result we will need to develop 2 or 3 important concepts. So, let us go to the first one. This is the division algorithm. What we do in this is the following thing. Suppose we have 2 natural numbers a and b and let us assume that a is bigger than or equal to b. Then there exist unique integers q and r with 0 less equal r less than b and a equal to bq plus r. So, what do these q and r represent? If you have done long division in your school then you would realize that this q is nothing but the quotient and r is nothing but the remainder. Here q stands for quotient and r stands for remainder. So, it says that when you have a and b and we are assuming that a is bigger equal b. Remember we had this property that whenever b divided a, b should be less than or equal to a. You have a number dividing some another number then that another number has to be bigger. So, here we are also allowing the possibility that r be equal to 0 because then that would give us that b divides a. It would give us that a is b into q. So, we are starting with a bigger equal b then there exist q and r with the property that a is bq plus r. Moreover, we have that this remainder r is between 0 and b but it is not allowed to be equal to b. We allow r to go only up to b minus 1. Another important thing to prove here is that these numbers are unique. This is something that you would think should be quite natural to have meaning some of you may even wonder why we need a proof for such a statement. But the uniqueness is the thing which requires a proof and the uniqueness is going to be proved using the condition that we have that 0 is less than or equal to r less than b. So, we go up about proving this statement. What we do is the following thing. We consider the multiples of b. So, you have b to b because your b is a natural number we will have b to be less than 2b less than 3b less than 4b and so on. So, we have this set of multiples of b which goes this set goes all the way up to infinity. Now a is a natural number it will have to belong to some such subset. So, a has to be between some qb and q plus 1b. What did we do? We are looking at all multiples of b which go all the way up to infinity and a is a natural number. So, there has to be a multiple of b which is beyond a among all those multiples which are multiples of b which are beyond a we look at the smallest one and we then have that a is between some qb and q plus 1b with the property that qb is less than or equal to b which is strictly less than q plus 1 into b. It may happen that a itself is a multiple of b if that happens then we take q to be that particular multiple we do not take it to be q plus 1. What did we do? We have now obtained a q which has given us that a is bigger than or equal to qb and strictly less than q plus 1 into b. Let us continue our proof then define r to be a minus b into q by our very construction of q we see 0 is less than or equal to r strictly less than b. This is because a was strictly between 0, a was bigger than or equal to bq but strictly less than q plus 1 into b. So, we have constructed r, we have constructed q. Now, we need to show the uniqueness. What do we have to do? To show uniqueness we start with assuming that there are two such pairs of q and r and we have to prove that the corresponding q's are same and the corresponding r's are same. So, if a is bq1 plus r1 and bq2 plus r2 with 0 less than or equal to r1 less than b, 0 less than or equal to r2 less than b then q1 is q2, r1 is r2. This is the statement that we should prove.  So, this is b into q2 minus q1. So, r1 minus r2 is b into q2 minus q1 in particular r1 minus r2 is a multiple of b but what is r1? r1 is something from 0 to b but it does not equal b. r2 is something from 0 to b but does not equal b. So, we have these possibly b distinct elements 0, 1, 2, 3 all the way up to b minus 1. So, we have b distinct elements r1 and r2 are among these b distinct elements. Their difference will always be between minus b and b because it can happen that r1 is smaller than r2 but their modulus of the difference is going to be always less than b. So, if b divides it then the difference r1 minus r2 has to be 0. So, since 0 less than r1 less than b, 0 less than r2 less than b we get that modulus of r1 minus r2 this is allowed to be 0 but it is strictly less than b. But since this is a multiple of b we then have r1 minus r2 to be 0. There is no other possibility. So, this implies also that q1 minus q2 is 0 because from here we see that r1 minus r2 is b into q1 minus q2 minus q1. So, if the difference r1 minus r2 is 0 b into q2 minus q1 is 0 but b is a natural number it is not 0. And if q2 minus q1 was a non-zero number either positive or negative that into b would give you another non-zero number. If the product is 0 then q2 minus q1 has to be 0 which says that q1 is q2. This way we have completed the proof. So, this proves that when we have the division algorithm then the quotient q and the remainder r that we get here are unique. A is b into q plus r for unique integers q and r and now we are going to see some examples of this phenomenon. So, we will start with some a and some b and we will try to find these quotients q and the remainders r something very simple. So, start with the first example where I take a to be 2020. Since this is our Gregorian year let us work with 2020 and let me take b to be 25. I want to have an easy division. So, what is the multiple of b 25 which goes all the way up to 2020 but does not cross it. So, what is the quotient q of b with the property that b into q is less than or equal to 2020 but b into q plus 1 goes beyond 2020. So, for this division you know meaning we see that 2000 should be that multiple because 2000 is a multiple of 100. 2000 is 20 into 100 and therefore it is going to be 80 into 25. So, here 2020 is 25 into 80 plus 20. So, q the quotient is not 25 sorry this is 80 and the remainder r is 20. 2020 is 25 into 80 plus 20. Let us take another example a simpler example suppose I take a to be 107 and I take b to be the prime 17. I do not know if 107 is a prime when we some lectures back listed all the primes we listed them only up to 100 not beyond that. So, we do not know whether 107 is a prime but b 17 is a prime. Now, I want to find the quotient q such that when I multiply 17 by q we go up to a and 17 into q plus 1 goes beyond a goes beyond 107. So, this is the time to remember your multiplication table of 17. So, if you remember that you will notice that 17 into 6 is 102 and 17 into 7 becomes 119 where you go past a past 107. So, here 107 is 17 into 6 which is 102 plus 5. So, q is 6 the remainder r is 5. These are some of the very basic examples in the quiz that we will have this week we will see some more examples but these are not by any means impossible examples meaning these are some problems where you will have to sit down with your pen and paper and do the writing. You can also use calculator for that if you wish.    Now, this algorithm which is called division algorithm which is due to Euclid is something which is very fundamental to the computation of what is known as the greatest common divisor of any two natural numbers. So, you may ask given any two natural numbers a and b whether there are any common divisors. So, of course we know that one divides every a therefore one is going to divide both a and b. So, the question turned out to be very simple question that we wanted to know whether there are common divisors and here is a common divisor one then we modify the question we ask whether there is anything beyond one which divides both a and b and our question is even more precise. We want to get the largest such integer which divides both a and b this is called the GCD the greatest common divisor of a and b. So, GCD here G stands for greatest common divisor this is what we want to find. So, there is a statement that needs to be understood and then proved which is as follows suppose we have two natural numbers a and b then the statement says that there exists a unique d which divides both a and b mind you that there is no full stop here. So, our statement is not yet complete. So, what does the statement say the statement says that there is a unique d which divides both a and b if you are saying something is unique clearly the dividing of a and b cannot be unique because one divides it and possibly there are some more divisors. So, there is one more property of this d which is that such that so the uniqueness is with respect to this condition which is now going to follow after such that if there is a common divisor e of a and b then e divides d. So, what does it say it says that there are two conditions the GCD. So, this d will be called GCD a and b what property does it have it says that d divides a d divides b if e divides a e divides b then e divides d in this sense it is the greatest common divisor. So, it is among the common divisors it is the greatest of them. What we are now going to do is to prove that such a greatest common divisor actually exists given any two integers a and b it would not be very difficult to find this GCD this is something that we have been doing in school. But to prove abstractly that this holds for any two natural numbers is not that trivial it will require some trick. So, let us see the proof we will in fact this is of the form a alpha plus b beta for some alpha beta in z. I hope you all remember that z denotes the set of integers you take negative numbers positive numbers and 0 this is the set of integers we will take alpha beta from this and we will actually show that our d belongs to this set d is of this form. So, that is what we want to prove consider the set x of the form of elements ax plus by and y belong to z we considered we are considering the set of the form of natural numbers of the form ax plus by where x and y come from the set of integers. So, we are allowing x and y to take positive as well as negative values or even 0. But what we demand is that the number you obtain ax plus by that should be a natural number. So, this is our set capital X is this set empty does it have some elements. So, we are allowing the sets to we are allowing the elements x y to also have the value 0. Or positive or negative or any such value so clearly a and b belong to x. So, x is non empty a is there because x is 1 and y is 0 will give you that ax plus by is a similarly x is 0 and y equal to 1 will give you that b is there. So, a and b these are natural numbers both are there in x so x is non empty. Then principle of mathematical induction will tell you that there has to be the least element of this set. So, let d which is of the form a alpha plus b beta be the least element we are almost done we have found the candidate d we also found it to be of the form a alpha plus b beta now we have to prove that it is our GCD. So, clearly if e divides a e divides b then e is going to divide a alpha plus b beta which is equal to d. So, e will divide d. So, if you prove that it is a common divisor that is something that we have not yet proved we have not proved that d divides a or d divides b. We have only proved that if you have any divisor of a and b then such a divisor should divide d. Now the only thing left to prove now is to prove that d is a divisor of a and b. We now prove that d divides a and d divides b how do we do it we start with apply the division algorithm what will it give division algorithm will tell you that you can divide a by d to get a equal to dq plus r with 0 less than or equal to r less than d. This is our quotient and remainder. So, we get this r note r is of the form remember that a d was a alpha plus b beta.  So, there is an q that we should add here.  But this is the contradiction you started with d being the least element in x if your r is non-zero you get a number which is strictly smaller than d we have that r is less than d this contradiction says since d is the smallest element of x has to be 0 which means that a which means that a is divisible by d. Similarly divides b so this completes the proof. Let us recall quickly what we have done we have you looked at the division algorithm which gave us that a and b can have the form that a is b q plus r where q and r are natural numbers r is strictly less than b but bigger than or equal to 0 and using this we proved that there is a GCD the greatest common divisor of any two natural numbers moreover this GCD is of the form a alpha plus b beta where alpha and beta are integers. We stop here for the moment see you in the next lecture. Thank you.


Further work of Russian peacekeepers in Azerbaijani Karabakh to be discussed with Baku Kremlin The work of Russian peacekeepers on the territory of Azerbaijan will be the subject of talks with Baku Dmitry Peskov Spokesman of the Russian president told it is unlikely that anyone will answer this question yet Because now we are talking about the mission which is on the territory of Azerbaijan This will be the subject of our discussions with the Azerbaijani side Peskov said when asked about the fate of the Russian peacekeeping mission in connection with the so-called Nagorno-Karabakh Republic's dissolution on January the 1st, 2024 After the counter-terrorist operation of the Azerbaijani armed forces in Karabakh on September the 19th to the 20th, the country fully ensured its territorial integrity But at the same time, the question of relevance of the presence of the Russian peacekeeping contingent in the region has risen due to the absence of the subject of its authority Except for the Lachin Road, almost all the Russian peacekeeping contingent posts have lost their significance Notes Azerbaijani political scientist Farhad Mamadov Russia's temporary stay in Karabakh remains in a mandate less state The Russian peacekeeping contingent has one single function left, prescribed in the trilateral statement on the Lachin Road, argues political scientist Farhad Mamadov According to him, along with this over the past three years, after the end of the Second Karabakh War, the Russian peacekeeping contingent has created its own logistics, a system of equipped, autonomous posts along the perimeter Everything else that has been implemented on the part of the Russian peacekeeping contingent is not prescribed functions, so to speak amateurish, he added Under the new conditions, Russian peacekeeping contingent loses all logistics on the perimeter, as the Azerbaijani armed forces have already crossed into this perimeter and there is no expediency to maintain these points The maps show that, except for the Lachin Road, almost all Russian peacekeeping contingent posts have lost their importance So, the whole logistics of Russian peacekeeping contingent on the territory of Azerbaijan is changing in accordance with the new realities


Yeah, multiple people have apparently been coaching Scott. Apparently, he did finally learn that he can look up here and figure out relative sizes of armies, so that's why he decided to attack me. I was no longer able to trick him just by having a few military units close to his business. Things are not going well. Scott did have it up a military. Foxton has fallen and I may have to abandon this game. We'll see how it all goes, but for right now I've just got to consolidate and see if there's anything salvageable here. There may not be, like this might not be a salvageable situation in multiplayer games like this. You'll often just hit a point where there's nothing you can do to lose. Oh, yeah, because of that jungle. I can't even hit him.   I can use my second great general. I'd like to use the great general to get rid of this or to take the city back. I might just use him in the interim still to give myself a little bit of a combat bonus, at least in the short term. You get in there. There's not a lot I can do. This game is all but completely over for me. I could sacrifice this horseman to do a moderate amount of damage to that catapult. Not great. Kind of want to stay back here and heal so I can then come around because I can do okay damage to one of those guys. Oh, his empire of minus 10 percent. All right, his empire is moderately unhappy, which is good. He's gonna make sure he can't get happiness, so I'd like to sneak in here and pillage this. Might as well start build a military unit here. Not that it'll matter. Or maybe I should just keep building that shrine. I can then build a temple. There's not a lot I can do. Don't have a lot of options. And I pretty much have to rely on Thebes 100% if I have any chance of coming back, which I probably don't. Might be able to sneak out and start another city back here, but that might just prove a liability. I leave this guy here. He'll get attacked. I can't hit this guy. So I think this guy has to fall back a little bit. And you fall back here where you can still cover this radius. You heal. And there's not much I can do now. So long, Egypt. This... This is not salvageable.  I don't think I can do it, so I'm pretty much just hubering him until it is actually over. And then I just am going to concede the game. So let's see. He's got one more guy there. I gotta get in and pillage. I gotta get in and pillage in one round. So check this out. So first things first, let's bring this guy around here so then I can move in and pillage something next turn. Start a plantation, even though it's probably too late for that to be of value. I'd like this guy to heal. He can't move in that quickly to start hitting me. So I might want to get into a slightly more advantageous position. Foxen can't bombard me yet. So at least I won't completely die. I wonder if I would have completely died if I attacked with this guy. I can mess it up real bad. And this guy's on the same side of the river.  I have to be aggressive or it's over. Even though it's already over, let's see. Is there anything I can do? I love another swordsman coming up soon. And so it goes.  And I'll have to actually take him seriously when we play a second or a third game.