WALK the REVOLUTION! Drink As Well As Live Music
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Cig Post Office London 1534 Cigarette Manufacturers
CIG POST OFFICE LONDON 1534 CIGARETTE MANUFACTURERS. Roar Robt. Hy. & Oo. 6 Princes st. Caven Shipman Jacob, 15 Warren st. Fitzroy sq W Wills W. D. & H. 0. Branch of the Imperial ABDULLA& eo. LTD; 168 New Bond st W; dish sq W; sole makers of the "Parascho Simmons Henry, 8 Great Pultenev street W Tobacco Company (of Great Britain & factory & offices, 48 & 49 Wells street, Club" cigarette, registered-T A '"Para SMITH FORBES t.UGARD, 10 Burlington Ireland) Ltd. 53, 54 & 65HolbornviaductE C Oxford street W & 32, 33,34 & 35 Union scho, Wesdo"; T N 3153 Mayfair gardens W; factory, 30 & 32 Foubert's pi. (T N 2616 Holborn [2 lines]) & 31, 32 & SS street, Oxford street W Hodgson George Wm. 4 Holies st. Oxford st W Regent st W; warehouses, Xanthi, Turkey Snow hill EC Telegrams, " Abdul, Ox, London " Hopton M. & · Oo. Ltd. 29 Colvestone cres in Europe-T A " Cigarranda" ; T N's 1588 Wilson,Windham&Co.Ltd.50&51Hi.HlbnWC Tel. Nos. 1663, 1664 & 1665 Gerrard cent, Dalston NE & 5155 Mayfair Wix J. & Sons, 30A, Commercial road east E Adkin & Sons, Branch of the Imperial To. Hovenden R .. & Sons Ltd. 29, 30, 31, 32 & 33 Smith Philip & Co. 20 Piccadilly arcade SW & 175 & 176 PiccadillyW bacco Oo. (of Great Britain & Ireland)Ltd. Berners st W & 89, 91, 93 & 95 City road E C Societe Job (incorporating Bardou, Job & Wood John & Son (Cigar& Tobacco Importers) Yorkrd. factory, Dingley rd.St.Luke'sE C Ionides & Co. 2 Royal Opera arcade SW Pauilhac), 3 Denman st Ltd. 23 & 25 Queen Victoria street E C ; TA' 'Nutbrown,Isling";TN1502London Wall Janizaries & Cie. -
Nicl\ Renbour:Rz, D~Vey Graham, Ralpl1 Mcte/1 and Donovan, to Be Followed by Fair Port Conventzon, John Martyn, Pentangle and the Incredible String Band
. Tlze En~lish fol~ scene has always seemed obscure and mysterious from tlzis J szd~ of the. Atlantzc Ocean. _Tize traditional music of the British Isles began a re I nmssance ~n tlze 1950s and 60s witlz Ewan MacCo/1 A .L. Lloyd, Imz Campbell and Ma.rtm Carthy. Tlzey paved the way for the singer/songwriter/guitarist, who, w>tll a nod towards Bob Dylan, updated the traditional folk style and syn thesized it with blues and jazz. The early '60s wave was led by Bert Jansch, John Nicl\_ Renbour:rz, D~vey Graham, Ralpl1 McTe/1 and Donovan, to be followed by Fair port Conventzon, John Martyn, Pentangle and the Incredible String Band. ~orne .of thes~ people r~ached llationwide, even worldwide, success. Many re r:zamed m relatzve obscunty, rarely if ever playing ill the States. They remained m the folk club and small concert scene in Englmzd. Tlzeir music was often intri Drake cate, introsp~ctive and unlike tlze )olk mu~ic" we were accustomed to. One of them .wa~ Nzck Drake, who remams to thzs. day all almost anonymous figure, even m hzs own country. already established himself through Witch season Productions, recording LPs by Fair port, John Martyn and the Incredible String Band (as well as being the latter's mentor/manager). He called Nick and asked for a tape, which Nick obliged. Joe described his initial impression of Drake's music as "melodically unusual and sophisti cated." There was no doubt that Nick had to be nurtured and recorded. Five Leaves Left was begun in mid-1968. -
George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
The Community Magazine for the High School for the Performing And
The community magazine for The High School for the Performing and Visual Arts, published by HSPVA Friends 2016-2017 Your Gift at Work: TABLE OF CONTENTS The Impact of HSPVA Friends HSPVA DOWNTOWN 4-5 Epiphany 2016-2017 As a 501(c)(3) non-profit organization, HSPVA Friends harnesses community support to ensure the ON THE COVER Charlie Wannall (‘17) in continued excellence of The High School for the Performing and Visual Arts. Under the thoughtful ART AREA HIGHLIGHTS 6-8 bobrauschenbergamerica. Photo by Savanna Lim (‘17) leadership of the Board of Directors, we create opportunities for HSPVA students that prepare them Epiphany is published annually by HSPVA Friends and for higher education and the professional world. ENCORE LUNCHEON 9 distributed to alumni, parents, and supporters of HSPVA and HSPVA Friends. HSPVA relies on us to provide the essential building blocks of an arts education—supplies, COMMUNITY NEWS 10-11 The mission of HSPVA Friends, a 501(c)(3) non-profit organization, is to cultivate support and appreciation for equipment, teachers, and experiences—that allow graduates to emerge as leaders in their The High School for the Performing and Visual Arts locally, fields. The results of an HSPVA education speak for themselves: the 166 members of the Class of 2017 nationally, and internationally in order to enhance educational, DONOR 12-15 professional, and artistic opportunities for current and future were offered more than $36 million in college scholarships! students of HSPVA. RECOGNITION I am delighted to share highlights from HSPVA’s 45th school year. Thanks to your generosity, HSPVA HSPVA FRIENDS BOARD OF DIRECTORS Robert L. -
Carnaby History
A / W 1 1 Contents Introduction C S W T S C A RN A BY IS KNO W N FOR UNIQUE INDEPENDENT BOUTIQUES , C ON C EPT STORES , GLOBA L FA SHION C F & D N Q BR A NDS , awa RD W INNING RESTAUR A NTS , ca FÉS A ND BA RS ; M A KING IT ONE OF L ONDON ' S MOST H POPUL A R A ND DISTIN C TIVE SHOPPING A ND LIFESTYLE DESTIN ATIONS . T K C S TEP UNDER THE IC ONIC C A RN A BY A R C H A ND F IND OUT MORE A BOUT THE L ATEST EXPERIEN C E THE C RE ATIVE A ND UNIQUE VIBE . C OLLE C TIONS , EVENTS , NE W STORES , T HE STREETS TH AT M A KE UP THIS STYLE VILL AGE RESTAUR A NTS A ND POP - UP SHOPS AT I F’ P IN C LUDE C A RN A BY S TREET , N E W BURGH S TREET , ca RN A BY . C O . UK . M A RSH A LL S TREET , G A NTON S TREET , K INGLY S TREET , M F OUBERT ’ S P L ac E , B E A K S TREET , B ROA D W IC K S TREET , M A RLBOROUGH C OURT , L O W NDES C OURT , G RE AT M A RLBOROUGH S TREET , L EXINGTON S TREET A ND THE VIBR A NT OPEN A IR C OURTYA RD , K INGLY C OURT . C A RN A BY IS LO caTED JUST MINUTES awaY FROM O XFORD C IR C US A ND P Icca DILLY C IR C US IN THE C ENTRE OF L ONDON ’ S W EST E ND . -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
OZ 17 Richard Neville Editor
University of Wollongong Research Online OZ magazine, London Historical & Cultural Collections 12-1968 OZ 17 Richard Neville Editor Follow this and additional works at: http://ro.uow.edu.au/ozlondon Recommended Citation Neville, Richard, (1968), OZ 17, OZ Publications Ink Limited, London, 48p. http://ro.uow.edu.au/ozlondon/17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] OZ 17 Description Editor: Richard Neville. Design: Jon Goodchild. Writers: Andrew Fisher, Ray Durgnat, David Widgery, Angelo Quattrocchi, Ian Stocks. Artists: Martin Sharp, John Hurford, Phillipe von Mora. Photography: Keith Morris Advertising: Felix Dennis, REN 1330. Typesetting: Jacky Ephgrave, courtesy Thom Keyes. Pushers: Louise Ferrier, Felix Dennis, Anou. This issue produced by Andrew Fisher. Content: Louise Ferrier colour back issue/subscription page. Anti-war montage. ‘Counter-Authority’ by Peter Buckman. ‘The alH f Remarkable Question’ - Incredible String Band lyric and 2p illustration by Johnny Hurford. Martin Sharp graphics. Flypower. Poverty Cooking by Felix and Anson. ‘The eY ar of the Frog’ by Jule Sachon. ‘Guru to the World’ - John Wilcock in India. ‘We do everything for them…’ - Rupert Anderson on homelessness. Dr Hipocrates (including ‘inflation’ letter featured in Playpower). Homosexuality & the law. David Ramsay Steele on the abolition of Money. ‘Over and Under’ by David Widgery – meditations on cultural politics and Jeff uttN all’s Bomb Culture. A Black bill of rights – LONG LIVE THE EAGLES! ‘Ho! Ho! Ho Chi Mall’ - the ethos of the ICA. Graphic from Nottingham University. Greek Gaols. Ads for Time Out and John & Yoko’s Two Virgins. -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
Entertainment Memorabilia Entertainment
Thursday 10 December 2015 Knightsbridge, London ENTERTAINMENT MEMORABILIA ENTERTAINMENT ENTERTAINMENT MEMORABILIA | Knightsbridge, London | Thursday 10 December 2015 22818 ENTERTAINMENT MEMORABILIA Thursday 10 December 2015 at 12noon Knightsbridge, London BONHAMS ENQUIRIES The following symbol is used Montpelier Street Natalie Downing to denote that VAT is due on Knightsbridge +44 (0) 20 7393 3844 the hammer price and buyer’s London SW7 1HH [email protected] premium www.bonhams.com Consultant Specialist † VAT 20% on hammer price VIEWING Stephen Maycock and buyer’s premium Sunday 6 December +44 (0) 20 7393 3844 11am – 3pm [email protected] * VAT on imported items at Monday 7 December a preferential rate of 5% on 9am – 4.30pm Administrator hammer price and the prevailing Tuesday 8 December Sarah McLean rate on buyer’s premium 9am – 4.30pm +44 (0) 20 7393 3871 Wednesday 9 December [email protected] W These lots will be removed to 9am – 4.30pm Bonhams Park Royal Warehouse Thursday 10 December SALE NUMBER: after the sale. Please read the 9am – 10am 22818 sale information page for more details. BIDS CATALOGUE: +44 (0) 20 7447 7447 £15 Y These lots are subject to CITES +44 (0) 20 7447 7401 fax regulations, please read the To bid via the internet PRESS ENQUIRIES information in the back of the please visit www.bonhams.com [email protected] catalogue. TELEPHONE BIDDING CUSTOMER SERVICES IMPORTANT INFORMATION Bidding by telephone will only Monday to Friday The United States Government be accepted on lots with a lower 8.30am – 6pm has banned the import of ivory estimate of £500 or above. -
Andy Higgins, BA
Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support. -
NATIONAL LIFE STORIES CITY LIVES Sir Roger Gibbs Interviewed
NATIONAL LIFE STORIES CITY LIVES Sir Roger Gibbs Interviewed by Cathy Courtney C409/086 This interview and transcript is accessible via http://sounds.bl.uk. © The British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB United Kingdom +44 (0)20 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators. THE NATIONAL LIFE STORY COLLECTION NTERVIEW SUMMARY SHEET Title Page ____________________________________________________________________ Ref. No.: C409/86 Playback No.: F3119-F3127; F5223-F5226; F9681-F9683; F12013-F12016 ____________________________________________________________________ Collection title: City Lives ____________________________________________________________________ Interviewee’s surname: Gibbs Title: Sir Interviewee’s forenames: Roger Date of birth: 13th October 1934 Sex: Male ____________________________________________________________________ Date(s) of recording: 21.01.1992; 04.11.1992; 03.02.1993; 20.04.1993; 15.11.1995; 19.04.2001; 11.10.2002 Location of interview: Interviewee’s home and British Library Name of interviewer: Cathy Courtney Type of recorder: Marantz Total no. of tapes: 20 (interview incomplete) Type of tape: Mono or stereo: Speed: Noise reduction: Original or copy: ____________________________________________________________________ Additional material: ____________________________________________________________________ Copyright/Clearance: © British Library ____________________________________________________________________ Interviewer’s comments: Re Tapes 17-20 (F12013-F12016). I had an arrangement to go for two hours and in fact recorded for four hours.