DOCSLIB.ORG

37346938.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
37346938.Pdf Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. Introduction to Groove Grove Graphics is an exhibition about West London’s Groove Grove extraordinary music scene rom WWII to today. It explores the sounds Graphics that emerged rom successive generations o displaced soldiers, bohemians, economic migrants and political exiles who, living cheek by Jane Goodsir jowl, entertained themselves by borrowing, swapping and transorming John Phillips musical ideas. Groove Grove Graphics ’ origins lay in Agitpop, an earlier exhibition at londonprintstudio, eaturing activist graphics rom May ’68 to today (2008). While planning that show we asked ourselves, what did West London contribute to ‘the Revolution’? We concluded that it excelled in designing the uniorms and creating the soundtrack. But this exhibition isn’t just a bout local Sex ‘n’ Docs ‘n’ Frock ‘n’ Role. It is also a response to other exhibitions, and to the questions: what is worthy o remembrance, and how are histories told? Museum exhibitions are structured by classication systems that segregate and attribute signicance to the items on display. Their metaphorical ideal is the perect ossil, clinically extracted rom its precise location in petried time and revealed to the public in all its decontexturalised glory.The British Music Experience: Britain’s Interactive Museum o Popular Music (currently on show at the O2 Dome) guides the visitor through discreet time zones, presenting a high-tech spectacle o popular ‘icons.’ But it ails to reveal either the historical roots or the collective social experi ences rom which this vibrant culture grew.Island Lie (last year’s exhibition celebrating 50 years o Island Records) came closer to acknowledging the Caribbean, Black British and American contribution to UK popular music (hardly surprising, given Island’s origins as an importer o ska and reggae), but again, as visitors moved switly through the maze o digitally re-mastered records and larger-than-lie portraits o the ‘stars’, the exhibition - more corporate advertising than londonprintstudio, 2010 cultural product - seemed to emphasise the enormous gap between www.londonprintstudio.org.uk the music industry and its audience. Groove Grove Graphics is ounded on the premise that common experiences run through the lives o successive generations o West Londoners. Disturbed boundaries arising rom overcrowding or inquisitiveness, coupled with a host o infuences that have poured into Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. Introduction to the area, have led people to challenge established norms and create Groove Grove new or hybrid cultural orms. This exhibition employs themes (Absolute top 30 playlist Graphics Beginners, Do It Yoursel, War Ina Babylon, Sympathy or the Devil and so Jane Goodsir on) to explore those infuences that have shaped musical culture. MIA Galang John Phillips Tubeway Army Are Friends Electric? The exhibition has drawn on the generosity o many local people who The Pink Fairies Portobello Shufe have loaned record sleeves rom their personal collections. Inevitably The Ruts Babylon is Burning many o these items are scarred by time. Creating displays rom them is in keeping with our aim to present a living story, not a denitive history. David Bowie Ziggy Stardust It is a speculative collage o lived experience that aims, despite many Cat Stevens Portobello Road omissions, to celebrate creativity in the neighbourhood and to s timulate The Raincoats Adventures Close to Home urther discussion and debate. The Pink Fairies Portobello Shufe The Who My Generation Motorhead Motorhead Pulp I Spy Lord Kitchener London is the Place or Me The Clash White Man in Hammersmith Palais Junior Dan Mystic Grove Aswad Warrior Charge Estelle 1980 Vivien Goldman Launderette Sex Pistols Holidays in the Sun Lily Allen LDN Gorillaz Feel Good Inc. Hawkwind Silver Machine Nick Lowe Basing Street The Slits Typical Girls Quintessence Notting Hill Gate Delroy Washington The Streets o Ladbroke Grove Adamski feat. Seal Killer T. Rex 20th Century Boy Sex Pistols Anarchy in the UK Blur Blue Jeans Image © Omtentacle (Design partnership o Mike Mcinnerney and Dudley Edwards),1967 2 www.mikemcinner ney.com, www.amazedltd.com Killing Joke Eighties Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. The Originators: With their rash beginnings as a pig arm, then a racetrack, and Punk, Dub & with the commercial bustle o the market as a main artery, the the Female winding streets around Portobello Road have always been a ocus o community activity and revelry. Doubtless the late great mystic, Jean Principle Michel, bard o our parish, knew the status o ley lines around the Vivien Goldman groovy Grove, but there must be some sort o harmonic convergence going on in Notting Hill and Dale or so much music to dey gravity by spilling up and down the slope between two Tube stations: Ladbroke Grove in the valley and Notting Hill up top. Beore it became a strip o upscale boutiques, All Saint’s Road where the Carnival kicks o was known as The Front Line; mainly because o the role the old Mangrove Cae played as a centre or black activism. In the 1970s in particular the streets around the Front Line were truly a revolutionary vanguard charting the rise to some cultural dominance o black Brits and emales o all hues. The role o hippies in shaping the Grove ambiance is documented elsewhere, but though there was a much vaunted rivalry between hippies and the punks who ollowed, the anti-belie systems o the two successive youthquakes were quite similar; cut rom the same torn katan, you might say. ‘Never trust a hippy’ is the punk equivalent o the hippies’ ‘Don’t trust anyone over 30’ - both adages that lose their favour ater a decade or so. Those crazy Pink Fairies, Motorhead and Hawkwind certainly paved the way or the punky Grove denizens who ollowed. They may have been inspirational on the LSD-anarcho ront, but when it came to our old riends race and gender, the Hawkwind-Fairies axis wasn’t exactly progressive. Unreconstruct ed lads all, they did allow some space or the emale principle, as represented by naked, body-painted dancer Stacia’s ree expression. But the message to girls was as loud as Hawkwind’s ear-busting classic, Silver Machine - you weren’t invited to their party unless you were naked and covered in body paint. (O course, The Slits, one o the Grove’s most noted emme bands, sent shockwaves by portraying themselves naked and daubed in mud on their Cut album sleeve – but mud was just one o their Neneh Cherry, Vivian Golman and riends 4 outrageous outts.) Photograph © David Corio, www.davidcorio.com Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. The Originators: Arguably the denitive tipping point rom one cycle into another The Originators: So the shebeens became extinct, to be re-born as warehouse parties, Punk, Dub & came when Clash co-ounder Joe Strummer saw the Sex Pistols Punk, Dub & then raves - and that thunderous reggae bass began to boom rom the Female perorm in 1976 and decided that his lively rockabilly combo, The 101- the Female synthesisers, not wood. White chicks with dreadlocks sprouted up Principle ers (regulars at the Elgin pub on the Grove) was passé. This epiphany Principle all over Europe and haute couture ashion designers in Italy started Vivien Goldman Vivien Goldman showed Strummer that the uncaged rage o punk was the best route saety-pinning satin gowns. to expressing the gritty but cheery realities o lie in the communal squats he requented around West London. The Clash were emale- Around the world, they were using such signiers to express a rebel riendly ; they even had a woman manager at one stage. So The sense, a quest to be or iginal. ‘True dem no know,’ as Jamaican patois Clash decided to take their sister band, The Slits (managed by puts it; the real origins, that originated a revolution, started right another Grove creative stalwart, lm-maker Don Letts) on the road here in West London. And like they say in reggae - the original is still with them or their era-dening bus tour o Britain. The Slits dressed in the greatest. subversive gear, their clothes combinations demolishing pre-existing ideas o ‘nice’, like pairing shnet tights with Doc Martens. They all do it now, natch. Today’s reigning West London musical princess, Lily Allen, pairs her ass-kickin’ boots with Chanel ballgowns. Knickers over tights? ‘Fess up, Madonna and Lady Gaga - who rocked the look rst? Yay, West London girls! But back then, everything was new and kinda underground, and what with (white) teenage singer Arri-Upp’s dreadlocks, The Slits’ own bus driver didn’t want to transport them. Travis was unusually intellectual and politically conscious or the record business.
Load more

Recommended publications
  • Download (2399Kb)
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth
    [Show full text]
  • Annie Ross Uk £3.25
    ISSUE 162 SUMMER 2020 ANNIE ROSS UK £3.25 Photo by Merlin Daleman CONTENTS Photo by Merlin Daleman ANNIE ROSS (1930-2020) The great British-born jazz singer remembered by VAL WISEMAN and DIGBY FAIRWEATHER (pages 12-13) THE 36TH BIRMINGHAM, SANDWELL 4 NEWS & WESTSIDE JAZZ FESTIVAL Birmingham Festival/TJCUK OCTOBER 16TH TO 25TH 2020 7 WHAT I DID IN LOCKDOWN [POSTPONED FROM ORIGINAL JULY DATES] Musicians, promoters, writers 14 ED AND ELVIN JAZZ · BLUES · BEBOP · SWING Bicknell remembers Jones AND MORE 16 SETTING THE STANDARD CALLUM AU on his recent album LIVE AND ROCKING 18 60-PLUS YEARS OF JAZZ MORE THAN 90% FREE ADMISSION BRIAN DEE looks back 20 THE V-DISC STORY Told by SCOTT YANOW 22 THE LAST WHOOPEE! Celebrating the last of the comedy jazz bands 24 IT’S TRAD, GRANDAD! ANDREW LIDDLE on the Bible of Trad FIND US ON FACEBOOK 26 I GET A KICK... The Jazz Rag now has its own Facebook page. with PAOLO FORNARA of the Jim Dandies For news of upcoming festivals, gigs and releases, features from the archives, competitions and who 26 REVIEWS knows what else, be sure to ‘like’ us. To find the Live/digital/ CDs page, simply enter ‘The Jazz Rag’ in the search bar at the top when logged into Facebook. For more information and to join our mailing list, visit: THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 BRITISH JAZZ AWARDS CANCELLED WWW.BIRMINGHAMJAZZFESTIVAL.COM Fax: 0121 454 9996 Email: [email protected] This is the time of year when Jazz Rag readers expect to have the opportunity to vote for the Jazz Oscars, the British Jazz Awards.
    [Show full text]
  • Excesss Karaoke Master by Artist
    XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not
    [Show full text]
  • Songs by Artist
    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
    [Show full text]
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • 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.
    [Show full text]
  • I Been Down in the Circle Before Black Music, Topicality and Social History
    I Been Down In The Circle Before Black music, topicality and social history John Cowley 6 March 2007 Mississippi River levee system (Mississippi State) Laconia Circle (shown in red) is a circular levee that encloses Snow Lake (at the end of Arkansas Highway 85) and Laconia. It is positioned on a bend of the Mississippi River between the river and White River Bottom, just above the confluence of the White and Mississippi Rivers Levee Maintenance (1) Hand propulsion of wheelbarrows (wheelers) / “wheeling”— wheel barrowing Levee Maintenance (2) Teamsters called “muleskinners” transported ballast to the levees, and handled mule driven carts and scoop scrapers The Lowrence Brothers operated along both sides of the Mississippi River, upstream and downstream from Memphis, Tennessee. One brother is associated with Henry Truvillion’s Shack Bully Holler Isum, Sampson Pittman, recalled seven brothers but mentions only six: Charley, Lawrence, Eddie, Clarence, Blair and Ike; presumably the seventh was Isum? Memphis Slim (Leroy) mentioned three brothers by name Isum, Bill and Charley Bill making the total we know about, eight. The Lowrence family A little extra information concerning three of the family can be gleaned from entries in the Memphis City Directory. Edward M. Lowrence resided in Memphis between 1928-1931, his occupation listed as either “levee contractor” or, simply, “contractor.” Lucy D. Lowrence, as his widow, has an entry in 1933. Blair Lowrence lived in Memphis between 1929 and 1935. Designated “levee contractor’ except in 1930 he is shown as a “planter’; in 1931 no occupation is stated. William Tate Lowrence, listed as a “levee contractor” in 1925, does not appear again until 1928 when he is also shown as a “ levee contractor.” He is designated as a “contractor” in l929 and 1930, the latter year, his final entry.
    [Show full text]
  • 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.
    [Show full text]
  • Imagination Featuring LEEE JOHN Presents “Police and Thieves” The
    Imagination featuring LEEE JOHN presents “Police and Thieves” the film 2018 From “The Do it Right Now campaign” Presenting the Police and Thieves music video, duration (3 mins) and short film (11 mins) the brain child of LEEE JOHN lead vocalist and writer of the group Imagination, inspired by his observations of the challenges facing young people today. His aim, to assist in helping and supporting young people globally to make the right life choices and ultimately achieve their full potential and in turn becoming positive contribu- tors to their communities and society as a whole. The “Do it Right Now “, initiative is a campaign to enhance people to embrace the moment and make the most of life. From the acclaimed album “RET- ROPIA “the music tracks “ Do it Right Now “ and “Police and Thieves “ act as central focus points of a bigger global campaign, which echoes with the message of support and exposure can and WILL change lives. “Real life people selected from the London community have been used to assist us to share this very important message of the ‘Police and Thieves film and video. Their testimonies include their dilemmas, challenges, leading to their own personal triumphs” In the film LEEE JOHN features a mixed group of youngsters, living in and throughout the London community - each with their own individual way of expressing and presenting themselves. Leroy Logan (MBE, PHD Retired Superintendent) appears in the film and video along with other key contributors, each mentoring between the communitiesand policing the youth culture... In this video imagery Leee John also shows examples of positive real life success stories, peoples individual strug- gle’s and triumphs over adversity in helping to provide the audience a clear and first hand insight into the opinions and mind-set of modern ordinary young people in todays society.
    [Show full text]
  • Conserve Water
    YEAR ZERO: 1977-2017 THE CLASH @ TCD 21 OCTOBER 2017 EXAMINATIONS HALL, TCD DON LETTS Don Letts is a filmmaker, DJ and musician whose association with The Clash goes back over 40 years. As DJ at the Roxy, he is credited with introducing reggae to punk rock fans. A founding member of Big Audio Dynamite with Clash guitarist Mick Jones, he has released numerous compilation albums and directed a variety of films and documentaries. In 2003 he won a Grammy for his Clash documentary Westway to the World. He released his autobiography Culture Clash: Dread Meets Punk Rockers in 2007. JJuliUen TLemIpEle Nis a feTatuEre Mfilm,P doLcuEmentary and music video director. He started his career with the short documentary Sex Pistols Number 1 and went on to make feature length documentaries on the Sex Pistols, Dr. Feelgood, Dave Davies and Joe Strummer, as well as the movies Absolute Beginners, Earth Girls Are Easy, Bullet with Mickey Rourke and Tupac Shakur, and Pandaemonium. His film The Clash: New Year’s Day ’77 captured the moment when punk emerged into the mainstream consciousness. JOHNNY GREEN Starting out as a roadie for the Sex Pistols, Green became The Clash’s Tour Manager – his first ever show in this capacity was the Trinity College Dublin gig in 1977. He went on to tour the USA with The Clash three times, appears extensively in the Rude Boy film and is the author of A Riot of Our Own: Night and Day with The Clash recounting his experiences.. ROBIN BANKS Robin James Banks was a friend and confidante to The Clash throughout their career.
    [Show full text]
  • 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.
    [Show full text]
  • Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
    Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
    [Show full text]