DOCSLIB.ORG

C a O a a O U a A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
C a O a a O U a A CIRCACONTEMPORARY VISUAL CULTURE IN IRELAND NO. 130 • WINTER 2009 • E7.50 / £6.50 CIRCA 130 C A O A A O U A A R 2 CONTENTS Editorial Peter FitzGerald 15 Update 17 Feature articles Resonant ecologies…towards listening Jessica Foley 18 The suppression and realisation of the Northern Irish imagination Justin McKeown 22 When art is a dialogue: David Brancaleone in conversation with Mike Fitzpatrick about Noughties but nice at LCGA David Brancaleone 26 Letter from Helsinki John Gayer 30 King of pain/ pope of pop/ memo from Turner Tim Maul 32 The collision of things: Andrew Duggan in interview Karlyn De Jongh 35 Project The Fire of the snow Victoria McCollum 39 Reviews Belfast ISEA David Hughes 44 The Visual force Declan Long 46 Carlow VISUAL Gemma Tipton 48 Cork The Avant David Brancaleone 51 Derry Benji de Búrca Ursula Burke 53 Dublin Andre Dodds Craig Margin 55 Brian Henderson Michael Casey 57 Breaking ground Hilary Murray 59 Nicky Larkin Jessica Foley 61 Galway Galway Arts Festival Lúc Verling 63 Kinsale Kinsale Arts Week Gemma Tipton 66 Linz Ars Electronica Paul O’Brien 69 New Forest Eamon O’Kane David Trigg 71 Paris Malachi Farrell Peter FitzGerald 73 Portadown Guerrilla Girls Brian Kennedy 75 RTÉ David Farrell Stephanie McBride 77 see page 39 Editor: Peter FitzGerald For our subscription rates please visit www.recirca.com where you can subscribe online. Administration/ Advertising: Barbara Circa is concerned with visual culture. We welcome comment, proposals and written contri- Knezevic butions. Please contact the editor for more details, or consult our website www.recirca.com Opinions expressed in this magazine are those of the authors, not necessarily those of the Board: Graham Gosling (Chair), Mark Garry, Board. Circa is an equal-opportunities employer. Georgina Jackson, Isabel Nolan, John Nolan, Brian Redmond, Gemma Tipton, Tim Circa Stott, Audrey Brennan, Mary Cremin The Priory, John Lane West, Dublin 8 Ireland Contributing editors: Brian Kennedy, Luke +353 1 442 9616 Gibbons [email protected] Assistants: Niamh Dunphy, Franziska Panitz www.recirca.com Design/ layout: Circa © Circa 2009 Front cover: Amanda Coogan: Cut piece, live performance, 24 September 2009, Digital Gallery at Visual; photo Colm Hogan; cour- tesy Visual; see VISUAL review page 48 Black-and-white is the new black. To advertise with Circa, contact us on +353 1 442 9616 or [email protected] EDITORIAL Do we look good in this? Circa has There are always going to be pluses go to our website and subscribe – been going through some tough as well in difficult situations. Circa will and please recommend the same to times of late. Our advertising, a key not be alone in having to retrench and your friends and colleagues. component of our overall income, has re-analyse what its core values are. A dropped by around 80% over the last lot of frills will be disappearing from • 18 months. Just to test our wits, it has the art scene, and some of those done so in two stages – one big drop, were probably distractions; however, What about this issue? I believe it too relative stability, then once more over there have also been damaging cuts, is very rich; for once, I am going to let the edge. And in the back of our and more are on the horizon. it speak entirely for itself. minds has been the high probability of a significant cut in funding from the Perhaps the most positive, and hope- Arts Council/ An Chomhairle Ealaíon. fully most enduring thing to come out of the present turmoil is a re-assess- Circa has been in continuous publica- ment of the value of the arts. In the tion for 28 years now; it is the maga- Celtic Tiger years, the arts were often zine for the analysis and promotion of treated as an add-on – a bit like an contemporary art in Ireland, and we app you’d stick on your iPhone (if you have no plans to go away. But we do happened to have one). But when the have to adapt to our changing recent blasts of cold air blew away circumstances, and the choice to the frippery and left us near-naked, print cheaply in black and white was we had to ask ourselves what we our only option. It’s a throwback to were, in essence, worth. And the the very first issue of Circa, whose surprising answer – surprising design we have in part copied here.1 because it has come from unlikely Maybe in the process, without sources, including many in the busi- seeking it, we’ll acquire some radical ness world, from economists and chic. from some in government – is that our culture expresses our (admittedly To compensate for the print changes, undefined, undefinable, contradic- we have online improvements. In tory, contentious, multifaceted) particular, if you subscribe to the print essence, that our essence is our or PDF version of this magazine you culture, and that the rest of the world also get an ‘image supplement’ – lots seems to like us that way. With this more visuals to accompany what you take on culture gradually gaining see in the magazine, and in glorious ground, more and more people seem colour. to be getting behind the notion that cutting funding to culture would be It’s time to thank our supporters, but the greatest folly at the moment, it’s hard to know where to begin – because cultural production is our with the readers who ultimately make greatest asset.2 the undertaking worthwhile, with the two Arts Councils who fund us and Governments govern in unpre- who have been of great support, with dictable ways, and it would be under- our individual subscribers whose standable if the Republic’s present support we couldn’t do without, with government felt utterly mithered. We our institutional subscribers who all need government funding, but we make the magazine available to a can’t rely on it. As we head into the 1 In this regard, I am very sorry to lose large audience, or with the advertis- next phase in 2010, we are most the design skills of Peter Maybury. I ers past and present who have likely going to thrown back more on never knew how he would make the believed in what we’re up to? There our own resources; those are very magazine look until the PDF proofs are some advertisers in this issue, rich. came in; permanent freshness. and we are very grateful to them; 2 The Indecon report to the Arts Council/ there are many others, though, who • An Chomhairle Ealaíon, just published, would have liked to be advertising provides an invaluable overview of the here but who just can’t at the moment Can you help Circa at this time? financial importance of the arts to the economy of the Republic of Ireland. – these are very tough times for the Yes, simply: you’re probably a See the Arts Council website – visual-arts infrastructure in general. subscriber already, but if not, please www.artscouncil.ie UPDATE Visual opens Street in Dublin in 2006, and one sits at • Cristina Bunello – whose work the main visitor entrance to the Irish featured on the cover of the last issue A stunning new art space has opened in Museum of Modern Art. of Circa – has won this year’s Peter Carlow – Visual. The huge main exhibi- O’Kane Solo Exhibition at Cavanacor tion area is surrounded by further Gallery Award. galleries, such that the venue can cater Arts petition for larger- or smaller-scale works. Visual is run by Carissa Farrell, formerly More than 10,000 people have signed Ulster Museum reopens of Draíocht in Blanchardstown. In this the petition of the National Campaign issue we carry an assessment by for the Arts. The campaign has these The Ulster Museum in Belfast reopened Gemma Tipton of both the new building objectives: in October after a protracted closure for itself and its first shows; see page 50. • Maintenance of current levels of refurbishment. It now boasts a suite of funding to the Arts Council; nine adjoining art galleries, some of • Retention of Culture Ireland, the which are hosting a major retrospective Four closes agency for the promotion of Irish arts of the work of Sean Scully (which runs worldwide; until February 2010). The museum Four Gallery in Dublin has closed. Over • Retention of the Irish Film Board, houses a great deal of material, includ- the past years of its existence Four has development agency of the Irish film ing fascinating collections of artefacts had 35 shows involving a total of 91 industry; dating back thousands of years. artists. Lee Welch, its former director, • Retention of the artists’ income tax plans to “facilitate events with a shift exemption scheme; towards projects, extending from my • Commitment to retain the arts portfolio Errata own practice.” at cabinet as part of a senior ministe- rial portfolio. Apologies to reviewer Rosa Lleó in the The fate of the arts in the Republic of last issue of Circa; there was a series of Edward Delaney passes Ireland depend very much on the very odd typos and repetitions in her government’s budget, due 9 December. text, which we should have spotted. Edward Delaney, one of Ireland’s best- known sculptors, passed away in September. Winners Delaney was born in Mayo in 1930. He • Niall de Buitléar has won the fourth studied at the National College of Art annual Wexford Arts Centre and Design, but also in Munich, Bonn Emerging Visual Artist Award. The and Rome. His works are among the award carries with it a 5,000 most prominently situated in Dublin – payment and a solo exhibition at including the Thomas Davis memorial Wexford Arts Centre.
Load more

Recommended publications
  • Het Verhaal Van De 340 Songs Inhoud
    Philippe Margotin en Jean-Michel Guesdon Rollingthe Stones compleet HET VERHAAL VAN DE 340 SONGS INHOUD 6 _ Voorwoord 8 _ De geboorte van een band 13 _ Ian Stewart, de zesde Stone 14 _ Come On / I Want To Be Loved 18 _ Andrew Loog Oldham, uitvinder van The Rolling Stones 20 _ I Wanna Be Your Man / Stoned EP DATUM UITGEBRACHT ALBUM Verenigd Koninkrijk : Down The Road Apiece ALBUM DATUM UITGEBRACHT 10 januari 1964 EP Everybody Needs Somebody To Love Under The Boardwalk DATUM UITGEBRACHT Verenigd Koninkrijk : (er zijn ook andere data, zoals DATUM UITGEBRACHT Verenigd Koninkrijk : 17 april 1964 16, 17 of 18 januari genoemd Verenigd Koninkrijk : Down Home Girl I Can’t Be Satisfi ed 15 januari 1965 Label Decca als datum van uitbrengen) 14 augustus 1964 You Can’t Catch Me Pain In My Heart Label Decca REF : LK 4605 Label Decca Label Decca Time Is On My Side Off The Hook REF : LK 4661 12 weken op nummer 1 REF : DFE 8560 REF : DFE 8590 10 weken op nummer 1 What A Shame Susie Q Grown Up Wrong TH TH TH ROING (Get Your Kicks On) Route 66 FIVE I Just Want To Make Love To You Honest I Do ROING ROING I Need You Baby (Mona) Now I’ve Got A Witness (Like Uncle Phil And Uncle Gene) Little By Little H ROLLIN TONS NOW VRNIGD TATEN EBRUARI 965) I’m A King Bee Everybody Needs Somebody To Love / Down Home Girl / You Can’t Catch Me / Heart Of Stone / What A Shame / I Need You Baby (Mona) / Down The Road Carol Apiece / Off The Hook / Pain In My Heart / Oh Baby (We Got A Good Thing SONS Tell Me (You’re Coming Back) If You Need Me Goin’) / Little Red Rooster / Surprise, Surprise.
    [Show full text]
  • King of Pain Guitar Tab
    KING OF PAIN As recorded by The Police (From the 1983 Album SYNCHRONICITY) Transcribed by Giacomo Words and Music by Sting [GTR-GUY] A Intro Moderately = 118 B5 A5 P B5 A5 B5 A5 B5 A5 c c c c 1 gg 4 V V W V V W V V W V V W I 4 V V W V V W V V W V V W w/fingers u u u u Gtr I Piano arr. for Gtr. T 7 5 7 5 7 5 7 5 4 2 4 2 4 2 4 2 A 4 2 4 2 4 2 4 2 B g W W W W } I g 4 j j k u Gtr V Elec. Gtr. w/Dist. & Delay 1/2 1/2 p T 14 (14) (14) Gx A x B B5 A5 B5 A5 B5 A5 B5 A5 c c c c 5 gg V V W V V W V V W V V W I V V W V V W V V W V V W u u u u T 7 5 7 5 7 5 7 5 4 2 4 2 4 2 4 2 A 4 2 4 2 4 2 4 2 B V U g V U I g j T 15 (15) A 14 (14) B Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org KING OF PAIN - The Police Page 2 of 16 B Verse B5 A5 B5 A5 B5 A5 B5 A5 c c c c 9 g V V W V V W V V W V V W I g V V W V V W V V W V V W V V W V V W V V W V V W u u u u 2 2 2 2 T 5 5 5 5 4 2 4 2 4 2 4 2 A 4 2 4 2 4 2 4 2 B 2 0 2 0 2 0 2 0 Gmaj7 Asus2 Gmaj7 Asus2 B5/C b Cbm7 B5/D E5/D c c c c 13 gg V V W V V W V V W V V W I V VV WW V VV WW V V W V V W V V W V V W V V W V V W u u u u 2 0 2 0 2 0 T 0 0 0 0 7 5 0 0 0 2 0 2 4 4 A 0 2 0 2 0 0 B 0 0 4 4 3 3 C Chorus D5 A D Gadd9 D5 A D G/B c c c c 17 gg V V W V V V W V I V V W V V W V V W V V W V V W V VV WW V V W V V W u u u u T 3 3 7 6 2 4 7 6 2 4 A 7 7 4 5 7 7 4 5 B 5 7 5 0 5 4 5 2 5 5 3 5 5 D5 A D Gadd9 D5 A D G/B c c c c j V V 21 gg V V W V V V W V 6 I V V W V V W V V W V V W 4 U V V W V VVWW V V W V V W U u u u u Synth Strings arr.
    [Show full text]
  • Dept. of Good and Evil Featuring Rachel Z
    DEPT. OF GOOD AND EVIL FEATURING RACHEL Z Savoy Jazz 17630 March 13 Release As fearless in her eclectic, ever evolving approach to jazz piano as she is bold in creating sweeping thematic concepts, Rachel Z has proven masterful over the course of eight solo releases in bridging both generations and genres. Stylishly blending her bebop and progressive jazz sensibilities with an equal affinity for the most exciting pop and rock artists of the past few decades, she’s fashioned groundbreaking tributes to the female artists who have inspired her ( A Room Of One’s Own ), saxophone legend and frequent collaborator Wayne Shorter ( On The Milkyway Express ), Joni Mitchell ( Moon At The Window ) and—on her most recent three recordings, which include occasional originals and vocals—fascinating re- workings of songs made famous by The Rolling Stones, in New York. Rachel decided to formalize her band with a new Soundgarden, Smashing Pumpkins, U2 and Nine Inch Nails, name when she realized the level of collaboration that was among others. happening when the ensemble was together. Declaring to the world, beyond a shadow of a doubt, that “jazz “The album is really about taking great pop and Goth tunes to is not dead, it is alive and right here!,” Rachel’s latest another unexpected level,” says Rachel. “I loved the Good and fascinating creative stop Dept. Of Good And Evil finds her in Evil concept, which reflects everything going on these days not a slightly Goth state of mind, which complements the mix of only in government but also in the music world, where popular and more obscure pop/rock covers and lyrical and overhyped projects are often terrible and others which get no soulful originals penned by her (“Moon And Sun,” “Walking On hype are great.
    [Show full text]
  • More Than a Touch of Madness Below Performance (1970)
    Articles More Than a Touch of Madness Below Performance (1970) On its release in the United States in 1970, Life magazine critic Richard Schickel described Don- More Than ald Cammell and Nicolas Roeg’s debut filmPerfor - mance as ‘the most completely worthless film I have seen since I began reviewing’ (Schickel 1970). Pretty a Touch of harsh words from Schickel who, along with Andrew Sarris and Pauline Kael, had embraced much of the new American and European cinema and had railed Madness against the New York Times critic Bosley Crowther for denouncing as trash Arthur Penn’s breakthrough The flawed brilliance of Nicolas Roeg film, Bonnie and Clyde (1967). One can only guess that watching a couple of bodies being riddled with and Donald Cammell’s debut film bullet holes must have been easier to digest than Performance watching three hippies taking a bath in a tub of dirty water. But whatever his cinematic politics, Schickel was not alone. John Simon, then writing in the New By Dean Goldberg York Times, wrote: You do not have to be a drug addict, ped- Keywords Nicolas Roeg, Donald Cammell, erast, sado-masochist, or nitwit to enjoy Performance, 1960s, Mick Jagger, Anita Performance, but being one or more of these Pallenberg things would help […] [It’s] a prime example of the Loathsome Film, a genre that sub- sists purely on shock value, cheap thrills, decadent artiness, glorification of amoral- ity, and sheer mystification […] And there is the supreme horror of the film, Mick Jagger, whose lack of talent is equaled only by a repulsiveness of epic proportions […] It is all mindless intellectual pretension and patho- logically reveled-in gratuitous nastiness, and it means nothing.
    [Show full text]
  • Contents Memo from Turner
    Contents Memo from Turner ........................... Performance soundtrack .........................57 Midnight Rambler ........................... Let It Bleed .........................................60 TITLE RELEASE PAGE Monkey Man .................................. Let It Bleed .........................................64 19th Nervous Breakdown .................. Single (1966) ....................................... 6 Mother’s Little Helper ....................... Flowers ..............................................66 2000 Light Years from Home .............. Their Satanic Majesties Request ................. 4 No Expectations ............................. Beggars Banquet ..................................68 As Tears Go By .............................. December’s Children (and Everybody’s) ...... 9 Out of Time ................................... Flowers ..............................................70 Bitch ........................................... Sticky Fingers ......................................10 Paint It, Black ................................. Aftermath ............................................72 Brown Sugar ................................. Sticky Fingers ......................................12 Parachute Woman ........................... Beggars Banquet ..................................63 Can’t You Hear Me Knocking .............. Sticky Fingers ......................................16 Play with Fire ................................. Out of Our Heads ................................. 74 Country Honk ...............................
    [Show full text]
  • Washington, Friday, July 13, 1945
    * 7 s \jv VOLUME 10 NUMBER 139 Washington, Friday, July 13, 1945 Regulations . CONTENTS The Codification Guide, consist­ REGULATIONS AND NOTICES ing of a numerical list of the parts TITLE 10—ARMY: WAR DEPARTMENT Agriculture D epartment. S e e of the Code of Federal Regulations also Marketing Services Of­ Chapter V—Military Reservations and amended or added by documents fice; War Food Administra­ appearing in this issue, follows the National Cemeteries tion. PaSe table of contents. Fat, edible, or oil product (WFO Part 502—R egulations Affecting Mili­ 42, Am. 17)______________ 8685 tary R eservations Sugar, primary distributor imported in packages the contents and civilian personnel (WFO 131, Am. 1)________ - 8685 values of which are uniform, or (2) im­ Alien P roperty Custodian: > Section 502.18 (b) is rescinded and the ported in packages the contents of which Costs and expenses incurred in following substituted in lieu thereof: are identical as to character although certain court actions or pro­ § 502.18 General duties. * * * differing as to quantity and value per ceedings; Illinois (2 docu- (b) Mess personnel and janitors. (1) package, will amply protect the revenue: ments)______________ 8704, 8707 The employment of civilians as cooks, Brooms. Customs Bureau: bakers, butchers, and mess attendants in Chrom-X. Appraisement; authorization of ¡enlisted messes operated on the field or Life preservers. examination of certain garrison ration is authorized except in Riser-X. packages________________ 8683 Sil-X. F ederal Communications Commis­ messes of units organized under tables of Tobacco, unstemmed leaf. organization and equipment in which sion: this personnel is provided.
    [Show full text]
  • God Loves Uganda | the Hooping Life | Tim’S Vermeer | the Address | Life According to Sam | the Story of the Jews Scene & He D
    July-August 2014 VOL. 29 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES N O . 4 IN THIS ISSUE God Loves Uganda | The Hooping Life | Tim’s Vermeer | The Address | Life According to Sam | The Story of the Jews scene & he d LET BAKER & TAYLOR’S SCENE & HEARD TEAM HELP MAKE BUILDING AND MAINTAINING YOUR A/V COLLECTION EASIER WITH OUR PROFESSIONAL DIGITAL MEDIA PROCESSING (DMP) SERVICES! DMP off s a v iety of key benefi ts and feat es including: ■ Digitally reproduced original cover artwork ■ Personalized library contact information ■ Detailed content checklists and messaging ■ Circulation-tough polyvinyl CD and DVD cases ■ Single, double, multiple and locking security cases available ■ Large assortment of customized, embedded labels — genre, spine and more! To learn about DMP and other A/V products and services, contact your Sales Consultant today to discuss a custom-tailored solution for all your needs! 800-775-2600 x2050 [email protected] www.baker-taylor.com STAY CONNECTED: Spotlight Review God Loves Uganda streets, LGBT activists identified in newspa- HHH1/2 pers, and finally to a killing. Williams seems (2013) 83 min. DVD: to be everywhere with his camera (although $24.95. First Run he also makes assiduous use of archival and Publisher/Editor: Randy Pitman Features (avail. from other material): on buses with young Ameri- most distributors). Closed can ministers in Uganda, in parliamentary Associate Editor: Jazza Williams-Wood captioned. session, and at town hall-like meetings where Copy Editor: Kathleen L. Florio Stunning in its rev- gay pornography is shown (even to children) elations about the ways Editorial Assistant: Chris Pitman with the intent of fomenting intolerance.
    [Show full text]
  • THE KING of PAIN by SILVA MUNGAI
    THE KING OF PAIN By SILVA MUNGAI [email protected] VANCOUVER, BC, CANADA ON DARK We hear music playing in the background. Soft. Contemporary. Contemplative music. Then -- KNOCK, KNOCK, KNOCK FADE IN: INT. MANSION - FRONT DOOR - EVENING The music is turned down. Footsteps shuffle towards the door. A figure emerges and stands by the door, his back to us, hesitant to open it KNOCK, KNOCK, KNOCK The figure sighs and slightly opens the door enough to see his visitor. His back blocks our view of the opening. JOSHUA (O.C.) Can I come in? The figure stands motionless, probably staring at his visitor. JOSHUA (CONT’D) We talked a few minutes ago on the phone? I’m Joshua. Can I come in? The figure nods and opens the door ever more slightly to allow the visitor to enter. He shuts the door quickly. JOSHUA is in his early forties. Hair slicked back, neatly trimmed beard, dressed to impress. He admires the architecture of the mansion as he looks around the ornately furnished house. JOSHUA (CONT’D) Very impressive, Benjamin. Or is it Ben? May I call you Ben? BEN looks much older than Joshua. He sports a scruffy beard with tousled hair to boot. A working class man who has reaped the rewards of his hard work. BEN Ben is fine. Ben reaches into his back pocket and fishes out a pack of smokes. (CONTINUED) CONTINUED: 2. JOSHUA Nice decor, Ben. Did you do it yourself? Ben lights his smoke and takes a drag. BEN My wife did. She’s into all this designer crap.
    [Show full text]
  • Steve's Karaoke Songbook
    Steve's Karaoke Songbook Artist Song Title Artist Song Title +44 WHEN YOUR HEART STOPS INVISIBLE MAN BEATING WAY YOU WANT ME TO, THE 10 YEARS WASTELAND A*TEENS BOUNCING OFF THE CEILING 10,000 MANIACS CANDY EVERYBODY WANTS A1 CAUGHT IN THE MIDDLE MORE THAN THIS AALIYAH ONE I GAVE MY HEART TO, THE THESE ARE THE DAYS TRY AGAIN TROUBLE ME ABBA DANCING QUEEN 10CC THINGS WE DO FOR LOVE, THE FERNANDO 112 PEACHES & CREAM GIMME GIMME GIMME 2 LIVE CREW DO WAH DIDDY DIDDY I DO I DO I DO I DO I DO ME SO HORNY I HAVE A DREAM WE WANT SOME PUSSY KNOWING ME, KNOWING YOU 2 PAC UNTIL THE END OF TIME LAY ALL YOUR LOVE ON ME 2 PAC & EMINEM ONE DAY AT A TIME MAMMA MIA 2 PAC & ERIC WILLIAMS DO FOR LOVE SOS 21 DEMANDS GIVE ME A MINUTE SUPER TROUPER 3 DOORS DOWN BEHIND THOSE EYES TAKE A CHANCE ON ME HERE WITHOUT YOU THANK YOU FOR THE MUSIC KRYPTONITE WATERLOO LIVE FOR TODAY ABBOTT, GREGORY SHAKE YOU DOWN LOSER ABC POISON ARROW ROAD I'M ON, THE ABDUL, PAULA BLOWING KISSES IN THE WIND WHEN I'M GONE COLD HEARTED 311 ALL MIXED UP FOREVER YOUR GIRL DON'T TREAD ON ME KNOCKED OUT DOWN NEXT TO YOU LOVE SONG OPPOSITES ATTRACT 38 SPECIAL CAUGHT UP IN YOU RUSH RUSH HOLD ON LOOSELY STATE OF ATTRACTION ROCKIN' INTO THE NIGHT STRAIGHT UP SECOND CHANCE WAY THAT YOU LOVE ME, THE TEACHER, TEACHER (IT'S JUST) WILD-EYED SOUTHERN BOYS AC/DC BACK IN BLACK 3T TEASE ME BIG BALLS 4 NON BLONDES WHAT'S UP DIRTY DEEDS DONE DIRT CHEAP 50 CENT AMUSEMENT PARK FOR THOSE ABOUT TO ROCK (WE SALUTE YOU) CANDY SHOP GIRLS GOT RHYTHM DISCO INFERNO HAVE A DRINK ON ME I GET MONEY HELLS BELLS IN DA
    [Show full text]
  • Mick Jagger © Felix Aeppli 04-2020 / 09-2021
    Memo From Turner Mick Jagger © Felix Aeppli 04-2020 / 09-2021 1001 July 26, 1943 Born in Dartford, Kent: Michael Philip Jagger. 1001A Late 1961 Bob Beckwith’s home, Bexleyheath, near Dartford, and/or Dick Taylor’s home, Dartford, Kent: LITTLE BOY BLUE AND THE BLUE BOYS, SOME OLD SONGS (Download EP, Promotone / iTunes, May 27, 2013: cuts 1-6, 8 [1, 4, 5 plus repeats of 2, 3 all incomplete]); THE ROLLING STONES FILES 1961-1964 (BT CD: cuts 1-6, 8 [1, 4, 5 plus repeats of 2, 3 all incomplete]); THE ROLLING STONES, REELIN’ & ROCKIN’ (BT CD: cuts 1-5 [all incomplete]); DOWN THE ROAD APIECE (STONES TOURING HISTORY VOL. 1) (BT CD: cuts 1, 9 [1 longer, but still incomplete]); HOW BRITAIN GOT THE BLUES (BT CD: cuts 2, 3, 6, 8), BILL WYMAN’S BLACK BOX (BT CD [VGP]: cuts 2, 3, 6, 8); GENUINE BLACK BOX (BT CD box set [Disc 1]: cuts 5, 11-13); REEL TIME TRIP (BT CD: cut 7): 1. Around And Around, 2. Little Queenie, 3. Beautiful Delilah (all Berry), 4. La Bamba (Trad. arr. Valens), 5. Go On To School (Reed) [not Wee Baby Blues (Turner, John- son)], 6. I Ain’t Got You (Carter), 7. I’m Left, You’re Right, She’s Gone (Kesler, Taylor), 8. Down The Road Apiece (Raye), 9. Don’t Stay Out All Night (Arnold), 10. I Ain’t Got You (Carter), 11. Johnny B. Goode, 12. Little Queenie, 13. Beautiful Delilah (all Berry) MJ: vocals; Keith Richards: guitar, Bob Beckwith: guitar, and maybe harmonica (13); Dick Taylor: bass, guitar, drums (probably 13); Alan Etherington: maracas, drums, back-up vocals; – NOTES: Cuts 1-13: 30 minutes reel-to-reel tape of which the original was bought by Mick Jagger at Christie’s auction house, London, May 25, 1995, for £ 50,250; Cut 10: Existence unconfirmed; Cuts 11-13: Might come from a January, 1962, session at Dick Taylor’s home; – In spite of respective rumours, LITTLE BOY BLUE AND THE BLUE BOYS just rehearsed in their parents homes and never had a public appearance.
    [Show full text]
  • Tom Petty:The Best of the British Invasion
    Tom Petty: The Best Adam of the British Invasion Levine: n the mid-Sixties, the British had a more romantic view of rock & roll than The the States did,” says Tom Petty. “We didn’t take it as seriously. The energy that came with the British Invasion was the difference – these guys brought Police ‘I he Maroon 5 singer got the guitar to the fore. You weren’t getting guitar off the Shirelles.” into the Police through This mom’s record col- 1. “I Want to Hold Your Hand” b/w “I Saw with that sax honking down low. That was a lection. “I love how they threw Her Standing There” The Beatles, 1963 big step, to blow the echo out that heavy. I’d go together reggae and rock & roll The Beatles were superior to everything. crazy every time I heard it. and punk rock,” he says. “Their This came on the radio, and overnight every- records sound like no one else.” thing was different. If you weren’t there, 9. “I Can’t Explain” The Who, 1965 it’s hard to believe. But everything changed What was great about Pete Townshend’s early 1. “The Bed’s Too Big instantly. In “I Want to Hold Your Hand,” stuff was you identified with what he was say- Without You” 1979 John and Paul are singing the lead vocal in ing. And he’s using a Rickenbacker 12-string The lyrics are so raw and des- unison. It almost makes another voice – just a in a way no one else did.
    [Show full text]
  • Crime Wave for Clara CRIME WAVE
    Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International,
    [Show full text]