Entertainment Reviews DANNY LA
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AIDS - the First 20 Years
Downloaded from simongarfield.com © Simon Garfield 2005 AIDS - The First 20 Years On 5 June 1981, a medical journal reported a mysterious illness that had killed five young gay men in Los Angeles. A lot has happened since then. The Observer, June 2001 Part one: The Memory 1 Dan versus Danny Soon it will be time for Danny La Rue to sing. At the Pleasance theatre in north London at the beginning of May 2001, the 73-year-old entertainer stands onstage in a blue dress and high white hair and announces that he has been in show business for 51 years. He has some personal observations about Bill Clinton ('He propositioned me in the Oval Office!') and Zsa Zsa Gabor ('She was wearing so many feathers you could have stuck them up her arse and she'd have flown home'), and then he launches into a suggestive song he used to sing on the Good Old Days. As he sings, the occasional glittery bead and sequin drops from his dress. This, bizarrely, is rather good entertainment, and is relished by an enthusiastic audience of sweet-smelling moneyed gay men, tonight being a fundraising night for the Aids charity Crusaid. Tickets cost £30 per head, including a smoked-salmon titbit in the interval and a post-show video-signing session with Danny in the foyer. The night is divided into two parts. In the first, 'Danny La Rue' shimmies around doing his rude- marrow song and Marlene Dietrich routine, and in the second 'Dan' comes out in black shirt and gold medallion and slightly less make-up, and talks about his friendships with Barbara Windsor, Ronnie Corbett and his eventful and unique career as an actor, singer, club owner, window dresser and drag artist. -
Members of the Cast of Fifth of July
Members of the cast Fifth July. www.ExpressGayNews.com • December 2, 2002 Q1 CYMK Q_COVERstory The Mosaic Theatre is housed in a small theater at the American Heritage High School Curtain Up on Local Theaters in Plantation. Earlier this year, it presented Durang Durang, an evening of one-act plays Nonprofit Theaters Take the Spotlight by playwright Christopher Durang and By Mary Damiano joined forces with American Heritage for a Arts & Entertainment Editor spectacular production of Titanic. “That was Like Blanche DuBois, Tennessee a fabulous production because the students Williams’ faded southern belle, non profit were working side by side with the actors,” theaters have always depended upon the he says. “Everyone was learning and that’s kindness of strangers. what the project was about,”says Simon. South Florida’s theatrical landscape Simon has a history with American has changed dramatically in recent years. Heritage—he attended high school there. When Gone are the days when theater lovers had Simon was in Chicago, the president of American to wait for the Broadway shows to tour, or Heritage contacted him and told him of the be left with a regional production of a school’s plans to build a 5 million dollar performing timeworn show. arts facility. He asked Simon if he would be Now, new theaters intent on doing interested in coming home and doing something cutting edge work are popping up all the in conjunction with the theater. time. South Florida boasts more than 25 “My mentor, Jim Usher is still here, and he theaters, doing musicals, comedies and ran the fine arts program when I was here,” says alternative works that 10 years ago would Simon. -
V&A's Collections Development
Collections Development Policy Victoria and Albert Museum 2019 Approved by Trustees Collections Committee: 10 June 2019 Review date: 10 June 2024 Contents Page: 1.Introduction 3 1.1.Governance and Statement of Purpose 3 1.2 About This Policy 3 2.Collections: Asian Department 4 3. Collections: Design, Architecture and Digital 9 4. Collections: Furniture, Textiles and Fashion Department 15 5. Collections: Museum of Childhood 23 6. Collections: Sculpture, Metalwork, Ceramics & Glass 26 7. Collections: Theatre & Performance Department 31 8. Collections: Word and Image Department 36 Appendix: Further Reading on the V&A Collections 45 2 1. Introduction 1.1. Governance and Statement of Purpose 1.1.1 The National Heritage Act, 1983, established the Board of Trustees of the Victoria and Albert Museum to care for, preserve and add items to the collections, exhibit them to the public, make them available for study/research, promote enjoyment of art, craft and design, provide education, undertake research and to preserve/increase the utility of the collections. 1.1.2 The V&A’s mission is to be recognised as the world’s leading museum of art, design and performance. And to enrich peoples’ lives by promoting research, knowledge and enjoyment of the designed world to the widest possible audience. 1.2. About This Policy 1.2.1 This Policy supports the Museum’s strategic priority to sustain and develop our internationally significant collections. It is part of the Collections Management Policy Framework, which also includes: • Collections Care and Conservation Policy, 2019 • Collections Information and Access Policy, 2019 • Loans Policy and Conditions, 2018 1.2.2 This policy defines the coverage of the V&A Collections and themes and priorities for acquisition and review, with detail for the individual collecting departments. -
The Great British Music Hall: Its Importance to British Culture and ‘The Trivial’
The Great British Music Hall: Its Importance to British Culture and ‘The Trivial’ By Steven Gerrard Abstract By 1960, Britain’s once-thriving Music Hall industry was virtually dead. Theatres with their faded notions of Empire gave way to Cinema and the threat of Television. Where thousands once linked arms singing popular songs, watch acrobatics, see feats of strength, and listen to risqué jokes, now the echoes of those acts lay as whispers amongst the stalls’ threadbare seats. The Halls flourished in the 19th Century, but had their origins in the taverns of the 16th and 17th Centuries. Minstrels plied their trade egged on by drunken crowds. As time passed, the notoriety of the Music Hall acts and camaraderie produced grew. Entrepreneurial businessman tapped into this commerciality and had pur- pose-built status symbol theatres to provide a ‘home’ for acts and punters. With names like The Apollo giving gravitas approaching Olympian ideals, so the owners basked in wealth and glory. The Music Hall became the mass populist entertainment for the population. Every town had one, where everyone could be entertained by variety acts showing off the performers’ skills. The acts varied from singers, joke-tellers, comics, acro- bats, to dancers. They all aimed to entertain. They enabled audiences to share a symbiotic relationship with one another; became recruitment officers for the Army; inspired War Poets; showed short films; and they and the halls reflected both the ideals and foibles of their era. By using Raymond Williams’ structures of feeling as its cornerstone, the article will give a brief history of the halls, whilst providing analysis into how they grew into mass populist entertainment that represented British culture. -
Explicit Nov 2019
CIT Students’ Union Magazine Volume Twenty One, Issue 3 FREE COPY PLEASE CIT SU TAKE ME! Positive Mind &5-7 Nov Body 2019 IN THIS ISSUE: • Positive Mind & Body 2019 Timetable • The Latest Sports & Societies News • Great Competitions - Hard Cash On Offer! and much more... Your Union Your Voice GET €50 AND UN-CANCEL YOUR PLANS Get €50 when you open a KBC Student Current Account, so you won’t need to live like a student. KBC.ie Terms & Conditions and eligibility criteria apply. Other fees and charges, including non-euro fees and charges, will apply. For full Terms & Conditions, eligibility criteria and fees & charges see www.kbc.ie/students. KBC Bank Ireland plc is regulated by the Central Bank of Ireland. CONTENTS 4 CITSUOFFICERS’ 13 #FANCYFOLLOWINGCIT ADDRESS 14 LIVE CIT, LOVE SOCIETIES 5 A NEW STUDENT HEALTH Volunteer Abroad Info Evening APP IS OUT NOW! 15 ENACTUS WORLD CUP GET €50 6 PHOTO GALLERY Report from California Business & Science Ball 2019 16 LIVE CIT, LOVE SPORTS Roundup of recent events 9 POSITIVE MIND & BODY AND UN-CANCEL WEEK 18 COMPETITIONS Simply deliver your crossword, Timetable of events quiz and Suduko entries into the 10 CORK DRAG RACE 2019 Students’ Union Shop, 1st floor, 12 FLYNNERS FLYING Student Centre, for your chance COLUMN to WIN hard cash! YOUR PLANS Last issue winners: Suduko: Andrew Corkery, BIS YZ Quiz; Clodagh Keane, BBus Yr 3 Crossword: Clodagh Herlihy, ECEC Yr 3 Get €50 when you open a KBC Student National Startup Award so you won’t need to Winners 2019 Current Account, 3rd Level Spinout Category Gold Award - live like a student. -
L DTNT Records Relating to the Hull New Theatre 1939- 2008
Hull History Centre: Records relating to the Hull New Theatre L DTNT Records relating to the Hull New Theatre 1939- 2008 Historical Background: The New Theatre which stands on Kingston Square, Hull, opened on the 16th of October 1939 with the Hull Repertory Company production of 'Me and My Girl'. Peppino Santangelo came to the city in 1924 to join the Hull Repertory Company based at the Little Theatre in Kingston Square. After turning the struggling company around, Peppino, organised the reconstruction of the former Assembly Rooms which had first been built by R. H. Sharp over 100 years earlier in 1834 into the New Theatre. Not even the outbreak of the Second World War could halt Peppino’s dream and as the theatre’s first manager, he told crowds of 1939: ‘I have made plans for your future entertainment, always bearing in mind that we are at war and that laughter and not tears should be the dominant feature.’ Performances continued throughout the war when West End productions arrived to escape the bombing in London. The theatre bar was reinforced as a bomb shelter and the building received only one direct hit, in May 1941, which destroyed the front row of stalls and all the props and costumes of the visiting Sadler’s Wells Opera Company. In the late 1960s the Theatre's stage was deepened and the orchestra pit enlarged, whilst at the same time the auditorium was improved with new seating. The theatre closed in January 2016 to undergo a huge £15.9m revamp of the venue, which would see improvements to backstage areas including a new fly tower, used for scenery, lighting and stage effects, a larger stage, and more seating. -
Astor Australian Albums
AUSTRALIAN RECORD LABELS ASTOR RECORDS 1959 to 1982 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, JUNE 2019 ASTOR RECORDS, 1959-1982 ASTOR RECORDS TIMELINE FEB 1930 RADIO CORPORATION OF AUSTRALIA PTY LTD IS REGISTERED IN MELBOURNE APR 1939 ELECTRONIC INDUSTRIES LTD IS REGISTERED TO GAIN A CONTROLLING INTEREST IN RADIO CORPORATION, HOMECRAFTS, ECLIPSE RADIO AND A NUMBER OF OTHER COMPANIES. RADIO CORPORATION (FORMERLY ASTOR RADIO) BECOMES A SUBSIDIARY OF ELECTRONIC INDUSTRIES LTD. (SIR) ARTHUR WARNER IS THE MANAGING DIRECTOR OCT 1946 A NEW SUBSIDIARY, ELECTRONIC INDUSTRIES IMPORTS PTY LTD, IS FORMED TO HANDLE OVERSEAS AGENCIES AUG 1948 PYE AUSTRALASIA PTY LTD IS REGISTERED, WITH PYE LTD OF ENGLAND AND ELECTRONIC INDUSTRIES LTD AS THE JOINT STOCK HOLDERS DEC 1952 FIRST LOCAL PRESSING OF MERCURY AND NIXA DISCS MAR 1953 AGREEMENT BETWEEN AMERICA’S MERCURY RECORD CORPORATION AND ELECTRONIC INDUSTRIES LTD TO BEGIN LARGE- SCALE MANUFACTURE OF LP’S (1953 IN ENGLAND, PYE LTD ACQUIRES THE NIXA LABEL) OCT 1954 ELECTRONIC INDUSTRIES IMPORTS PTY LTD BEGIN PRESSING CLEF RECORDS (1955 IN ENGLAND, PYE LTD ACQUIRES POLYGON RECORDS AND MERGES IT WITH NIXA RECORDS TO BECOME PYE-NIXA) 1956 FIRST RELEASES FROM THE U.S. VANGUARD LABEL OCT 1956 FIRST RECORDS APPEAR ON THE HI-FI LABEL DEC 1959 FIRST RECORDS APPEAR ON THE ASTOR LABEL. THE FIRST SINGLE RELEASE IS ASTOR A 7001, SPEAK LOW / COME CLOSER TO ME, BY PILITA (1959 PYE-NIXA BECOMES PYE RECORDS. AN AUSTRALIAN SUBSIDIARY IS LAUNCHED) JUN 1961 MERCURY ANNOUNCE THE ECLIPSE RECORD CLUB, WHICH WILL -
Michael Southgate Interviewed by Linda Sandino
AN ORAL HISTORY OF BRITISH FASHION Michael Southgate Interviewed by Linda Sandino C1046/08 IMPORTANT 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 NATIONAL LIFE STORY COLLECTION INTERVIEW SUMMARY SHEET Title Page Ref. No.: C1046/08/01-10 Playback No.: F14866-73, F14960-1 Collection title: Oral History of British Fashion Interviewee’s surname: Southgate Title: Mr Interviewee’s forenames: Michael John Sex: Male Occupation: Designer, Managing Director Date of birth: 20.06.1930 Mother’s occupation: Father’s occupation: Family Grocer Date(s) of recording: 16.03.04, 17.03.04, 18.03.04, 30.03.04 Location of interview: Friends’ London flat (interviewee’s home is in New York) Name of interviewer: Linda Sandino Type of recorder: Marantz CP430 Total no. of tapes: 10 Type of tape: D60 Mono or stereo: Stereo Speed: N/A Noise reduction: Dolby B Original or copy: Original Additional material: Copyright/Clearance: Tapes 6 side B, Tape 7 sides A and B and Tape 8 side A closed for 30 years Interviewer’s comments: Michael Southgate Page 1 C1046/08 Tape 1 Side A (part 1) Tape 1 Side A (track 1) …name and your date and place of birth. -
The Politics of the Intersection of British Film Production with The
Camping it up with EMI: The Politics of the Intersection of British Film Production with the Notion of Camp Abstract: This article will explore two camp films released by EMI: the Danny La Rue star vehicle Our Miss Fred (1972) and the Village People ‘biopic’ Can't Stop the Music (1980), locating them within a broader tradition of British farcical humour and their respective cultural and industrial contexts. Through an examination of how these films operated as entertainment, the article argues that the intersection of EMI Films and camp actually helped to influence and modify cultural and social attitudes, particularly with regard to the gradual acceptance of the representation of queerness in 1970s and 1980s culture. Keywords: EMI Films; camp; queer identity; British identity; 1970s culture; gay icons; Danny La Rue; the Village People. Introduction EMI Films emerged onto the British cinema scene in 1969 and endured until its demise in 1986. Its creation at such a volatile and radical moment in time, coinciding with the withdrawal of American financing from British film production, meant that the company would seek economic stability via a wide range of co-productions within not only a national, but also a transnational context. This had the unexpected consequence of EMI spreading itself quite thinly across various genres, producing a disparate body of work which was apt for the socio- political revolution happening during the 1970s and 1980s; a period whereby the previously strictly imposed notions of gender, sexuality, race and class were being challenged by 1 marginalised groups’ burning desire for equality. These films, alongside other media texts, began to intersect with the notion of camp as a way to represent queerness that was non- threatening and comedic. -
“Bhí Mé I Measc Cairde”
SR MARY (continued from Front Page) The Céad Míle Fáilte at the entrance to the Irish Centre was certainly re-echoed as I reached the third storey of the building where the Chaplaincy was located. Bhí mé i measc Cairde. (I was among friends.) Here was an enthusiastic, energetic and committed staff where soon I was to experience the great care, support and valued Irish Chaplaincy SENIORS friendship which they provided across the whole of London. Irish Chaplaincy in Britain Spring 2014 Soon I realized that I needed a good pair of walking shoes and an A to Z in my hand! I was greatly touched by the hospitality, faith and fáilte that awaited us from the people we visited. I was also surprised with the number of people who enjoyed speaking the cúpla focail the answer Gaeilge, (few words of Irish). to my prayer I am delighted to be afforded this opportunity to do such valuable and meaningful work. I “Bhí mé i conclude with the words of the song, “If I can help somebody as I pass along, then my living shall not be in vain”. measc TWO NEW SAINTS by Sr Mary Richardson, Irish Chaplaincy Seniors Volunteer Cairde” On 27 April, Divine Mercy Sunday, in a canonisation ceremony in In September 2013 I retired from teaching after enjoying (I was among Friends) the Vatican, Pope Francis will declare Pope John XXIII and Pope forty years of a challenging career in Ireland. A period of - Sister Mary John Paul II to be saints. “Good Pope John” was pontiff 1958-63 Sabbatical to reflect on the next stage of my life’s journey and and is probably best known for convening the Second Vatican upskill in some way was on offer to me but at the time this Council.