2–19 Sept 2010 Artist's Eye Free Admission 600 New Films

Total Page:16

File Type:pdf, Size:1020Kb

2–19 Sept 2010 Artist's Eye Free Admission 600 New Films 2–19 Sept 2010 artist’s eye free admission 600 new films PORTOBELLO Weekdays 6pm–11pm, Weekends 1pm–11pm FILM FESTIVAL 2–19 Sept 2010 SUN 12 SEPT Highlights Planet 51 TABERNACLE 11AM REPEATED AT POP UP CINEMA 2.30PM 4 15th BIRTHDAY THU 2 SEPT Drama; The Boat / Patrick Hughes Grand opening; Greg Halls SSDD POP UP CINEMA 6:30pm 11 EXTRAVAGANZA POP UP CINEMA 6:30pm 1 London Film-makers WESTBOURNE STUDIOS 1pm 12 FRI 3 SEPT Holy Mountain / Dotmasters; MON 13 SEPT FREE Performance / Blek Le Rat International Drama Stuff the recession. Free admission to POP UP CINEMA 6:30pm 2 plus Video Cafe The Empire Strikes Back WESTBOURNE STUDIOS 6pm 13 all events. WESTBOURNE STUDIOS 6pm 3 TUE 14 SEPT ARTIST'S EYE SAT 4 SEPT Documentaries plus Video Cafe Surfs Up WESTBOURNE STUDIOS 6pm 13 Le Rat, Logan, Hughes, Clark, Inkie & TABERNACLE 11AM Dotmasters introduce their favourite REPEATED AT POP UP CINEMA 2.30PM 4 WED 15 SEPT Mr Hulot's Holiday / Inkie Caribbean Film Corner films. POP UP CINEMA 6:30pm 3 TABERNACLE 7pm 14 Horror Art Documentaries 600 PREMIERES WESTBOURNE STUDIOS 1pm 3 WESTBOURNE STUDIOS 6pm 13 Documentaries and Drama The state of the independent art hot SUN 5 SEPT INN ON THE GREEN 6pm 14 off the edit suite ...mostly shorts. Alvin & The Chipmunks 2 TABERNACLE 11AM THU 16 SEPT REPEATED AT POP UP CINEMA 2.30PM 4 Caribbean Film Corner JUST FOR YOU Animation; Barbarella / LIVE TABERNACLE 7pm 14 LONDON ThisisBabooshka Dutch films POP UP CINEMA 6:30pm 5 WESTBOURNE STUDIOS 6pm 14 A week of masterpieces and master- Spanish Films Africa Night; Emotan LIVE classes from the Capital’s filmmakers. WESTBOURNE STUDIOS 1pm 5 INN ON THE GREEN 6pm 15 MON 6 SEPT FRI 17 SEPT VIDEO CAFE London Film-makers; Video Cafe Animation; Thoroughly Modern Bear pit gong show & Bring Your Own WESTBOURNE STUDIOS 6pm 6 Millie / Andrew Logan POP UP CINEMA 6:30pm 15 Films TUE 7 SEPT Drama London Film-makers; Video Cafe WESTBOURNE STUDIOS 6pm 15 PORTOBELLO POP UP WESTBOURNE STUDIOS 6pm 7 Where the Westway meets Bad Taste SAT 18 SEPT INN ON THE GREEN 7pm 8 Carribean Films for Kids 9AM 14 Portobello Road. WED 8 SEPT Princess & The Frog 11AM 4 TABERNACLE London Film-makers; Video Cafe Plus decicated Caribbean, African, Princess & The Frog 2.30PM; 4 WESTBOURNE STUDIOS 6pm 8 Sanish, Dutch, German, Animation, Comedy Hamburg Films with talks 16 POP UP CINEMA 6.30PM INN ON THE GREN 6pm 8 Documentary, Art, Horror, Comedy, & Comedy and Drama Bad Taste evenings. THU 9 SEPT WESTBOURNE STUDIOS 1pm 16 London Film-makers; Video Cafe SUN 19 SEPT THIS IS LIVE CINEMA! WESTBOURNE STUDIOS 6pm 9 Punkvert Nanny McPhee and The Big Bang TABERNACLE 11AM INN ON THE GREN 6pm 9 REPEATED AT POP UP CINEMA 2.30PM 4 FRI 10 SEPT Programmers Choice ART EXPOS AT POP UP WESTBOURNE STUDIOS 1pm 16 Spanish; Freestyle / Kolton Lee Best Of and Awards Ceremony CINEMA, WESTBOURNE POP UP CINEMA 6:30pm 9–10 POP UP CINEMA 7pm 17 AND THE MUSE London Film-makers WESTBOURNE STUDIOS 6pm 9 SAT 11 SEPT Cloudy with a chance of Meatballs TABERNACLE 11AM ENTRY TO REPEATED AT POP UP CINEMA 2.30PM 4 Music Videos and Documentaries; ALL EVENTS The Passion Of Joan of Arc/ In The Nursery LIVE IS FREE POP UP CINEMA 6:30pm 11 London Film-makers Convention WESTBOURNE STUDIOS 1pm 10 600 NEW FILMS START HERE: portobellofilmfestival.com SSDD: Same Shit Different Day – 2 Sept Art at Portobello Film Festival 2010 Westbourne Studios courtyard and Pop Up Cinema throughout the Festival, plus 8–26th at The Muse Gallery – see page 20 for details. Dotmasters - detailed stencils with attitude... Peter Dunne – well travelled, self-taught Dublin born , living in London who is not afraid of colour. Virgin Media Shorts Love Does Grow on Trees Thu 2 Sept See boxed section. Bevan Walsh 10 minutes 15 A coming of age comedy about a teenage boy whose GRAND OPENING 8pm life is thrown into chaos when he discovers adult POP UP CINEMA magazines, girls and the embarrassment that goes WORLD PREMIERE with both. It’s a sweet, nostalgic story of lust, guilt and SSDD: Same Shit Different Day ultimately - first love. Drama. 6:30–10:00pm Greg Hall 87 minutes 15 The Addiction Trilogy Echoes of the Underground A slice of life in the east end of London following Lee, Harald Schleicher 15 minutes 18 Lee Harris and Hicham Benassi present a live recently released from prison, and Phil, a squatter and The experimental found-footage project The Addiction Happening with Giles Walker robaots and prejections former rider, who both work night shift together. Trilogy deals with addiction and its depiction in motion of the counter culture history of Portobello Road. Drama. London pictures. The first part deals with smoking, the second Featuring: Writer / Director Greg Hall came to early notice with part with alcohol and the third with drugs. Gold Fish Bowl his no-budget debut feature film “The Plague” (2004) Art. Germany Hicham Benassi when aged only 22. Receiving the inaugural Katrin Portobello Rocks! MuTATE 09: Cartlidge Foundation Award from Mike Leigh at the Sarajevo Film Festival, who described it as “very BA5H leaves his mark on the One Foot In The Grove floor - super-glued... Joe Kargbo 40 minutes U exciting 21st In November 2009, an art ‘collective’ primarily Century cinema”. consisting of Mutoid Waste and Coroy House put on an “Kapital” (2007) art exhibition under the westway 2010. This his second feature documentary features interviews, behind the scenes film was a “look”and cutting edge soundtrack! commission by the Art Documentaries. London Manchester International Festival and a unique collabo- THU 2nd SEPT ration with POP UP CINEMA renowned composer Steve Martland as a film-to-music project. Currently Virgin Media completed third feature “SSDD Same Shit Different Day” (2010), Greg Hall has also acquired the film Shorts rights to anarchist Ian Bone’s autobiography “Bash 7.30pm The Rich” which he is currently adapting for the screen. www.brokebutmakingfilms.com Virgin Media Shorts is all about shining a light on Britain’s best film makers and giving them the biggest possible arena to showcase their work. The short film competition awards one Love Does Grow on Trees – 2 Sept Grand Prize winner each year with £30K film funding and a chance to work with the UKFC Simon Tyszko known for his powerful subversions and Virgin Media on their next film. of pre-existing films. Watching the 1936 Olympics backwards offers a wry corrective to strident ideas of the importance of being a winner. Giles Walker, member of the THE MUTOID WASTE COMPANY, has been working with robots for the last 20 years. At PFF, Virgin Media Shorts showcases the 12 shorts up for this year’s Grand Prize and will set the stage with last year’s winning film, the BAFTA nominated, Mixtape. Each film is 2 minutes and 20 seconds! www.virginmediashorts.co.uk 1 portobellofilmfestival.com takes, both want that parking place. Comedy. Britain university and on their graduation night, they roam Fri 3 Sept PLUS: the streets of Karachi to have their one last dinner The Portwine Stain together as a group. Comedy. Pakistan ART COMEDY Mick Foley 11 minutes 12A POP UP CINEMA WESTBOURNE STUDIOS Ex-punk producer Dave has a severe port-wine stain Terry, a cat for success on his face. His only way to attract attention is by Silvio Mason 30 minutes U telling whopping lies or awful jokes. Trying to impress William is a stylist in crisis.terry a special little cat. 6:30–10:30pm Artist Eye: 6–11pm a girl at a party he goes too far. Comedy. Britain Together will become famous. Comedy. Italy Performance selected by Blek Le Dhood-PatiJibran 8pm Rat and Holy Mountain selected The Parking Place Daniel & Simon Griggs 45 minutes 12A Khan 49 minutes 12 by Dotmasters Acres Of Time The film is an English situation comedy about a This film is a light hearted comedy which revolves around four guys who have just graduated from their Talat Gokdemir 17 minutes 12 See boxed section. parking place, that two men fight over, whatever it The tale of Chris, a struggling writer and Labib, his window cleaning friend. When Chris falls for a beautiful waitress, it’s up to labib to convince him to ARTIST’S EYE get his act together. Comedy. London The Morning After FRI 3rd SEPT – POP UP CINEMA Alex Sufit 4 minutes 15 A young woman wakes up, hung-over and bleary 18 eyed, and tries to piece together the night before. Holy Mountain selected/introduced by Dotmasters 6:30pm unfolding in a series of flashbacks. Comedy. London Wild Africa Chronicle (Chronique De L’Afrique Sauvage) Issam Mathlouti 15 minutes 12 One night, at a bus shelter where six youths like to hang out, an old North African man waits. The youngsters inform him that the last bus has left already... Comedy. France Tea & Sympathy Patrick McMahon 12 minutes 12A A suicide candidate rings a charity worker in a final cry for help - but which of them is really cracking up? Tension, toilets and... tea combine in this black comedy. Comedy. London Terry & Titania Patrick McMahon 7 minutes 15 This movie is nuts! A visual, visceral feast! Jodorowsky has been many things, occult leader, a As The Dotmasters, Leon has stencilled half toned masterpieces Terry’s an office worker. Titania’s a fairy, or insane. cartoon collaborator, director and artist, but it’s when he makes movies that i think he truly across the fronts of high profile galleries worldwide, poking fun Potentially both.
Recommended publications
  • Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
    Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema.
    [Show full text]
  • Towards a Fifth Cinema
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sussex Research Online Towards a fifth cinema Article (Accepted Version) Kaur, Raminder and Grassilli, Mariagiulia (2019) Towards a fifth cinema. Third Text, 33 (1). pp. 1- 25. ISSN 0952-8822 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/80318/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk Towards a Fifth Cinema Raminder Kaur and Mariagiulia Grassilli Third Text article, 2018 INSERT FIGURE 1 at start of article I met a wonderful Nigerian Ph.D.
    [Show full text]
  • One-Shot Special Edition Script Gerry Finley-Day Guy Adams Art Dave Gibbons Darren Douglas Lee Carter Letters Simon Bowland Dave Gibbons
    ONE-SHOT SPECIAL EDITION SCRIPT GERRY FINLEY-DAY GUY ADAMS ART DAVE GIBBONS DARREN DOUGLAS LEE CARTER LETTERS SIMON BOWLAND DAVE GIBBONS REBELLION Creative Director and CEO Junior Graphic Novels Editor JASON KINGSLEY OLIVER BALL Chief Technical Officer Graphic Design CHRIS KINGSLEY SAM GRETTON, OZ OSBORNE & MAZ SMITH Head of Books & Comics Reprographics BEN SMITH JOSEPH MORGAN 2000 AD Editor in Chief PR & Marketing MATT SMITH MICHAEL MOLCHER Graphic Novels Editor Publishing Assistant KEITH RICHARDSON OWEN JOHNSON Rogue Trooper Published by Rebellion, Riverside House, Osney Mead, Oxford OX2 0ES. All contents © 1981, 2014, 2015, 2018 Rebellion 2000 AD Ltd. All rights reserved. Rogue Trooper is a trademark of Rebellion 2000 AD Ltd. Reproduction, storage in a retrieval system or transmission in any form or by any means in whole or part without prior permission of Rebellion 2000 AD Ltd. is strictly forbidden. No similarity between any of the fictional names, characters, persons and/or institutions herein with those of any living or dead persons or institutions is intended (except for satirical purposes) and any such similarity is purely coincidental. ROGUE TROOPER SCRIPT GERRY FINLEY-DAY ART DAVE GIBBONS LETTERS DAVE GIBBONS ROGUE TROOPER DREGS OF WAR SCRIPT GUY ADAMS ART DARREN DOUGLAS LETTERS SIMON BOWLAND ROGUE TROOPER THE FEAST SCRIPT GUY ADAMS ART LEE CARTER LETTERS SIMON BOWLAND ROGUE TROOPER THE DEATH OF A DEMON SCRIPT GUY ADAMS ART DARREN DOUGLAS LETTERS SIMON BOWLAND THE END ROGUE TROOPER GRAPHIC NOVELS FROM 2000 AD ROGUE TROOPER ROGUE
    [Show full text]
  • The Speed of the VCR
    Edinburgh Research Explorer The speed of the VCR Citation for published version: Davis, G 2018, 'The speed of the VCR: Ti West's slow horror', Screen, vol. 59, no. 1, pp. 41-58. https://doi.org/10.1093/screen/hjy003 Digital Object Identifier (DOI): 10.1093/screen/hjy003 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Screen Publisher Rights Statement: This is a pre-copyedited, author-produced PDF of an article accepted for publication in Screen following peer review. The version of record Glyn Davis; The speed of the VCR: Ti West’s slow horror, Screen, Volume 59, Issue 1, 1 March 2018, Pages 41–58 is available online at: https://doi.org/10.1093/screen/hjy003. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 The speed of the VCR: Ti West’s slow horror GLYN DAVIS In Ti West’s horror film The House of the Devil (2009), Samantha (Jocelin Donahue), a college student short of cash, takes on a babysitting job.
    [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]
  • Cinematic Vitalism Film Theory and the Question of Life
    INGA POLLMANN INGA FILM THEORY FILM THEORY IN MEDIA HISTORY IN MEDIA HISTORY CINEMATIC VITALISM FILM THEORY AND THE QUESTION OF LIFE INGA POLLMANN CINEMATIC VITALISM Cinematic Vitalism: Film Theory and the INGA POLLMANN is Assistant Professor Question of Life argues that there are in Film Studies in the Department of Ger- constitutive links between early twen- manic and Slavic Languages and Litera- tieth-century German and French film tures at the University of North Carolina theory and practice, on the one hand, at Chapel Hill. and vitalist conceptions of life in biology and philosophy, on the other. By consi- dering classical film-theoretical texts and their filmic objects in the light of vitalist ideas percolating in scientific and philosophical texts of the time, Cine- matic Vitalism reveals the formation of a modernist, experimental and cinema- tic strand of vitalism in and around the movie theater. The book focuses on the key concepts rhythm, environment, mood, and development to show how the cinematic vitalism articulated by film theorists and filmmakers maps out connections among human beings, mi- lieus, and technologies that continue to structure our understanding of film. ISBN 978-94-629-8365-6 AUP.nl 9 789462 983656 AUP_FtMh_POLLMANN_(cinematicvitalism)_rug17.7mm_v02.indd 1 21-02-18 13:05 Cinematic Vitalism Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a historical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship.
    [Show full text]
  • * Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
    * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film
    [Show full text]
  • “Punk Rock Is My Religion”
    “Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area.
    [Show full text]
  • 5(Ii) Petition
    5(ii) THE ROYAL BOROUGH OF KENSINGTON AND CHELSEA COUNCIL MEETING – 26 JUNE 2019 REPORT BY THE EXECUTIVE DIRECTOR, ENVIRONMENT AND COMMUNITIES PETITION FOR DEBATE – SAVE THE TREES ON NOTTING HILL GATE AND HOLLAND PARK AVENUE A petition calls for trees not to be cut down on Notting Hill Gate and Holland Park Avenue. The report explains: Transport for London proposes the removal of 26 trees to accommodate a segregated cycle route on Notting Hill Gate and Holland Park Avenue. the Council does not support Transport for London’s proposals the Council is the highway authority for Notting Hill Gate and Holland Park Avenue and is responsible for the trees the Council has no plans to remove trees from Notting Hill Gate or Holland Park Avenue FOR DISCUSSION 1. THE PETITION 1.1 There is a petition online signed by around 6,500 people addressed to the Mayor of London, Transport for London and the Royal Borough of Kensington and Chelsea: “Save the trees on Holland Park Avenue and Notting Hill Gate. Transport for London want to cut down multiple historic trees in a heavily congested area where they are desperately needed to defend against the relentless pollution. Three billion trees must be planted by 2050 to end Britain's contribution to global warming, yet TFL seem to want to take steps in the opposite direction, in their proposal to cut down 19 trees. Transport for London will be putting cyclists lives at risk to introduce a new cycle lane in this traffic-heavy area, chopping down trees to accommodate it.
    [Show full text]
  • The A-Z of Brent's Black Music History
    THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business.
    [Show full text]
  • The Clash and Mass Media Messages from the Only Band That Matters
    THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people.
    [Show full text]
  • Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC.
    [Show full text]