No 37 – Winter 2017
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I Wanna Be Me”
Introduction The Sex Pistols’ “I Wanna Be Me” It gave us an identity. —Tom Petty on Beatlemania Wherever the relevance of speech is at stake, matters become political by definition, for speech is what makes man a political being. —Hannah Arendt, The Human Condition here fortune tellers sometimes read tea leaves as omens of things to come, there are now professionals who scrutinize songs, films, advertisements, and other artifacts of popular culture for what they reveal about the politics and the feel W of daily life at the time of their production. Instead of being consumed, they are historical artifacts to be studied and “read.” Or at least that is a common approach within cultural studies. But dated pop artifacts have another, living function. Throughout much of 1973 and early 1974, several working- class teens from west London’s Shepherd’s Bush district struggled to become a rock band. Like tens of thousands of such groups over the years, they learned to play together by copying older songs that they all liked. For guitarist Steve Jones and drummer Paul Cook, that meant the short, sharp rock songs of London bands like the Small Faces, the Kinks, and the Who. Most of the songs had been hits seven to ten 1 2 Introduction years earlier. They also learned some more current material, much of it associated with the band that succeeded the Small Faces, the brash “lad’s” rock of Rod Stewart’s version of the Faces. Ironically, the Rod Stewart songs they struggled to learn weren’t Rod Stewart songs at all. -
The Sex Pistols: Punk Rock As Protest Rhetoric
UNLV Retrospective Theses & Dissertations 1-1-2002 The Sex Pistols: Punk rock as protest rhetoric Cari Elaine Byers University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Byers, Cari Elaine, "The Sex Pistols: Punk rock as protest rhetoric" (2002). UNLV Retrospective Theses & Dissertations. 1423. http://dx.doi.org/10.25669/yfq8-0mgs This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
Originally Published on Theoralpandemic.Co.Uk The
The influence of the Punk Movement on the world we live in today. Whether we accept it or not, the punk movement of the 1970’s has changed our lives today. From it’s beginnings with social discord and disillusionment with the government following Britain slipping into recession. The British people were suffering on a number of fronts. Terrorist attacks were taking place fairly regularly, with the IRA beginning their campaign of terror. Along with the recession came massive unemployment meaning the school leavers found finding a job hard. Soon from nowhere bands like The Sex Pistols sprang up and made one of the biggest marks on the scene. John Lydon would later explain the punk scene and explained where the country was at the time. “Early Seventies Britain was a very depressing place. It was completely run‐down, there was trash on the streets, total unemployment—just about everybody was on strike. Everybody was brought up with an education system that told you point blank that if you came from the wrong side of the tracks...then you had no hope in hell and no career prospects at all. Out of that came pretentious moi and the Sex Pistols and then a whole bunch of copycat wankers after us” A band called London SS managed by Bernard Rhodes broke up before performing live. The members of which went on to form The Damned and The Clash. Music formed the core of Punk, with it’s origins heavily entrenched in the Do It Yourself aspect of music, in fact, knowing how to play an Instrument was a bonus, but not entirely necessary. -
ADAM and the ANTS Adam and the Ants Were Formed in 1977 in London, England
ADAM AND THE ANTS Adam and the Ants were formed in 1977 in London, England. They existed in two incarnations. One of which lasted from 1977 until 1982 known as The Ants. This was considered their Punk era. The second incarnation known as Adam and the Ants also featured Adam Ant on vocals, but the rest of the band changed quite frequently. This would mark their shift to new wave/post-punk. They would release ten studio albums and twenty-five singles. Their hits include Stand and Deliver, Antmusic, Antrap, Prince Charming, and Kings of the Wild Frontier. A large part of their identity was the uniform Adam Ant wore on stage that consisted of blue and gold material as well as his sophisticated and dramatic stage presence. Click the band name above. ECHO AND THE BUNNYMEN Formed in Liverpool, England in 1978 post-punk/new wave band Echo and the Bunnymen consisted of Ian McCulloch (vocals, guitar), Will Sergeant (guitar), Les Pattinson (bass), and Pete de Freitas (drums). They produced thirteen studio albums and thirty singles. Their debut album Crocodiles would make it to the top twenty list in the UK. Some of their hits include Killing Moon, Bring on the Dancing Horses, The Cutter, Rescue, Back of Love, and Lips Like Sugar. A very large part of their identity was silohuettes. Their music videos and album covers often included silohuettes of the band. They also have somewhat dark undertones to their music that are conveyed through the design. Click the band name above. THE CLASH Formed in London, England in 1976, The Clash were a punk rock group consisting of Joe Strummer (vocals, guitar), Mick Jones (vocals, guitar), Paul Simonon (bass), and Topper Headon (drums). -
CYAN MAGENTA YELLOW BLACK Code No. Booklet-Pgs20&1
CYAN MAGENTA YELLOW BLACK 1. It's an open secret Webb 1964 2. When Jesus comes to you Webb 1964 3. Set the world a-singing Webb 1964 4. A million songs Webb 1964 5. Now I know Dalziel/Davidson 1964 6. All Alone Dalziel/Davidson 1965 7. He Cares Webb 1965 8. Have faith in God Webb 1965 9. I want to sing it Webb 1965 10. Follow Webb 1965 11. Lord on our side Davidson 1966 12. Time Davidson 1966 13. Love that's in my heart Dalziel/Davidson 1966 14. Without Him Gair (Dalziel) 1966 15. He is near Webb 1966 16. Where will it end Dalziel 1966 17. Long lost cause Davidson 1966 18. There will be God Webb 1966 19. It won't always be like this Dalziel/Robson 1967 20. This is living Davidson 1967 21. Everything Davidson 1967 22. Tomorrow Davidson 1967 SPS 254 CD Code No. Booklet-Pgs20&1 CYAN MAGENTA YELLOW BLACK INTRODUCTION by Sylvia Dalziel (Gair) When Commissioner Frederick Coutts was elected General of The Salvation Army in November 1963 he expressed the hope, in his election press conference, that The Salvation Army might show a Executive Producer more modern approach in bringing the message of Christian faith to the ‘man in the street’. He felt it Trevor Caffull should be possible for Salvationists with guitars to play in coffee bars and clubs if this proved to be an effective method of evangelising. After all the sixties was all about pop music and groups – it was Mastering the communication channel of the time, why not use it for God’s work? Adam Goldsmith The whole idea attracted considerable publicity and the media wanted photographs of ‘pop’ Production Manager Salvationists. -
The Outwood Cricket Club Founded 1889 a Brief
THE OUTWOOD CRICKET CLUB FOUNDED 1889 A BRIEF HISTORY BY L. C. WALLER Published by Allan Good, Hurst & Co., Ltd., 233/235 High Street, Beckenham, Kent and Printed by Michael Stephen Press, la Links Road, London, SW17. CONTENTS Foreword Mainly Acknowledgements Early Days Until 1914 Between The Wars (1919-1940) 1946-1965 Au Revoir List of Honour Notes on a few of the interesting buildings in the Outwood District Outwood Cricket Club - a brief history is the only formal history of Outwood Cricket Club. It was produced by L.C. 'Johnny' Waller in 1966. FOREWORD The Author has been kind enough to ask me to write a foreword to his History of the Outwood Cricket Club. It is of course a particular honour to follow the Past Presidents of the Club, Mr. Alfred Lloyd, Mr. Theodore Lloyd, and until her death in 1963 Mrs. B. M. Lloyd. The Lloyd family were Lord of the Manor, a distinction I cannot remotely claim, but one thing we shared was a love of village cricket, and Outwood Cricket in particular. The Club owe a debt of thanks to Mr. Waller, for the time and energy he has devoted to preparing this History. The research entailed in order to produce an accurate picture over nearly eighty years, is more than may be realised. Although this is the story of Outwood, it could well be many a village club, and some of the characters portrayed may bring nostalgic memories to those who have had the privilege of being associated with that particular luxury known as “Village Cricket". -
Radiotimes-July1967.Pdf
msmm THE POST Up-to-the-Minute Comment IT is good to know that Twenty. Four Hours is to have regular viewing time. We shall know when to brew the coffee and to settle down, as with Panorama, to up-to- the-minute comment on current affairs. Both programmes do a magnifi- cent job of work, whisking us to all parts of the world and bringing to the studio, at what often seems like a moment's notice, speakers of all shades of opinion to be inter- viewed without fear or favour. A Memorable Occasion One admires the grasp which MANYthanks for the excellent and members of the team have of their timely relay of Die Frau ohne subjects, sombre or gay, and the Schatten from Covent Garden, and impartial, objective, and determined how strange it seems that this examination of controversial, and opera, which surely contains often delicate, matters: with always Strauss's s most glorious music. a glint of humour in the right should be performed there for the place, as with Cliff Michelmore's first time. urbane and pithy postscripts. Also, the clear synopsis by Alan A word of appreciation, too, for Jefferson helped to illuminate the the reporters who do uncomfort- beauty of the story and therefore able things in uncomfortable places the great beauty of the music. in the best tradition of news ser- An occasion to remember for a Whitstabl*. � vice.-J. Wesley Clark, long time. Clive Anderson, Aughton Park. Another Pet Hate Indian Music REFERRING to correspondence on THE Third Programme recital by the irritating bits of business in TV Subbulakshmi prompts me to write, plays, my pet hate is those typists with thanks, and congratulate the in offices and at home who never BBC on its superb broadcasts of use a backing sheet or take a car- Indian music, which I have been bon copy. -
View Bad Ideas About Writing
BAD IDEAS ABOUT WRITING Edited by Cheryl E. Ball & Drew M. Loewe BAD IDEAS ABOUT WRITING OPEN ACCESS TEXTBOOKS Open Access Textbooks is a project created through West Virginia University with the goal of produc- ing cost-effective and high quality products that engage authors, faculty, and students. This project is supported by the Digital Publishing Institute and West Virginia University Libraries. For more free books or to inquire about publishing your own open-access book, visit our Open Access Textbooks website at http://textbooks.lib.wvu.edu. BAD IDEAS ABOUT WRITING Edited by Cheryl E. Ball and Drew M. Loewe West Virginia University Libraries Digital Publishing Institute Morgantown, WV The Digital Publishing Institute believes in making work as openly accessible as possible. Therefore, this work is licensed under a Creative Commons Attribution 4.0 International License. This license means you can re-use portions or all of this book in any way, as long as you cite the original in your re-use. You do not need to ask for permission to do so, although it is always kind to let the authors know of your re-use. To view a copy of this CC license, visit http://creative- commons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. This book was set in Helvetica Neue and Iowan Old Style and was first published in 2017 in the United States of America by WVU Libraries. The original cover image, “No Pressure Then,” is in the public domain, thanks to Pete, a Flickr Pro user. -
The Birth of Lounge Punk
Filthy Lucre Tour. The Sex Pistols, Reviewed by Sam Smith Published on (August, 1996) Last night at Red Rocks the Sex Pistols played ing battle of one-upsmanship. Who can swear their frst American show in eighteen years. That more, outrage more, damn the establishment last American show, in 1978 as I recall, was the more? Even if the band came out and perfectly band's swan song (or so we thought), coming at recreated the sort of spectacle that got them the tail end of a tour that was, if I might misapply banned in the late 70s, so what? Been there, done a few words from Dave Marsh, a bad idea gone that. There are dozens, maybe hundreds, of bands wrong. The way Johnny remembers it, the whole out there who are at least as disgusting and vile as tour--the whole band, even--had become some‐ the Pistols ever were. <p> Apparently, the Sex Pis‐ thing horribly different from what he expected. tols--or maybe I should call them the New and Im‐ The defining moment of the tour was perhaps its proved Sex Pistols--realized all of this, because last: a wasted, defeated Johnny Rotten kneeling on they didn't even try. <p> You knew something was stage, staring into the crowd and uttering those up when Steve Jones took the stage wearing some now-infamous words: "ever feel like you've been VERY shiny pants--my best guess at the fabric is cheated?" <p> So when the band's original lineup silver lame. Johnny, though, would have put (Johnny Rotten, guitarist Steve Jones, bassist Glen Spinal Tap to shame. -
1970-Pages.Pdf
the basis of the early returns they will be able to predict the BBC outcome for each of the results to come. And from that, they can Election 70 calculate how many seats each party is likely to have in the new Parliament. With the most com- The kind of humour the plicated election situation for biggest- years, the official result may not be known for certain until well that chills you as ever news into Friday. BBC Election 70 will pay special attention to the 100 Key operation Seats - the marginals whose re- you laugh The BBC is mounting its biggest- sults will decide who wins the Where was Spring?: Sunday 11.25 BBC2 Colour ever news-gathering operation to Election; 30 Target Seats where bring you the results of the 1970 the other parties could gain Somewhere in the rule book to 6.0 pm. For the last series they General Election. For the first ground on Labour; and 100 Top it says that satirists and managed 35 sketches in the space time, BBCtv and Radio and the Politicians' contests. Together makers of brittle, sophisti- of three weeks. Press Association are pooling they make up a total of 230 Seats cated comedy do not live They work in what seems, de- their resources to report all 630 To Watch. in castles. Country cottages in spite the diligent office hours, a declarations. In Election Studio The girls in Election Studio Essex is stretching it some, flats curious manner. John keeps a One at the BBCtv Centre Cliff One will be wearing a special in Chelsea are OK, and just maybe notebook in which ideas for Michelmore heads a 57-strong Election 70 dress designed by the a house up the Thames Valley - sketches are written down. -
In This Extract from the Upcoming Book Just Got Lucky, a Wiltshire Lad Who Turned Pop Scribe and Dived Headlong Into Eighties Lo
GARY NUMAN Under the skin IN THIS EXTRACT FROM THE UPCOMING BOOK JUST GOT LUCKY, A WILTSHIRE LAD WHO TURNED POP SCRIBE AND DIVED HEADLONG INTO EIGHTIES LONDON CLUBLIFE REMEMBERS SOME REVEALING CLOSE ENCOUNTERS WITH THE CHARMING AND IRREPRESSIBLE BANANARAMA… PAUL SIMPER t is one of the lesser-known facts in the arena of Eighties pop music that Bananarama’s second album – the one with Robert De Niro’s Waiting and Cruel Summer – was at one stage going to be called Tea At Mrs Simper’s. The genesis for this unlikely title lay in a weekend jaunt in January 1984 undertaken by Sarah Dallin, Keren Woodward and their best pal, fanclub secretary Iand honorary fourth ‘Nana Miss Melody O’ Brien, to my mum and dad’s house in the tiny, pub-less village of East Grafton in Wiltshire. It was a curious weekend. Mrs S viewed Bananarama’s lack of skirts, lipstick or nail polish with suspicion, whilst the three girls didn’t hold much truck with all the talk of slaughtering cows and shooting pheasants. It was Keren who – perhaps with a premonition of her future life on a Cornish country estate with Wham’s Andrew Ridgley 20 years hence – appeared the most at home in the Simper country residence. A photo taken at teatime in the big sitting room shows her standing by the mantelpiece with an air of “Sure, this is my gaff, what of it?” while Sarah and Mel lark about with the family teapot. A Saturday night trip to the closest pub, The Royal Oak in Wootton Rivers, proved equally uncomfortable, with the locals proving about as welcoming as Brian Glover and Rik Mayall in An American Werewolf In London when their game of darts is interrupted. -
1966-Pages.Pdf
THE GENERAL On Thursday night and Friday morning the BBC both in Television and Radio will be giving you the fastest possible service of Election Results. Here David Butler, one of the expert commentators on tv, explains the background to the broadcasts TELEVISION A Guide for Election Night AND RADIO 1: Terms the commentators use 2: The swing and what it means COVERAGE THERE are 630 constituencies in the United Kingdom in votes and more than 1,600 candidates. The number of seats won by a major is fairly BBC-1 will its one- party begin compre- DEPOSIT Any candidate who fails to secure exactly related to the proportion of the vote which hensive service of results on eighth (12.5%), of the valid votes in his constituency it wins. If the number of seats won by Liberals and soon after of L150. Thursday evening forfeits to the Exchequer a deposit minor parties does not change substantially the close. the polls STRAIGHT FIGHT This term is used when only following table should give a fair guide of how the At the centre of operations two candidates are standing in a constituency. 1966 Parliament will differ from the 1964 Parlia- in the Election studio at ment. (In 1964 Labour won 44.1% of vote and huge MARGINAL SEATS There is no precise definition the TV Centre in London will be 317 seats; Conservatives won 43.4 % of the vote and of a marginal seat. It is a seat where there was a Cliff Michelmore keeping you 304 seats; Liberals 11.2% of the vote and nine seats small majority at the last election or a seat that in touch with all that is �a Labour majority over all of going is to change hands.