DOCSLIB.ORG

Rolling Stones London Med Fredrik Strage För Dig Som Är DN-Prenumerant

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rolling Stones London Med Fredrik Strage För Dig Som Är DN-Prenumerant Rolling Stones London med Fredrik Strage för dig som är DN-prenumerant Rolling Stones London DATUM 27 – 29 mars 2020 Följ med till Rolling Stones London! En tidsresa där vi under tre intensiva dagar färdas tillbaka till sextio- och sjuttiotalet och upplever de avgörande ögonblicken i Rolling Stones PRIS PER PERSON historia. del i dubbelrum 14.900 :- SEK per person Historien om världens största rockband är historien om drömmar, triumfer, katastrofer, myter, sex, droger och rock ’n’ roll, från debutspelningen på 1962 på Marquee Club till i enkelrum gruppens senaste studioalbum ”Blue & Lonesome” från 2016. 18.600 :- SEK Under resan besöker vi platserna i och runt London där bandet förvandlades från skolpojkar till rockgudar. Vi ser gatorna i Dartford där Mick Jagger och Keith Richard växte upp och tågstationen där de pratade med varandra första gången. Vi besöker studior och barer runt Soho där karriären började, adresser där de bott, platser som präglat dem. Det här är en resa för dig med passion för musik och rockhistoria. Resan är exklusiv för DN:s prenumeranter. Är du inte redan DN-prenumerant tecknar du enkelt en prenumeration på DN:s hemsida innan du reser. Projektledare Jesper Fästh [email protected] 08-20 55 00 Tel: 08 – 20 55 00 Postadress: Besöksadress: Box 45405, 104 31 Stockholm Saltmätargatan 8, Stockholm Email: [email protected] T-bana Rådmansgatan www.cluberiks.se Rolling Stones London med Fredrik Strage för dig som är DN-prenumerant I PRISET INGÅR • 3 dagars program under ledning av Fredrik Strage DATUM 27 – 29 mars 2020 • Värd som assisterar Fredrik Strage • Flyg t/r Stockholm – London inkl. alla idag kända skatter och avgifter PRIS PER PERSON del i dubbelrum • 2 nätter i enkelrum på 4**** hotell i centrala London inkl. frukost 14.900 :- SEK per person • 3 x lunch exkl. dryck • Transporter samt entréer enligt program i enkelrum 18.600 :- SEK PRELIMINÄRA FLYGTIDER DAG FLYG TIDER FLYGTID 27 mars Arlanda - London 07:50 - 09:35 2 tim 45 min 29 mars London - Arlanda 19:05 - 22:30 2 tim 25 min Vi flyger med SAS. Hör av er om ni önskar flyga från annan ort (Göteborg eller Köpenhamn) Vi reserverar oss för slutförsäljning och eventuella förändringar i program och pris som ligger utanför vår kontroll. DAGSPROGRAM Följ med till Rolling Stones London! En tidsresa där vi under tre intensiva dagar färdas tillbaka till sextio- och sjuttiotalet och upplever de avgörande ögonblicken i Rolling Stones historia. Det här är en resa för dig med passion för musik och rockhistoria. 27 mars London Vi inleder vår resa i Rolling Stones fotspår genom att ta oss bakåt i tiden Dartford Railway Station – till förgrundsfigurernas unga år i Stationen där Mick Jagger Dartford. Vår buss tar oss till denna och Keith Richards träffades centralort i Borough of Dartford, 25 kilometer sydost om London. Här finns spår av mänsklig verksamhet sedan stenåldern, långt före våra ”stenar”. Orten har fött många poeter, musiker och framstående personligheter. Vi tar en promenad i Stones fotspår och får veta mer om Micks och Keiths uppväxt här. Vi besöker deras barndomsadresser och får uppleva miljön och atmosfären som lade grunden till deras kreativitet och enastående karriär. Vår resa till Dartford inleds med ett stopp vid järnvägsstationen och plattform 2, Mick och Keith träffades på tåget på väg till London i oktober 1961. Det var utan tvekan här som historien om The Rolling Stones inleddes. 39 Denver Road Mick Jaggers hem 1943 – 1960 Vi stannar på Denver Road, närmare bestämt utanför nummer 39. Det var nämligen i detta hus som Michael Philip Jagger levde tillsammans med sin familj fram till 1960. Familjen Jagger bestod av fadern Basil ”Joe”, modern Eva samt den äldre brodern Christopher. 33 Chastilian Road I en trerumslägenhet på 33 Chastilian Road, ovanför en butik som på den tiden sålde Keith Richards hem grönsaker, flyttade Keith Richards in 1949. Familjen som, förutom lille Keith bestod av fadern 1949 – 1952 Herbert William och mamma Doris Maud Lydia, lämnade adressen tre år senare. Idag pryds fastigheten av en plakett med följande text: The home of rock god and now cult film hero Keith Richards. 6 Spielman Road Vi stannar till vid huset på 6 Spielman Road, i området Temple Hill, norr om Dartford. Här Keith Richards hem flyttade familjen Richards in 1955. under tonåren Dartford hade under kriget varit ett populärt mål för Luftwaffes bombplan, vilket resulterade i att det fanns ett skriande behov av bostäder när kriget väl var över. Livingstone Hospital Här på Livingston Hospital, invigd 1894, föddes Mick Jagger den 26 juli 1943 och den 18 Sjukhuset där Mick Jagger december samma år var det Keith Richards tur. och Keith Richards föddes East Hill The Mick Jagger Center Vi gör ett stopp vid The Mick Jagger Center – en verksamhet för scenkonst på Dartford Shepherds Lane Grammar School. Centret invigdes 2000 av Hertigen av Kent tillsammans med Mick Jagger, som själv varit elev på skolan. Här finns en inspelningsstudio, en replokal, en bar och ett galleri. Centret är också hem för två orkestrar – Dartford Symphony Orchestra samt Orchestra of Thames Gateway Hard Rock Hotel London” Efter en dag fylld av intryck och upplevelser genom att ha vandrat i Rolling Stones fotspår så – Här bor vi beger vi oss till Hard Rock Hotel för att checka in. Nu är det fritt fram för var och en att njuta Great Cumberland Place av hotellet eller att bege sig ut i Londons kvällsvimmel. 28 mars London Vi inleder vår andra dag i Rolling Stones fotspår i Soho, som är en del av West End. Klassisk Stones-klubb #1: Här växte det under 1900-talet upp ett stort antal nattklubbar och barer. En av klubbarna på Marquee Club Wardour Street var Marquee Club. Ett ställe som betydde mycket för Rolling Stones. 90 Wardour Street Det var på Marquee Jazz Club som Stones i juli 1962 hade sitt allra första liveframträdande. Då hade Bill Wyman och Charlie Watts ännu ej tagit plats i bandet. Det året låg klubben på Oxford Street 165 och två år senare flyttade Marquee till Wardour Street och det var på den adressen som klubben upplevde sina verkliga glansdagar. Här på klubben avslutade Stones sin Englandsturné 1971, strax innan man lämnade England för Frankrike. Byggnaden på Wardour Street finns kvar, även om Marquee Club flyttade ut 1988. Vi försöker få en känsla av hur stämningen var i och runt Marquee Club under 1960- och 1970-talet. Klassisk Stones-klubb #2: Musikklubbarna låg tätt i Soho under 1950- och 1960-talet. Den berömda The Flamingo The Flamingo Club/ Club grundades 1952 av jazzälskaren Jeffrey Kruger. Här uppträdde tidigt storheter som Ella O’Neill’s Fitzgerald och Billie Holiday. Här spelade hela bandet Rolling Stones för första Under 1960-talet kom Flamingo Club att bli ett populärt tillhåll för mods. En lång rad kända gången artister och band har spelat här – från Beatles till Pink Floyd. I januari 1963 uppträdde ett 33-37 Wardour Street komplett Rolling Stones här tillsammans för första gången. Då bestående av Mick, Keith, Brian, Bill, Charlie och Stu (Ian Stewart). Även om Flamingo Club fått ge plats åt en identitetslös pubkedja, så är det lätt att drömma sig tillbaka och föreställa sig hur slamrigt det måste har låtit här för 56 år sedan. Klassisk Stones-klubb #3: På en liten gata i Soho, invid Chinatown, ligger De Hems, vilken lär vara Londons enda De Hems autentiska ”Dutch pub”. Stället kom att bli en viktig plats för Rolling Stones tidiga karriär. Puben där Andrew Loog Det var här som den då 19-årige Andrew Loog Oldham upptäckte det unga R&B-bandet i Oldham upptäckte Rolling april 1963. Loog Oldham kom att bli bandets första manager under fyra mycket intensiva år. Stones 11 Macclesfield Street Klassisk Stones-klubb Vi backar tillbaka till september 1963 – vid Great Newport Street i närheten av Leicester #4: Ken Colyer Jazz Club Square i Covent Garden. Stones var i början av karriären regelbundna gäster i källaren på (Studio 51) Ken Colyer Jazz Club – även kallad Studio 51. Här gav Lennon och McCartney bort låten som Det var också utanför denna klubb som Stones manager, Andrew Loog Oldham, en dag skulle bli Stones första hit sprang in i John Lennon och Paul McCartney, vilka var på väg ut ur en taxi. De båda Beatlarna 10 Great Newport Street erbjuder sig att ge bort en av sina låtar ”I Wanna Be Your Man” till Stones. Låten blir gruppens första hit och resten är historia. Regent Sounds Studio Naturligtvis måste vi göra ett besök på den 100 meter långa gatan Denmark Street. Här spelade Rolling Stones in sitt första album Gatan kom under 1960-talet att bli ett nav i den brittiska musikindustrin och kallades därför ”Britain’s Tin Pan Alley” efter motsvarigheten i New York. Vi ska bekanta oss lite extra med 4 Denmark Street adressen 4 Denmark Street, där Regent Sound Studios en gång i tiden låg och vi får veta mer om Rolling Stones koppling till denna gata. Det var i Regent Sound Studios som Stones i början av 1964 spelade in sitt första album, som bär bandets namn. Också stora delar av uppföljaren, ”12×5”, spelades in här. I början av 1980-talet upphörde studion. Här låg under några år bokaffären Helter Skelter, vilken specialiserade sig på musikböcker och noter. Idag finns här gitarrbutiken Regent Sounds of Denmark Street. Vi gör så klart ett stopp vid denna ikoniska lokal. Marlborough Street I denna vackra byggnad i Soho har många kända personer ställts inför skranket. Magistrates Court Här har både Mick Jagger Bland andra Oscar Wilde, John Lennon, Johnny Rotten, Keith Richards och Mick Jagger.
Load more

Recommended publications
  • Post-World War II Jazz in Britain: Venues and Values 19451970
    University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre).
    [Show full text]
  • Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
    Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
    [Show full text]
  • It's Better on the Inside
    001 Front 21 March 2019_Layout 1 21/03/2019 12:44 Page 1 N o. 7 5 THE MAGAZINE A P R 1 9 JOIN THE CLUB OUR NEW MEMBERS’ PROGRAMME WILL OPEN THE DOOR TO RESTAURANTS, BARS AND SHOPPING EXPERIENCES IN THE CITY AND BEYOND – SEE P36 TRAVEL LIVING FOOD&BOOZE How climate change is challenging Nap rooms and fermenting clubs in the Top chef Tom the decades-old rules of the industry chic new office of design agency Fjord Kitchin invites Olympic superstar Chris Hoy for lunch THE BIG INTERVIEW: PAUL WHITEHOUSE to discuss eating The Fast Show star talks about the BBC’s war on comedy and the simple joys of fishing and winning IT’S BETTER ON THE INSIDE How to get the most from City life, from the best new restaurants to our exclusive City AM Club for savvy professionals 002-003 DPS 21 March 2019_Layout 1 21/03/2019 13:09 Page 1 002-003 DPS 21 March 2019_Layout 1 21/03/2019 13:10 Page 2 THE PERFECT DESTINATION FOR TOWN & COUNTRY LIVING 10:59 004-005 DPS 21 March 2019_Layout 1 21/03/2019 13:11 Page 1 119 New Bond Street · Westfield, White City · Harrods · Cabot Place, Canary Wharf Royal Exchange · Selfridges, Oxford Street and Birmingham · Tel. 03455 040111 P P I 004-005 DPS 21 March 2019_Layout 1 21/03/2019 13:12 Page 2 Creating new heights The new Montblanc 1858 Geosphere. Spirit of Mountain Exploration. montblanc.com/1858 Royal Exchange · Selfridges, Oxford Street and Birmingham · Tel. 03455 040111 C C P 006 contents 21 Mar 2019_Layout 2 21/03/2019 11:35 Page 1 E D I TO R ’ S I N S I D E LETTER T H I S I S S u E ity A.M.
    [Show full text]
  • Georgie Fame
    Georgie Fame Born on 26th June 1943 in the industrial town of Leigh, Lancashire, his interest in music grew from family entertainment “sessions” at home and musical evenings in the church hall across the street, where his father played in an amateur dance band. Although he took piano lessons for a short time at the age of seven, it wasn’t until the advent of rock’n’roll on radio during the mid-fifties that young Georgie began to take the family piano seriously. Fats Domino, Jerry Lee Lewis and Little Richard were among his catalysts. Upon leaving school, shortly after his fifteenth birthday, he followed the family tradition and took a job as an apprentice cotton weaver in one of the many local mills. Leisure time, however, was spent playing piano in various pubs and with a local group, “The Dominoes”. In July 1959, at a summer holiday camp, Georgie was spotted by Rory Blackwell, the resident rock’n’roll bandleader, who offered the young singer/pianist a full time job. Goodbye, weaving shed. Rory and the Blackjacks departed for London, their hometown, when the summer season ended prematurely and Georgie went with them. The promised glamorous work did not materialise and the band broke up, but the determined young man from Leigh eventually took up a solo residency at The Essex Arms pub in London’s Dockland, where the kindly landlord provided a room to sleep in. In October of that year, the Marty Wilde Show was performing at the Lewisham Gaumont and Rory Blackwell arranged for Georgie to audition “live” for impressario Larry Parnes.
    [Show full text]
  • Brian Auger & the Trinity & Julie Driscoll
    a division of BRIAN AUGER & THE TRINITY & JULIE DRISCOLL “The Mod Years” Elisabeth Richter Hildesheimer Straße 83 30169 Hannover GERMANY Tel.: 0049‐511‐806916‐16 Fax: 0049‐511‐806916‐29 Cell: 0049‐177‐7218403 elisabeth.richter@mig‐music.de www.mig‐music.de Release: 24.06.2010 CD Kat. Nr.: MIG 00492 Format: 1 CD Jewel Genre: Rock Brian Auger talks about “The Mod Years” It was in April-May 1965, when Long John Baldry saw me playing in the Manchester club “The Twisted Wheel”. Baldry was already a famous name at that time. He even had his own hour a division of on television, so big deal. I was called to a meeting the following week with John, his manager and agent. John’s Hoochie Coochie Men were breaking up. It was suggested that my trio, the Trinity with bassist Rickey Brown and drummer Mickey Waller would become the rhythm section of the new band. I added Vic Briggs, John wanted his protégé Rod Stewart to sing with us. I suggested adding singer Julie Driscoll, who at that time was working in my manager’s office but waiting to start a career with a band. The Steampacket were a tremendous success live and went on to be called the first Supergroup. I arranged and interpreted stuff for everybody in the band. Because of arguments as what label to record for, we missed recording our own album. After the breakup, Baldry changed the band into The Shotgun Express and The Brotherhood, with Elton John at the piano. This anthology compiles tunes from before 1966.
    [Show full text]
  • 25 Years of the London Jazz Festival
    MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay Published in Great Britain in 2017 by University of East Anglia, Norwich NR4 7TJ, UK as part of the Impact of Festivals project, funded by the Arts and Humanities Research Council, under the Connected Communities programme. impactoffestivals.wordpress.com ACKNOWLEDGEMENTS This book is an output of the Arts and Humanities Research Council collaborative project The Impact of Festivals (2015-16), funded under the Connected Communities Programme. The authors are grateful for the research council’s support. At the University of East Anglia, thanks to project administrators CONTENTS Rachel Daniel and Jess Knights, for organising events, picture 1 FOREWORD 50 CHAPTER 4. research, travel and liaison, and really just making it all happen JOHN CUMMING OBE, THE BBC YEARS: smoothly. Thanks to Rhythm Changes and CHIME European jazz DIRECTOR, EFG LONDON 2001-2012 research project teams for, once again, keeping it real. JAZZ FESTIVAL 50 2001: BBC RADIO 3 Some of the ideas were discussed at jazz and improvised music 3 INTRODUCTION 54 2002-2003: THE MUSIC OF TOMORROW festivals and conferences in London, Birmingham, Cheltenham, 6 CHAPTER 1. 59 2004-2007: THE Edinburgh, San Sebastian, Europe Jazz Network Wroclaw and THE EARLY YEARS OF JAZZ FESTIVAL GROWS Ljubljana, and Amsterdam. Some of the ideas and interview AND FESTIVAL IN LONDON 63 2008-2011: PAST, material have been published in the proceedings of the first 7 ANTI-JAZZ PRESENT, FUTURE Continental Drifts conference, Edinburgh, July 2016, in a paper 8 EARLY JAZZ FESTIVALS 69 2012: FROM FEAST called ‘The role of the festival producer in the development of jazz (CULTURAL OLYMPIAD) in Europe’ by Emma Webster.
    [Show full text]
  • Copyrighted Material
    1 ORPHANS p there, the atmosphere was thin. They lived in a bubble, pro- U tected from the rigors of the world but also trapped inside a pressurized container that amplifi ed every thought, every action, every sound. The odds of ever reaching that rarefi ed position had been stacked heavily against them. But somehow they made it, catapulted to the stars in a junk bucket powered by hubris and jury-rigged for success. The junk bucketCOPYRIGHTED transformed into a juggernaut MATERIAL that hurtled around the globe two, three, four times over. Inside, an umbilical cord con- nected all three occupants, sustaining them while constraining all movement. As time went on, they yearned for individual freedom. They struggled, pushed and pulled against one another until, eventu- ally, the cord snapped. The juggernaut ran out of fuel and ground to a halt. And there it remained for twenty-fi ve years, like a rusted satellite 1 cc01.indd01.indd 1 88/25/09/25/09 33:01:12:01:12 PPMM 2 WALKING ON THE MOON fl oating in space; always visible but in perpetual stasis, evidence of a distant memory. A monument to the time when the Police were the biggest band in the world. Pop music is a dream. The promise of a perfect moment deferred. The music business is a machine in perpetual motion, passion conscripted into the service of industry. Music culture is born of tempestuous change and an incestuous genealogy. Each iteration of genre birthed by, but also forged in reaction to, the one before. Each owing a debt for its existence to the last.
    [Show full text]
  • What Is Post-Punk?
    What is Post-Punk? A Genre Study of Avant-Garde Pop, 1977-1982 Mimi Haddon Schulich School of Music McGill University, Montréal April 2015 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Mimi Haddon 2015 iii TABLE OF CONTENTS Abstract ........................................................................................................................................... vi Résumé ......................................................................................................................................... vii Acknowledgements ..................................................................................................................... viii List of Musical Examples ................................................................................................................ x List of Diagrams and Tables ........................................................................................................... xi List of Figures ............................................................................................................................... xii INTRODUCTION ........................................................................................................................... 1 Historiography and Genre ........................................................................................................ 4 Genre as Musical Style ..........................................................................................................
    [Show full text]
  • Thames Valley Cotton Pickers": Race and Youth in London Blues Culture
    "THAMES VALLEY COTTON PICKERS": RACE AND YOUTH IN LONDON BLUES CULTURE Matthew Christopher Goody B.A., Simon Fraser University, 2003 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF HISTORY In the Department of History O Matthew Christopher Goody 2005 SIMON FRASER UNIVERSITY All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Approval Name: Matthew Christopher Goody Degree: Master of History Title of Thesis: "Thames Valley Cotton Pickers": Race and Youth in London Blues Culture Examining Committee: Chair: Dr. Mark Leier Associate Professor of History Dr. Ian Dyck Senior Supervisor Associate Professor of History Dr. Karen Ferguson Supervisor Associate Professor of History Dr. Jerald Zaslove External Examiner Professor Emeritus of Humanities Date DefendedIApproved: %/6 SIMON FRASER UNIVERSITY PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies.
    [Show full text]
  • Melody-Maker-1958-09
    RACE• RIOTS SEIIOUSLY dis- tul'Nfll»rtherec.nt Over 114,000 C111l11 Wf:ekly outfweakoflnt••NICle rioting in London and other parts of the country-m3CI equallr disturbed at the absence of anr ~ 1plrftual, inclultrial • political move-meni­ ben of the ent.rtaln­ ment profession on Wednesday issued the following appeal to their audience, the public: AT a time• when rea.ioR hcu given roar to ofol­ tmee fn parts o BHtafn. we, people of all races tn 6.5 _enters with. Carnegie stars arrive the toorld of entertain­ ment, appeal to the pub­ Uc to re/ect racfal dfl­ crvnfnatfon fn an11 1hape big-band talent ; . or form. Violence wfll 1ettle noth­ ing: ft urlll onlv cause 1111..1 EXT Saturday is 1uf/mna to Innocent people and crf!ate fresh grleua nee&. I~ D-Day in the big TV We ap-pm l to our atUU­ ence~ evtTJtwhere to lofn battle for 15,000,000 ru fn opJ)Ol'f ng ani and (!VflTJI a,-,,ect of colour teenage teleview,ers. pre-f udlce whereuer U mav appear. Poised for adion in their respective comers are ABC­ The eppN.I• wu fl9IHHi TV~ producer Jack Good and lty 27 pt'oainetlt .-... BBC-TV's Russell Turner. "'8 of the profeulon. They w.,.: 6.5 • Broadside• Lorry ADI.Ell ChmllABH Jack Goocl is bidding for teenage l'ecrt CAIIII A.IMa COGAN attention with his fast·-moving Johnny OANCWO111N "Oh Boy I " series, whlle Russell . Lenl\le DP.. GAN CharG• ORAKI Turner aims to collect an even Ray £WNGTON bigger audience for his "new-look" 1 Tubby HAYIS Ted HEATH "SiJE.five Special" transmissions.
    [Show full text]
  • Moon Over Soho
    Moon over Soho Rivers of London, #2 by Ben Aaronovitch, 1964– Published: 2011 Victor Gollancz, London J J J J J I I I I I Table of Contents Dedication & Chapter 1 … Body and Soul. Chapter 2 … The Spice of Life. Chapter 3 … A Long Drink of the Blues. Chapter 4 … One Tenth of My Ashes. Chapter 5 … The Night Gate. Chapter 6 … The Empress of Pleasure. Chapter 7 … Almost Like Being in Love. Chapter 8 … Smoke gets in Your Eyes. Chapter 9 … The Forcing House. Chapter 10 … Funland. Chapter 11 … These Foolish Things. Chapter 12 … It don’t Mean a Thing. Chapter 13 … Autumn Leaves. Chapter 14 … I Woke Up this Morning. Historical Note Acknowledgements * * * * * All characters and events in this publication are fictitious and any resemblance to real persons, living or dead, is purely coincidental. J J J J J I I I I I For Karifa, because every father yearns to be a hero for his son. ‘Men have died for this music. You can’t get more serious than that’ —Dizzy Gillespie Chapter 1 Body and Soul. It’s a sad fact of modern life that if you drive long enough, sooner or later you must leave London behind. If you drive north-east up the A12 you eventually come to Colchester, Britain’s first Roman capital and the first city to be burned down by that red-headed chavette from Norfolk known as Boudicca. I knew all this because I’d been reading the Annals of Tacitus as part of my Latin training. He’s surprisingly sympathetic to the revolting Brits, and scathing about the unpreparedness of the Roman generals who thought more of what was agreeable than expedient .
    [Show full text]
  • Northern Soul Scene Project Steve Allen (SA) Interviewed by Jason Mitchell (JM) Date: 20Th July 2020
    Northern Soul Scene Project Steve Allen (SA) interviewed by Jason Mitchell (JM) Date: 20th July 2020 JM: Perfect, great stuff. So and the date is where are we the 20th? Yep, 20th of July. And my name is Jason Mitchell, I’m the interviewer. And could I ask you for your first name, please? SA: My first name is Steve. JM: Could you spell that for us? SA: STEVE. JM: And your surname? SA: Allen, ALLEN. JM: That's perfect. And this is a telephone interview for the northern soul project. Could I ask you where you were born? SA: I was born in Peterborough, Thorpe Hall to be exact. JM: Right, that's perfect. And would you mind telling us roughly when you were born? SA: When? 1948. JM: That's perfect, thank you very much. And were …. have you been known by any other previous names, say nicknames or any other names that someone else might have referred to you in these interviews as long as they were polite? SA: I'm sure there's lots of names, but no I have no other nicknames, pseudonyms, or stage names other than Steve Allen. JM: Perfect, that's great stuff. Okay, so the first thing I'm going to sort of do, just ask you a very broad question, and then we're kind of from there, I'll pick out bits to manoeuvre us down. Could you just tell us sort of about your introduction to northern soul and … and sort of the feel and how that was for you? SA: Okay, right.
    [Show full text]