Feargal Sharkey

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Feargal Sharkey Musical Legend and Co-founder of The Undertones Feargal has been recognised for his outstanding achievements in the field of music Feargal Sharkey first found fame as the lead vocalist of punk band The Undertones, famous for hit singles such as Teenage Kicks. Since then Feargal has worked in the business side of music including, for a number of years, being head of UK Music, which represents the UK's commercial music industry. TOPICS: IN DETAIL: Innovation Feargal Sharkey was a co-founder of The Undertones at their incepon in 1976. Creativity in the Digital Age His best-known solo material is the 1985 UK chart-topping single penned by Achieving the Impossible Maria McKee, A Good Heart, a worldwide number 1 in 1985. In the business side Reinventing Yourself of the music industry he was inially an A&R manager for Polydor Records, and Self-motivation then Managing Director of EXP Ltd. He was appointed a Member of the Radio Making a Difference Authority for five years from 1998 to 2003. He became Chairman of the UK Implementing Change Government task force the Live Music Forum in 2004 to evaluate the impact of Talent Management the Licensing Act 2003 on the performance of live music, and gave public evidence before the Culture, Media and Sport Commiee in 2008. LANGUAGES: He presents in English. WHAT HE OFFERS YOU: Having enjoyed some 12 years of world tours and hit albums, Feargal Sharkey is keen for us to adapt, progress and develop to help secure a solid foundaon from which a successful, vibrant and world dominang Brish online industry can be built. Having seen both sides of the industry his input from a unique perspecve is not only insighul, but also invaluable. HOW HE PRESENTS: Feargal Sharkey is at ease in front of worldwide audiences and delivers powerful high content addresses with charisma and charm. © 2019 Celebrity Speakers Ltd To book call: +44 (0)1628 601 400 Email: [email protected] Visit: www.speakers.co.uk.

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Feargal Sharkey Speaker Profile
Feargal Sharkey Musical Legend and Co-founder of The Undertones Feargal Sharkey first found fame as the lead vocalist of punk band The Undertones, famous for hit singles such as Teenage Kicks. Since then Feargal has worked in the business side of music including, for a number of years, being head of UK Music, which represents the UK's commercial music industry. Feargal has been recognised for his outstanding achievements in the field of musi In detail Languages Feargal Sharkey was a co-founder of The Undertones at their He presents in English. inception in 1976. His best-known solo material is the 1985 UK chart-topping single penned by Maria McKee, A Good Heart, a Want to know more? worldwide number 1 in 1985. In the business side of the music Give us a call or send us an e-mail to find out exactly what he industry he was initially an A&R manager for Polydor Records, could bring to your event. and then Managing Director of EXP Ltd. He was appointed a Member of the Radio Authority for five years from 1998 to 2003. How to book him? He became Chairman of the UK Government task force the Live Simply phone, fax or e-mail us. Music Forum in 2004 to evaluate the impact of the Licensing Act 2003 on the performance of live music, and gave public evidence before the Culture, Media and Sport Committee in 2008. What he offers you Having enjoyed some 12 years of world tours and hit albums, Feargal Sharkey is keen for us to adapt, progress and develop to help secure a solid foundation from which a successful, vibrant and world dominating British online industry can be built.
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Identity, Authority and Myth-Making: Politically-Motivated Prisoners and the Use of Music During the Northern Irish Conflict, 1962 - 2000
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Identity, authority and myth-making: Politically-motivated prisoners and the use of music during the Northern Irish conflict, 1962 - 2000 Claire Alexandra Green Submitted in partial fulfillment of the requirements of the Degree of Doctor of Philosophy 1 I, Claire Alexandra Green, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Date: 29/04/19 Details of collaboration and publications: ‘It’s All Over: Romantic Relationships, Endurance and Loyalty in the Songs of Northern Irish Politically-Motivated Prisoners’, Estudios Irlandeses, 14, 70-82. 2 Abstract. In this study I examine the use of music by and in relation to politically-motivated prisoners in Northern Ireland, from the mid-1960s until 2000.
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Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing.
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BBC Music Booklet Celebrating 80 Years of Music.Pdf
Celebrating Years of Music A Serenade to Music “We are the music-makers And we are the dreamers of dreams…” (Arthur William Edgar O’Shaughnessy, Ode) The story of BBC Northern Ireland’s involvement in nurturing and broadcasting local musical talent is still in the making. This exhibition provides a revealing glimpse of work in progress at the BBC’s Community Archive in documenting the programmes and personalities who have brought music in all its different forms to life, and looks at how today’s broadcasters are responding to the musical styles and opportunities of a new century. It celebrates BBC NI’s role in supporting musical diversity and creative excellence and reflects changes in fashion, technology and society across 80 years of local broadcasting. “ Let us celebrate the way we were and the way we live now. Much has been achieved since 2BE’s first faltering (and scarcely heard) musical broadcast in 1924. Innovation has Let us celebrate the ways we will be... been a defining feature of every decade from early radio concerts in regional towns and country halls to the pioneering work of Sean O’Boyle in recording traditional music and Sam Hanna Bell’s 1950s programmes of Belfast’s Let us count the ways to celebrate. street songs.The broadcasts of the BBC Wireless Orchestra and its successors find their contemporary echo in the world-class performances of the Ulster Orchestra and BBC NI’s radio and television schedules continue to Let us celebrate.” reverberate to the diverse sounds of local jazz, traditional and country music, religious services, brass bands, choirs, (Roger McGough - Poems of Celebration) contemporary rock, pop and dance music.
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Roman Graf Niedergang
Donnerstag 29. August 2013 Kultour 33 Aufgefallen Prototypen Beziehungsprobe am Berg des Punk ROMAN Ein Mann, eine Frau sie in Andrés ungeduldigem Bei- nigt André, vom einschiessen- ren scheitern. Nicht so der 35- KONZERT Nur schon wegen und ein Berg: In diesem ver- sein provokativ langsam ein den Adrenalin getrieben, vom jährige Roman Graf. Seine Spra- ihrer Hymne «Teenage Kicks» hängnisvollen Dreieck erzählt Croissant vertilgt. Testosteron, berauscht von der che ist klarer und schärfer ge- zählen The Undertones zu den Roman Graf eine Geschichte eigenen Kraft und der Erinne- worden, fast kristallin. So wird Legenden des Punkrock. Dass mit starker Sogwirkung. Bekanntes Motiv rung an die Pfadfinderabenteuer sein (Anti-)Held nach und nach sie mehr zu bieten haben, wer- Mit seinem Zweitling trotzt Die Erprobung von Beziehungen seiner Jugend. Nüchtern, ja fast transparent: Der Weg zum Gip- den die Iren am Sonntag an- der preisgekrönte Winter- am Berg ist ein altbekanntes lite- grausam präzise beschreibt der fel enthüllt das Psychogramm lässlich eines Auftritts im Ber- thurer Autor drohender Ab- rarisches Motiv, das Roman Graf eines sturen, unbelehrbaren ner ISC in Erinnerung rufen. sturzgefahr. gekonnt in die Jetztzeit trans- Mannes, der gegen sich selber portiert. Dabei hat er es nicht kämpft. «André beschloss, wei- «Wenn ich diesen Song im Radio Der Mann heisst André, ist nötig, von todesmutigen Free- ter zu klettern. Er durfte nicht spiele, muss ich ihn in den Anfang Schweizer und lebt in Berlin. Die ridern oder Transzendenz su- ins Zaudern geraten; Zaudern, einer anderen Platte überblen- Frau heisst Louise, kommt aus chenden Barfusskletterern zu Unentschiedenheit – das war den, weil ich nicht mehr spre- dem Osten Deutschlands und erzählen.
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Listening in on Belfast Punk Linsey Mcfadden Photo Courtesy of Sing Sing Records N the Late 1970’S Punk Rock Struck a City Divided by Religion and Politics
Listening In On Belfast Punk Linsey McFadden Photo Courtesy of Sing Sing Records n the late 1970’s punk rock struck a city divided by religion and politics. A city with an atmosphere permeating with the smell of hatred and fear, security checkpoints marred the entrance to the city centre, while bombings and shootings were commonplace. At Inight the only people that dared to walk the city’s streets were the one’s that enforced the curfews and the ones that broke them— punks. It wasn’t London and it wasn’t New York. They weren’t the only cities to carve out their stake in the punk rock world. Welcome to Belfast, a city where punk rock came at a time when it really made sense. In Northern Ireland, punk rock was never simply a fashion piece to be gawked at. Punk rock came to Belfast at a time of Troubles, a time when the city was more comparable to a warzone than a Western metropolis. It came at a time of blown out buildings, shootings, tense security, intimidation, curfews, and hate. “It was a scary place to be, in the city centre at night,” said Aidan Murtagh of Protex. “People stayed in their own areas where they felt safe. The only people about town at nights were British army, police and punks. These tensions probably added to the way the music was played and performed by many of the bands.” Until the relatively recent release of the Good Vibrations movie, Northern Irish punk had largely been pushed to the background as writers and filmmakers rushed to document the rise of punk in cities like New ork,Y London and L.A.
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What questions should historians be asking about UK popular music in the 1970s? John Mullen To cite this version: John Mullen. What questions should historians be asking about UK popular music in the 1970s?. Bernard Cros; Cornelius Crowley; Thierry Labica. Community in the UK 1970-79, Presses universi- taires de Paris Nanterre, 2017, 978-2-84016-287-2. hal-01817312 HAL Id: hal-01817312 https://hal-normandie-univ.archives-ouvertes.fr/hal-01817312 Submitted on 17 Jun 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. What questions should historians be asking about UK popular music in the 1970s? John Mullen, Université de Rouen Normandie, Equipe ERIAC One of the most important jobs of the historian is to find useful and interesting questions about the past, and the debate about the 1970s has partly been a question of deciding which questions are important. The questions, of course, are not neutral, which is why those numerous commentators for whom the key question is “Did the British people become ungovernable in the 1970s?” might do well to balance this interrogation with other equally non-neutral questions, such as, perhaps, “Did the British elites become unbearable in the 1970s?” My reflection shows, it is true, a preoccupation with “history from below”, but this is the approach most suited to the study of popular music history.
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The Clash and Mass Media Messages from the Only Band That Matters
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00 My Life As an Undertone OP56705 ALL Cpp.Indd 4 29/01/2016 11:35 One
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