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Read Ebook {PDF EPUB} the Mersey Sound by Adrian Henri the Mersey Sound by Adrian Henri Read Ebook {PDF EPUB} The Mersey Sound by Adrian Henri The Mersey Sound by Adrian Henri. 1967 The Mersey Sound , collection of poems with Roger McGough and Brian Patten, published by Penguin (Penguin Modern Poets N°10) The Liverpool Scene, edited by Edward Lucie-Smith published by Rapp & Carroll. 1968 Tonight at Noon , published by Rapp & Whiting. 1969 City published by Rapp & Whiting Adrian Henri’s Talking after Christmas Blues, with music by Wallace Southam, published by Turret Books. 1970 Poems for Wales and Six Landscapes for Susan , Arc Press. 1971 Autobiography , published by Jonathan Cape. 1972 America , published by Turret Books. 1974 The Mersey Sound , revised edition published by Penguin. 1975 The Best of Henri , published by Jonathan Cape Haiku, printed by the Anvil Press, Liverpool. 1976 One Year , Arc Publications. 1977 City Hedges: Poems 1970-76 published by Jonathan Cape. Cover photographs by Susan Sterne Beauty & the Beast, with Carol Ann Duffy, published by The Glasshouse Press, Liverpool. 1978 Words Without a Story , with woodcuts by Franz Masereel published by Glasshouse Press. 1980 From the Loveless Motel , published by Jonathan Cape Antologia: Adrian Henri, published by Plaza & Janes, Barcelona, Spain. 1983 The Mersey Sound , with Roger McGough and Brian Patten, revised edition published by Penguin New Volume, with McGough and Patten, published by Penguin Penny Arcade, poems 1978-82, published by Jonathan Cape. 1986 Collected Poems , published by Allison & Busby/W.H. Allen. 1990 Wish You Were Here , poems published by Jonathan Cape. 1992 Souvenir of Normandy , poem with music by Andy Roberts, premiered at the Brighton Festival. 1994 Not Fade Away , poems published by Bloodaxe Books. 2001 Lowlands Away , poems and pastels for the RLPO libretto, Old School Press, Bath. First Happenings: Adrian Henri in the ’60s and ’70s, ICA. Love is. the Mersey Sound poet who was really a painter and performance artist. If you bought a Beatles album in the Sixties, chances are you also bought The Mersey Sound , that best-selling collection of poems by the Liverpool poets Brian Patten, Roger McGough and Adrian Henri. It was launched at the Cavern Club in 1967 to musical accompaniment. Their poems felt new, accessible and exciting. "Love is feeling cold in the back of vans," wrote Henri, "Love is a fanclub with only two fans / Love is walking holding paintstained hands / Love is /." But though he was best known as a poet, Henri was primarily a painter, as well as a collage-maker and performance artist. He taught at Liverpool Art College, having studied at Newcastle under Richard Hamilton, who remained an influence, as did Kurt Schwitters and Allan Kaprow, the American Happenings inventor. Kaprow’s How to Make a Happening , recorded in 1966, lays out, rather bossily, 11 rules for how to do it right (steer clear of art and culture, keep boundaries blurry, don’t rehearse, give up the idea of putting on a show, use real places and people and don’t rely too much on imagination). This small exhibition at the ICA is like a time-capsule – those confusing, tumultuous times captured under glass. It’s slightly dizzying, peering in at the artefacts 50 or so years on. Happenings or events (he preferred the latter term, partly because Liverpool shops called sales "events", as in Furniture Event and Discount Event), said Henri, consisted of "what you couldn’t stick to a canvas – people, obviously, smells, music, perishable objects, places." He saw events as a direct transition from collage and started setting them up in 1962. City , put on in Liverpool that year, was probably the first such in England. The handwritten plans for it are here. Equipment was to include two tape recorders and a staple gun with music from a portable radio tuned to Radio Luxembourg (your station of the stars) and tapes with sound effects of the city. "Some painting, collage etc to be done during performance." The cast was to include a poet, a painter, a photographer, a stage manager, a man in mask (in audience), and an electrician. Large, bearded, black-spectacled, here he is, in black and white TV footage declaiming his ironic Batpoem to music from the Liverpool Scene, with his band: "Help us smash the Vietcong / Batman / Help us show them that they’re wrong / Batman / Help us spread democracy / Get them high on LSD / Make them just like you and me / Batman /." There’s his Batmask (main picture) , along with a Batcomposition collage and a catalogue for a comic exhibition at the ICA in 1970 that featured Henri along with Jules Feiffer, Stan Lee and others. And an extraordinary painting, the Sgt Pepper -like Entry of Christ into Liverpool in 1964 , is an homage to James Ensor’s Entry of Christ into Brussels in 1889 , featuring Henri’s heroes and friends: Pere Ubu, William Burroughs, Charlie Parker, Charles Mingus, George Melly, and Patten and McGough among others. The many posters provide a guided tour of an era: Love Night – lots of pink hearts – at the Everyman Theatre in Liverpool; the Amazing Adventures of the Liverpool Scene , with an album produced by John Peel, who called him one of the great non-singers of our time (the Liverpool Scene were on the bill at Pop Proms at the Royal Albert Hall In 1969, along with Led Zeppelin and Blodwyn Pig); an Apollinaire night at the ICA in 1968, also featuring Michael Kustow, then director of the ICA and who often put on Henri’s work. Letters, singles, badges, photos vie for attention. In one, Henri wraps Yoko Ono in bandages for her Fog Piece at the Bluecoat in Liverpool in 1967. There’s a fascinating letter on thin airmail paper from Allan Kaprow addressed to Dear Mr Henri: "I think your idea of working with the local environment directly is important. The hard job is to gently sidestep the arty crowd and keep your big toe deep in the ground. It’s hard because arty types seem to be supportive…but at bottom all they want is good taste and this is equated with fashion. The job… is to ride in and above the world all at once; the communication systems no longer permit anyone to be alone." And this was in 1966! "And don’t think you have to recreate America," Kaprow goes on. "It’s not good for you or Liverpool." Henri remained firmly grounded in Liverpool. Not for him the fashionable London scene embraced by McGough and Patten. And Liverpool was where he met Catherine Marcangeli, the French curator of this exhibition and surely the world’s greatest Henri expert. Love Is… could have been written for her. She met him in 1986 when she was 19, travelling in England before university, and they were together, off and on and long- distance, for 15 years, while she forged a brilliant academic career in France and New York. She was 35 years younger than him and when he had a heart-bypass in 1999 followed by a series of strokes, she commuted from her job as a senior lecturer in art history at Paris-Diderot University to look after him and encourage him to keep working. She’s the executor of his estate (he died in 2000) and has catalogued his Total Art archive as well as editing collections of his poetry and curating exhibitions of his work. What Is The Mersey Sound Poem. 1. Introduction 2. Setting the scene (Suburban poetry) 2.1. Liverpool: pop poetry 3. Adrian Henri 3.1. Biographical notes 3.2. Main works 3.3. Style and influences 3.4. “Love is. ” 4. Roger McGough 4.1. Biographical notes 4.2. Main works 4.3. “Let Me Die a Youngman’s Death” 5. Brian Patten 5.1. Biographical notes 5.2. Main works 5.3. “Little Johnny’s Confession” 6. Personal conclusion 7. Bibliography 1. Introduction. When I heard about an anthology written by Liverpool poets, I immediately decided to write this paper about it. I have been in love with the pop music and The Beatles since I was a young teenager. That is the reason …show more content… The most known was The Mersey Sound, published in 1967. The same year, E. Lucie-Smith edited The Liverpool Scene; and in 1983, New Volume was published. The appearance of these volumes, especially the first two, provoked a huge popular interest in this poetry. Sixteen years after the publication of The Mersey Sound, fourteen editions had already appeared and more than two hundred fifty thousand copies were sold. Despite the fact every poet in this group of three has his own style; all of them coincide in writing innovative poetry. Their poems are conceived to be presented in public, on the stage, and they are usually accompanied by music. Popularly, this is the so-called pop poetry of the sixties, something that revolutionized the limits of the poetry as a genre. This brought the poetry to the ordinary …show more content… Love has been called “you” and “me” referring to the two lovers (line 17). Personification of love has given it a significant presence. Love makes a lover feel imprisoned in the jail of love (line 18). In other words, love keeps you go back to your lover again and again. Even when the two lovers are physically separated from each other, they can feel the presence of love in their lives (line 19). The feeling of love is so great that it doesn’t know any bounds. It transcends all boundaries of physical existence and makes the person feel the presence of their beloved even they are not close to them.
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