#Keith Hopwood

[fancycolours]

HERMAN'S HERMITS. (Circa 1964.) Photo taken by Tony Gale.

[myvinylplaylist]

Herman's Hermits: Herman’s Hermits XX (Their Greatest Hits) (1973)

ABKCO Records

[algebrinathehermit]

26.10.1946

•••

☀ 🍁 ✨

•••

С днём рождения тебя, Кейт!

[mitjalovse]

The early 60's period stretched to when then? I agree, this shouldn't be seen as an introduction to me explaining the 60's, since I have my personal view on them, though I believe the middle of the era ended up as the finish for some. True, Herman's Hermits – you saw I am posting their song – shouldn't be seen as one of the also-rans, they had their own peculiarities, though they did follow the set of sonic protocols that were popular at the time. They would've sounded differently, had they been established earlier, but why is that terrible? While they felt a bit watered down in comparison to some of their contemporaries, we should understand the scene then already reached the level, where such players didn't seem out of the ordinary. Of course, the entire 60's didn't stop here.

[helloparkerrose]

[missy-lou-frodis]

Herman’s Hermits, from Teen Pin-Ups Magazine, Jan. 1968

[theoutcastrogue]

The causes of crime, classical Athens edition

[by Nick Fisher]

General discussions in classical Greek authors of the psychological origins of offences committed in a polis tend to start from a basic (and over-simple) distinction between two categories of motivations (cf. e.g. Aristotle, Politics).  Firstly, offences may be induced by philotimia, ambition, concern for or love of honour, and are therefore committed largely by the rich or the political elite, or those seeking to join such groups; these include, besides obvious political crimes, the offences of violent assault or exploitation motivated largely by hybris, the desire to gain pleasure by insisting on one’s superiority over others. Secondly, crimes may be committed through philochrematia, greed, desire for money; while some offenders may be rich elite men accepting large bribes, the majority of offenders in this broad category are often designated as ‘wrongdoers’ (kakourgoi) or ‘petty villains’ (mikroponeroi). [...]

In general, Athenians, like Aristotle in the passages mentioned above, found no problem whatsoever in identifying a causal connection between poverty and crime; our sources do not exhibit the uncomfortable denials expressed by some recent British governments. Forensic speeches readily make the connection between certain sorts of crimes and the pressures or compulsions of poverty, in contrast to crimes of calm deliberation or of hybris, which should excite no forgiveness at all. In a more elaborate theoretical disquisition, Diodotus, the speaker in Thucydides’ Mytilene debate who argues against the effectiveness of the death penalty, produces a sophisticated threefold typology of the causes of different types of offences. The first cause strikes a note by now familiar to us: ‘poverty, producing daring through necessity’, second comes ‘power, producing the desire for more through hybris and pride’, and third a more general category: the power of situations to arouse powerful emotions and stimuli for risky action.

In a different mode fall the theoretical discussions of the effects of property-equalisation in Aristophanes’ Ecclesiazousai. In the debate between the sceptical males and Praxagora we meet the women’s view that, come the revolution and the equal provision of sympotic food, drink and sex for everyone, all crime and hence the need for law courts would disappear. Blepyros suggests in turn that there will still be plenty of criminals about, and he mentions debtors who refuse to pay up, drunks who beat people up and commit hybris after a good feast, thieves, nocturnal clothes-stealers, and gamblers. Praxagora responds by claiming that such causes of disputes will cease to exist when everyone can have all the resources of food, drink, clothing and sex that they could desire; crimes motivated by desire for, or disputes over, property or cash will not occur. On the other hand assaults committed by those who have enjoyed a good feast and go round committing hybris may indeed still take place, and will need to be punished, presumably by some form of ‘legal system’ which will impose penalties in the form of cuts in the food rations. Here again we can see a contrast between the violent crimes induced by drink and traditionally upper-class excesses, and the thieving and clothes-stealing of those driven by poverty.

This emphasis on the compulsion of poverty as a cause of crime, however, did not result in any tendency in the Athenian legal system to withhold the severest penalties for robbery and theft.

~ Nick Fisher, “‘Workshops of villains’: Was there much organised crime in classical Athens?” in Keith Hopwood (ed.), Organised Crime in Antiquity (Classical Press of Wales, 2009)

[nemo-draco]

Sioni Bod Da

@fiddle-dee-dee777 This is the other song.

[sunset-supergirl]

Happy 75* birthday Keith Hopwood

[absolutely60s]

White collar.

[exclusivefullcolorposter]

[alystayr]

Herman's Hermits - No Milk Today

[outoftowninac]

NAUGHTY CINDERELLA

1925

Naughty Cinderella is a "romantic song farce” (play with music) in three acts by Avery Hopwood, from the French play Pouche by Rene Peter and Henri Falk and featuring songs by A.L. Keith and Lee Sterling. The original production was produced by Charles Frohman and E. Ray Goetz and staged by W.H. Gilmore. It starred Irène Bordoni. 

The play takes place in Paris and Venice.  In the story, Germaine Leverrier, the wife of an Olympic athlete, has an affair with a man from Parisian society. 

Frohman engaged the services of Paul Poiret to design the production. 

Irène Bordoni costumed by Paul Poiret for the production. Photo by Pach Brothers from Vogue, December 15, 1925.

The play premiered on September 21, 1925 at Nixon’s Apollo Theatre on the Boardwalk in Atlantic City, New Jersey.  

“Like most of the French comedies brought here for unblushing playgoers, its dialogue prickles with suggestiveness. It has evidently lost something in the adaptation, because it is only occasionally funny, a good bit of the conversation being in slang that has long passed out. We do not know whether ‘Naughty Cinderella’ will have long life or not, but we do know that it adds nothing to the American stage.” ~ PHILADELPHIA INQUIRER

The play moved from Atlantic City to Washington DC, shuffling off to Buffalo, and Pittsburgh, before arriving in Brooklyn for a short stay. 

Frohman recognized the play’s flaws and hired Wilson Mizner to act as play doctor, although he went uncredited. His participation was withheld until after the Broadway opening. At the end of the century, Wilson and his brother Addison were the subject of a musical by Stephen Sondheim, variously titled Bounce, Road Show, Gold! and Wise Guys. 

“Hopwood... generally digs Into the gutter and hand out a mess of cheap vulgar rot.” ~ BROOKLYN DAILY EAGLE

Meanwhile, at the same time Frohman’s Naughty Cinderella was moving toward Broadway, the Shuberts had also acquired the rights to Pouche, determined to create a full scale operetta from the material, which they named Riquette. When they learned of Naughty Cinderella, the Shuberts responded by naming their musical Naughty Riquette. As fate would have it, the battle of Naughtiness didn’t play out on Broadway, with Riquette waiting till late 1926 to join the Main Stem. 

The play finally arrived on Broadway on November 4, 1925, at the Lyceum Theatre. It stayed for 121 performances, mostly due to Irène Bordoni’s star power. 

Despite consistently poor reviews for the play, Bordoni was praised, and ticket sales were healthy. 

The cast included Nat Pendleton (a professional wrestler) in the role of boxer K.O. Smith. His double duty proved fodder for publicity as the run wore on. 

All four of the songs shoe-horned into Naughty Cinderella were sung by Bordoni. 

After the play closed on Broadway, Bordoni took the play to Boston and Philly.  At the end of March, Bordoni decided to tour to Cleveland, Chicago, St. Louis, Kansas City, San Francisco, and Los Angeles, where she would make her motion picture debut. Naughty Cinderella was abandoned for good because Frohman had found a new play for her. 

In March 1926 casting for the film version was announced. 

Paramount released the film in July 1926 under the title Good and Naughty.  In 1929, Bordoni made her feature film debut in Cole Porter’s Paris, recreating the role she had played on Broadway.  

In 1932, it was remade as This Is The Night starring Cary Grant (film debut), Thelma Todd, Lili Damita, and Charles Ruggles. Coincidentally, in 1933 there was a British film titled Naughty Cinderella, but the plot has nothing to do with the plays and films based on Pouche. 

Naughty Cinderella finally returned to Atlantic City as Good and Naughty, on August 1, 1926 at the Colonial Theatre (later known as the Center Theatre) on Atlantic Avenue. The theatre closed in 1978.  In April 1932, The Strand Theatre on the Boardwalk opposite Steel Pier, screened This Is The Night. 

[eritvita]

spell out your url using song titles !!

e -- Ebudae by Enya. r -- River of Dreams by Billy Joel. i -- I Would Do Anything For Love (But I Won’t Do That) by Meatloaf. t -- The Messenger by Keith Hopwood & Phil Bush. (Discworld’s Soul Music) v -- Venus by Lady Gaga. (80s synthwave v.) i -- I Want to Know What Love Is by Foreigner. t -- Tea For The Tillerman by Cat Stevens. a -- Addicted to Love by Robert Palmer.

stolen from: @youmaythinkyouknowme !! tagging: @legendarylullaby, @urobouris, @edelweissmage, @batteredoptimist, & @rosesundruffles​ !!

[helloparkerrose]

[missy-lou-frodis]

idk whose photo this is but i love it a lot