#Liverpool Everyman

[jazzreloaded]

Play On! By Talawa Theatre @Belgrade Theatre 26 / 09/ 24

Review by Vidal Montgomery

The press night performance of Play On! - A Broadway Blues with a twist on "Twelfth Night" - was not undersold in terms of bums on seats ( because it was a full house, and based on this showing it deserves a full house everywhere it goes!), but in terms of spectacle; because for the near-three hours running time, it was thoroughly engaging, spectacularly entertaining and, despite dealing with some serious subject matters ( such as how a misogynistic Harlem resists change, made all the more relevant with the recent revelations around Music Moghul Sean Comb's recent indictment), it was joyful for the audience from start to end, evidenced by the raucous laughter, gasps and applause throughout.

The title "Play On!" may also refer to the four year development process to get a work of this magnitude and depth and craft and intimacy and nuance in front of a live audience; it is no mean feat that this splendid work of Ellingtonian excellence by Liam Godwin and Benjamin Burell is finally in front of an audience, and with a truly magnificent cast from top to bottom:

Although the dramaturgy obviously has its focal characters, the dancers / understudies / supporting cast acquit themselves equally well, and the audience is gifted with over a dozen amazing voices ( of which Lifford Shillingford was my personal favourite ), who perform comparably, shouldering the responsibility of energetic dance, tense drama and soulful song, and carrying the narrative along. This for me is the most captivating thing about this show. Tanya Edwards as Miss Mary and Llewellyn Jamal as Jester deliver stylish and soulful performances late on into the second act just I thought the show had probably reached its peak - boy was I wrong!

The core story of Play On! revolves around the day Duke Ellington loses his muse, and the lengths- and distance! - one lucky lady will go to to help him get it back; Earl Gregory, Koko Alexandra, Tsemaye Bob Egbe, and Cameron Bernard Jones play the four pillars of the love quadrangle that is "The Duke", his old flame ( lady Liv ) , his new muse ( Viola "Vyman" ) and Rev, the manager of the Cotton Club clutching at straws and clasping his hands in his hopes of keeping the four together as exemplars of Ellingtonian Excellence - and also keeping the show on the road...

Sadly the live band - directed by the unassuming Ashton Moore and delightfully driven by the delicate drumming of Empirical's own Shane Forbes - are not featured as characters in their own right - I am sure that later productions in the three month run will attend to this oversight.

Despite this, the mix of moods and blues and beats and grooves from the bandstand become the main character, and for me ( as a musician! ) this is the star of the show: Ellingtonian Classics like Mood Indigo, I got it Bad, It Don't mean a thing, Black Butterfly Rocks In My Bed and In a Mellow Tone are turned inside out and taken back from the trash heap of Abersold Appropriation,and are played in a way that suits the strengths of individual artists, and balances temperaments of their characters as a whole as they play moves towards reaches its climactic reveal; at this moment the only other disappointment was that the band was not as big as, say, the English Touring Opera's for the recent run of "The Rakes Progress" : With this amount of dramatic tension in the stage, and with the audience in the palm of the band's hands the Ellington Big band, really needs to be a BIG band.

As it was, on the night Kaz Hamilton and Alexander Polack acquited themselves very well, making a myriad of moods that were both historically authentic and stylistically de jour. And the commitment to shared seat of Chris Hyde / Josh Vadivello on Double bass ( NO electric big band era please! ) brings gravitas authenticity and sensuality to the greatest american songbook in a way that only a Double Bass can. This show is all about that bass!

Having recently sat through the often turgid and salacious KAOS, a reworking of the mythology of Orpheus and Euridice, ( which was not a patch on Marcel Camus Seminal 1950's classic ) and also attended the afforementioned reworking of Igor Stravinsky's "Rake's Progress" ( often not my sense of humour, albeit markedly less turgid and salacious than Charlie Covell's Netflix Production ) I was far from convinced that , per se, " A reworking of Twelfth Night " was going to as vivacious, contemporary , and nourishing to the soul as it turned out to be. But on this occasion I was rewarded for my bravery ( And by "bravery" I mean only braving the inclement British weather ) , and I will forever regard Play On! as somewhat of a late birthday present - ( or maybe early Christmas gift? )

Ironically, whilst sipping free Prosecco and listening to a(nother) jazz function band in the reception area after the show , I had the good fortune to speak with one the trustees of the Talawa Theatre and we discussed how important it may be to not label Play On! as ( simply ) a "jazz show", because of how many people may miss out on an amazing contemporary socially and culturally relevant human experience, simply because they do not know or have not yet been sold the depth and breadth of the jazz canon.

But Play On! is "Jazz Hands" in safe hands. And I can say with confidence that Talawa Theatre have a winner on their hands; it is Black Joy. And "Black Joy" may turn out to be a better euphemism for the vibrancy we expect "Jazz" to bring to us. Congratulations on the fully immersive experience that Director Michael Buffong brought to the Belgrade Theatre tonight.

PS: As with many theatre shows, the stupidly difficult train schedule doesn't really support the 2+ hour format, but I can only say that on this occasion it was worth missing our last train to catch the "A Train" one more time...

Talawa’s Black Joy season presents:

Play On!

A new Jazz musical

Based on Shakespeare’s

“Twelfth Night”

Conceived by Sheldon Epps

Book by Cheryl L.West

Music by Duke Ellington

Produced by Talawa Theatre Company and The Belgrade Theatre

Co-produced with Birmingham Hippodrome, Bristol Old Vic, Liverpool Everyman & Playhouse, Lyric Hammersmith Theatre and Wiltshire Creative

Artwork by Feast Creative

For the full programme, click or scan the image below:

[poetickrogan]

Saw a great play last night that contained multiple instances of cat murder, torture and 90's dance sequences in the context of Irish liberation

[luvliverpool]

The old Everyman

[mydaddywiki]

Alan Scarfe

Physique: Average Build Height: 5′ 10¾″ (1.80 m)

Alan John Scarfe (8 June 1946 – 28 April 2024; aged 77) was a British–Canadian actor, stage director and author. He was an Associate Director of the Stratford Festival (1976–77) and the Everyman Theatre in Liverpool (1967–68). Best known for the films Lethal Weapon 3 and Double Impact, Scarfe won the 1985 Genie Award for Best Performance by an Actor in a Supporting Role for his role in The Bay Boy and earned two other Genie best actor nominations for Deserters (1984) and Overnight (1986) and a Gemini Award nomination for best actor in aka Albert Walker (2003). Besides his film roles, he also appeared in the TV series Seven Days and Star Trek: The Next Generation.

Being a Star Trek fan, I should be more familiar with him, but on the show he’s usual covered up that handsome face in make-up. Though I did take notice of his characters whether it’s his performance or his hotness shining though the make-up is up for grabs. One thing for sure, this guy should be more famous. I mean look at him. Handsome and he has a sexy voice. That all I need.

Born in London, but raised in Vancouver, he attended the London Academy of Music and Dramatic Art from 1964 to 1966, and then went on to appear in more than 100 roles in stage productions. Sadly, Scarfe retired from screen acting in 2007.

Twice married, his first wife was actress Sara Botsford and later actress Barbara March, who played Lursa, one of the villainous Duras sisters, on three Star Trek series. They were married for 40 years before her death in 2019. Scarfe died on April 28 from colon cancer at his home in Longueuil, Quebec, Canada. He is survived by his daughter Tosia and son and actor Jonathan Scarfe, and grandchildren.

RECOMMENDATIONS: The Hamster Cage (2005) - Rear Nudity Seven Days (TV Series 1998–2001) Star Trek: The Next Generation (TV Series 1991–1993) Double Impact (1991)

[theburialofstrawberries]

none of you understand king lear's 2008-09 run at the everyman theatre in liverpool is my retroactive 9/11

[crepesuzette2023]

Mike McCartney was an artistic

What was the background of The Scaffold coming together?

I was a ladies hairdresser in Liverpool. One of them was Lewis Collins from The Professionals. He and I were juniors; he was younger than me at Andre Bernard Ladies Barbers in Liverpool. [...] I was passing up pins to the stylist Mike Weinblatt, he was a London boy, he said “You are arty Peter.” They had a Michael there, one of the senior staff was called Michael, so I couldn’t be called that so I went on the first name. My name is Peter Michael. So I became Peter, he said “You are an artistic, aren’t you Peter?” and I said “Why?” He said “Come down to The Hope Hall in Liverpool. It’s now the Everyman theatre. It’s a very important theatre, all the writers and the actors that came out of there was extraordinary.

But I went down with him to do these underground happenings and events and these two people were running it, John Gorman, a post office engineer and a poet called Roger McGough who was a teacher. Adrian Henri the painter, he was there as well. I just went to see it at first and they got me up and I tried to do a little sketch called “Old Folks”. I just read it from a piece of paper and the audience laughed. I thought “Ooh god, I can do this? They like it.” But we are collectively called The Liverpool One Fat Lady Non Electric Show. Then we got rid of a couple and three men emerged and we called ourselves Scaffold.

(Mike McCartney interview on The Strange Brew Podcast)

[myloveiseverything]

I posted 11,159 times in 2022

That's 4,663 more posts than 2021!

18 posts created (0%)

11,141 posts reblogged (100%)

Blogs I reblogged the most:

@hldailyupdate

@stylesrainbows

@lovingstheantidote

@bluewinnerangel

@awesomefringey

I tagged 5,905 of my posts in 2022

Only 47% of my posts had no tags

#0 - 132 posts

#hl - 2,263 posts

#louis tomlinson - 1,141 posts

#harry styles - 881 posts

#baby boyfriends - 255 posts

#lhh - 195 posts

#fanart - 156 posts

#black and white - 139 posts

#larry stylinson - 113 posts

#harry being harry - 103 posts

Longest Tag: 84 characters

#it's longer than that now and you can bet they still look at each other the same way

My Top Posts in 2022:

#5

It’s arrived. 💙

See the full post

3 notes - Posted September 21, 2022

#4

I started using face app on both Harry and Louis....I mean it's not fair how can they be stunning either male or female.....

Here is Harry

See the full post

4 notes - Posted August 9, 2022

#3

Everyman Cineman Liverpool is showing My Policeman.

Just booked my ticket to watch it there.

This is what the cinema looks like, I'm going to feel like I'm going to be sat in my own lounge. I mean how comfy do those seats look?

4 notes - Posted October 21, 2022

#2

With amount of trailers I've seen for DWD already I feel as if I've watched most of the movie....

4 notes - Posted August 30, 2022

My #1 post of 2022

The presenter just mentioned Louis Tomlinson when speaking about Billie Ellish and her possible guest......

Cue Circus music!!!!! 

9 notes - Posted June 24, 2022

Get your Tumblr 2022 Year in Review →

[yorkcalling]

North By Northwest Announced for York Theatre Royal

A Wise Children, York Theatre Royal, HOME Manchester and Liverpool Everyman & Playhouse co-production ALFRED HITCHCOCK’s NORTH BY NORTHWEST  Adapted and directed by Emma Rice York Theatre Royal, 18 March – 5 April 2025 Based on the Turner Entertainment Co. Film North by Northwest Produced by special arrangement with Warner Bros Theatre Ventures and Kay & McLean Productions It would be…

[vmonteiro23a]

ONCE IN ’79: Ian McCulloch of Echo & The Bunnymen . Photo by Duncan Lomax. 

ONCE IN ’79: Ian McCulloch of Echo & The Bunnymen . Photo by Duncan Lomax.  “July 22, 1979 ECHO & THE BUNNYMEN are featured in the NME on the heels of their eighth gig. It took place in Liverpool at the Everyman Theatre and staff writer Paul Du Noyer was intrigued at the band’s lack of a drummer. Lead singer Ian McCulloch “a pair of huge eyes and an elaborate quiff” explained, “Er’ that’s ‘cos…

[influencermagazineuk]

Elizabeth Line Shortlisted for Prestigious RIBA Stirling Prize

The Elizabeth line, a significant addition to London’s transport network since its opening in 2022, has been named one of the six contenders for the 2024 RIBA Stirling Prize for architecture. The Royal Institute of British Architects (RIBA) announced the nominees, highlighting a diverse range of projects that showcase architectural excellence across the UK. Among the notable nominees are the newly refurbished National Portrait Gallery, a social housing project in East London, and a renovated dairy farm in Dorset designed to be accessible for wheelchair users. This year’s shortlist prominently features London-based projects, with four out of the six contenders located in the capital. The winner will be announced in October at the Roundhouse in London. Last year, the John Morden Centre, a day care facility for retirees, took home the prize. The Stirling Prize, established in 1996, is awarded to the architect of the most significant building of the year, judged on criteria including design vision, innovation, and originality. Previous winners have included iconic structures such as Liverpool's Everyman Theatre, Hastings Pier, and the Scottish Parliament building in Edinburgh. The 2024 Nominees: - Chowdhury Walk, London (by Al-Jawad Pike)Chowdhury Walk features 11 homes, seven of which are designated as social housing. Built on a former parking and garage site, this project is praised for its sculptural form and strong, confident presence. The panel highlighted it as an exemplary blueprint for social housing, offering a pedestrian and cyclist-friendly environment. - The Elizabeth Line, London (by Grimshaw, Maynard, Equation, and Atkins)The Elizabeth line has already received the title of RIBA's London Building of the Year. Judges commended it as a "transport tour de force" and a new standard for inner-city transport. The rail line, which stretches from Berkshire to Essex, was named after the late Queen Elizabeth II. - King’s Cross Masterplan, London (by Allies and Morrison and Porphyrios Associates)Two decades in the making, the King's Cross Masterplan has transformed the area into a vibrant hub of activity. The development includes new streets, squares, offices, schools, university facilities, and accommodations. The judges lauded its urban beach by Regent's Canal, calling it a valuable addition to London’s public realm. - National Portrait Gallery, London (by Jamie Fobert Architects and Purcell)Following a three-year refurbishment, the National Portrait Gallery reopened last year with significant enhancements. A new entrance featuring bronze doors with hand-drawn portraits by Tracey Emin, a light-filled learning center, and accessible public spaces have been added. Accessibility improvements, including an entrance ramp and wider doorways, have made the gallery more welcoming to all visitors. - Park Hill Phase 2, Sheffield (by Mikhail Riches)The Park Hill Phase 2 project in Sheffield is part of the continued regeneration of the iconic Park Hill estate. The development has been praised for its thoughtful design and contribution to the local community, providing high-quality housing and public spaces. - Wraxall Yard, Dorset (by Clementine Blakemore Architects)Previously a dilapidated dairy farm, Wraxall Yard has been transformed into highly accessible holiday accommodation. The project includes extensive yet discreet features for disabled guests, particularly wheelchair users. Clever landscaping has minimized the need for ramps and obvious handrails, promoting a high degree of independence for all visitors. Award Criteria and Significance The RIBA Stirling Prize is not only a celebration of architectural achievement but also a recognition of projects that contribute positively to the built environment and society. RIBA President Muyiwa Oki emphasized that this year’s shortlisted projects demonstrate the ingenuity and diversity of modern architecture. He praised the nominees for raising the bar in various aspects, from social housing and urban regeneration to accessibility and environmental sustainability. “Whether raising the bar for social housing, upgrading city transportation, or repurposing dilapidated buildings to create heritage-conscious urban and rural developments, each scheme thoughtfully adapts elements of our existing built environment,” Oki stated. He also highlighted the importance of sustainability and regeneration in contemporary architecture, commending the projects for placing these values at the forefront. As the architectural community and the public await the announcement of the winner, the shortlisted projects serve as a testament to the creativity and impact of modern architecture. The Elizabeth line, with its blend of functional design and innovative infrastructure, stands as a strong contender for the prestigious award, reflecting the transformative potential of well-executed architectural projects. Read the full article

[walkswithmycamera]

Liverpool City Escape - extended: "MOVING DAY."

"I enjoy writing about our travel trips and sharing perhaps a different perspective or slant than you may experience with other travel blog writers." 

I guess you should view them as "travel stories" 😉 and they're generally a little longer than my normal posts.

++++++++++++

This story continues down below with more photos (as well as another link to the blog article) and the reason for the extension of our stay, but if you would prefer not to scroll down and read the blog article in full JUMP THERE NOW. We ended up in Southport, one day!

We're blaming it on the Rail Strike!

Here's the story.... We had to move on to a different hotel for our final night due to the ASLEF train drivers strike, which meant we couldn't get home (Friday 1 March 2024). A rather unwelcome last minute surprise, which meant we either had to forego our last night as well, thereby losing money into the bargain if we returned a day earlier. Unfortunately, that wasn't an option - we found we could only use the tickets on Northern Rail, rather than alternative rail services. Neither could we change them for an alternative ticket, as the system wanted to charge us another £20 for the change - on top of losing half of our money on the hotel room. So, that's why we said "stuff it" and booked an extra nights accommodation. Always have a PLAN B.

The story continues: The Friday night price worked out at around £104 per night if we stayed in the current hotel (paying £79 per night booked with Secret Escapes, which we couldn't justify and even after speaking with them on the phone regarding the travel disruption, the Aloft Liverpool wouldn't match the price for an additional nights' stay - hence why we ended up hopping over to an alternative accommodation due to the rail strike!

So, before moving out that lunchtime we took advantage of the free Welcome Drink. Of course, LittleManTravels joined us for this bit, he's very partial to a drop of the falling down water!

Here he is above, in the lobby bar of the Aloft Liverpool Hotel.

The Welcome Drink came as part of the deal with Secret Escapes, as well as the late checkout. Afterwards we made our way onto pastures new, down on the waterfront. The Travelodge on The Strand, where we had also previously stayed for 'one night only'.

It's turned out this particular Travelodge has become one of our 'Go To' places for last minute bookings and a single night stay. We know what we're getting and, it's a fairly straightforward walk to and from Lime Street railway station too.

TRAVELODGE LIVERPOOL CENTRAL THE STRAND.

So, we ended our final night staying just down the road at a different hotel on the waterfront. 

Here's LittleManTravels again.... Yes, there's a bottle of wine there with him, one we brought back with us following a visit to All Bar One after a visit to the Everyman Cinema.

There's much more to this particular travel story, especially because we were staying longer than originally planned. More photography of the Aloft Hotel, photos and info about the Travelodge on The Strand, our wanders around Liverpool, discovery of a bar we never knew existed. It was hidden away in a very nice Victorian house. Why we ended up in Southport, Birkenhead over the over side of the River Mersey - read about it here.

[intercreativepudlo]

On privilege.

I was first prompted to think about my own privileged position in the world when I moved to the UK.

Growing up in Poland in the 90s and early 00s, I knew only a handful of people who weren't white and I never gave much thought to the way they experienced living in that society. I left to study a performing arts degree in Liverpool, UK in 2007.

I clearly remember that conversation I had with my friend from university. Her parents came to the UK from India and she was born in the UK. She grew up in Manchester and to me when I met her, she was just British. I didn't think about it much. But when we talked about it, she told me that despite the fact I had only just arrived there, people were more likely to assume I was from there and to assume she wasn't. I was initially skeptical about that because I really did feel like an alien in the UK when I first got there. I was the only foreigner in my class. It was a whole other world. England was strange to me, much different than the mainland. I didn't particularly try to fit in but I did my best to perfect my English accent, for perfectionism reasons, mostly, and because I wanted to act in English plays. I didn't like the idea of being treated better than someone else for no reason other than my ethnic background, it made me feel weird and uncomfortable.

My friend told me that people would simply assume I was from here because I was white and they just assumed she belonged somewhere else because she wasn't. I think that was really when I first started thinking about it and once I saw it, I couldn't un-see it. I had of course learned about slavery, colonialism, I was aware of racism, but I rarely thought about what that really meant in the context of today to everyday people, before that conversation.

Moving through the world today, the world post BLM, I find that whenever I have a conversation in which the subject of privilege comes up, it's safe to assume that people who have it will react with a degree of hostility and aggression, at the very least mockery and some mumbling about how everyone is oh, so PC these days. Something of the kind. People who have it get very defensive about privilege. The default is to come up with an endless list that's meant to prove they don't have it, how they've worked so hard to be where they are and how anybody can do what they did, all the challenges they have faced and overcome. Being privileged is hard to admit when you feel like the underdog most of the time. And in a world where your benchmark of success are everyman billionaires or at least those people who brag about their wealth and lives on social media, basically everyone feels like the underdog.

Still, personal beliefs don't change the fact that it is objectively easier for a person with Caucasian features to move through the world unobstructed than it is for anybody who doesn't look Caucasian. This includes daily life and travelling. Of course, this is utterly insane but it doesn't make it any less true. It's part of the crazy, topsy-turvy setup of the world we live in and a direct result of the not-so-distant, after all, history.

When I first arrived in Australia, what struck me was the illusion of equality. Australia does this very well - the institutions emphasise over and over just how equally they treat everybody. But it's all too plain to see that all this is mostly a sort of covering-our-arses approach, not justice. Institutions really do try to say all the right things, so I was very weirded out when I encountered Australians being casually racist and simultaneously in utter denial of the existence of racism in this country.

I often think of diversity quotas in this context. Do they really make things better or are they simply an attempt to sweep the mess under the rug and pretend that the problem of racial injustice does not exist or is no longer really relevant? Could this practice be contributing to entrenching white privilege? Overall, of course it is better to include people from diverse backgrounds and cultures than it is to exclude or ignore them. But it's always helpful, I think, to ask who gets to do the including.

This leads me to consider Pierre Bourdieu's concept of habitus, which can be defined as "self-regulating behaviour to fit social expectations - a feel for what is beneficial and what is detrimental" (Ramsey, 2003). Our ingrained social behaviours, which we acquire similarly to language acquisition, that is without being conscious of it, play a significant role in maintaining cultural capital and perpetuating inequalities. Viewed through this lens, it is clear that there exist power dynamics inherent in the act of including, therefore our goal should be to dismantle structural barriers to representation rather than being satisfied with superficial practices.

In relation to the above, I have often thought about casting choices and representation. I usually reach the conclusion that it's not enough to simply cast a person of colour in a role written for or from the perspective of someone who's white. It is still possible to adjust characters and scripts to reflect casting choices in a more sensitive and inclusive way, ideally with some consultation. But to really change the industry to reflect a full array of human stories, it is necessary for people from from diverse cultures and backgrounds to tell their own stories from their own perspective with all that entails, including writing, directing, and producing. We will not reach the kind of equality in our lifetimes where ethnicity is truly irrelevant to casting choices, nor should we.

Our cultural background is not irrelevant to our experience of life, no matter where in the world we are. It is important for this to be reflected in the stories we tell, otherwise, we're just whitewashing and incorporating everyone into this dominant thing we broadly call western culture, proceeding under the assumption that the western experience and understanding stands for the default human experience and understanding. To question its dominance is paramount to understanding the world we live in.

References:

Ramsey, G. (20 April, 2023). Pierre Bourdieu & Habitus (Sociology): Definition & Examples. Simply Sociology. https://simplysociology.com/pierre-bourdieu-habitus.html

[kurtlukiraz]

Skinner'ın "tökezlemiş bir neo-noir" cinayet gizemi olarak tanımladığı filmin yapımı 10 yıl sürdü ve şanssız bir DJ'i konu alan, bizzat rapçi tarafından çalınan bir müzikal. Peki hayranlar ne zaman The Darker the Shadow, the Brighter the Light'ı izleyebilecek ve filmde başka kimler rol alacak? Öğrenmek için okumaya devam edin. Gölge Ne Kadar Koyuysa, Işık da O Kadar Parlaktır çıkış tarihiMike Skinner.The Darker the Shadow, the Brighter the Light ilk kez Eylül ayının sonunda Liverpool, Bristol, Birmingham ve Londra'daki Everyman sinemalarında gösterime girerken, ardından Skinner'la canlı bir Soru-Cevap bölümü yapılan gösterimler 6 Ekim'de sona erdi. Bununla birlikte, The Streets'in aynı isimli yeni albümünün bugün (13 Ekim Cuma) piyasaya sürülmesi ve 22 Ekim'den itibaren Birleşik Krallık ve İrlanda turnesiyle birlikte, bu albümle yeniden gözlerimizi şenlendirebileceğimizi umuyoruz. yakında. Gölge Ne Kadar Koyuysa, Işık da O Kadar ParlaktırMike olarak da anılan bir DJ olarak başrolde Mike Skinner'ın yer aldığı kadroda ayrıca zengin kız arkadaşı Ava'yı oynayan aktris Bella May ve Mike'ın yardımcısı Free rolünde Lateef "Teef" Ojetola da yer alıyor.Oyuncu kadrosunun büyük bir kısmı Skinner'ın kişisel arkadaşlarından oluşuyor. Gölge Ne Kadar Koyuysa Işık da O Kadar Parlak neyle ilgili? Filmde bir DJ oynamasına rağmen Skinner, filmin "hiçbir şekilde otobiyografik olmadığını" söylüyor; ancak Londra'daki Visions ve Hoxton Hall'un yanı sıra Manchester's Warehouse Project ve Club Liv gibi mekanlarda performans sergilediği gerçek görüntüler de mevcut. Buna benzer daha fazlaSkinner, filmin galasında Sky News'e "Bu bir müzikal ama şarkılar seslendirme" dedi. Ancak "caz elleri veya elektrik direkleri üzerinde dans etmeyi - bu bir sonraki film" beklemediğini de sözlerine ekledi. Bilgilerinizi girerek şunları kabul etmiş olursunuz: Şartlar ve koşullar Ve Gizlilik Politikası. İstediğiniz zaman abonelikten çıkabilirsiniz."Neredeyse kara film türü bir şey gibi başlayan ama sonra kendini kaptıran çok basit bir hikaye" dedi. Onun "çok aptalca bir hikaye" olarak adlandırdığı hikaye, DJ'lik dışı çeşitli faaliyetlere çekilen Mike'ı konu alıyor: bir uyuşturucu anlaşmasını finanse etmek ve berbat etmek, zengin bir kadınla aşk yaşamak, bir tür cinayeti çözmek.Gölge Ne Kadar Karanlıksa, Işık da O Kadar Parlak FragmanıNe yazık ki, The Darker the Shadow, the Brighter the Light için bir fragman yok ancak burayı tekrar kontrol etmeyi unutmayın, çünkü elimizde olur olmaz bu bölümü güncelleyeceğiz.Film kapsamımızın daha fazlasına göz atın veya neler olduğunu öğrenmek için TV Rehberimizi ve Yayın Rehberimizi ziyaret edin.Radio Times dergisini bugün deneyin ve yalnızca 10 £ karşılığında 10 sayıya sahip olun, AYRICA evinize teslim edilen 10 £ John Lewis and Partners kuponu da alın - hemen abone olun. TV'nin en büyük yıldızlarından daha fazlası için The Radio Times Podcast'ini dinleyin.

[gundemburadadedim]

Skinner'ın "tökezlemiş bir neo-noir" cinayet gizemi olarak tanımladığı filmin yapımı 10 yıl sürdü ve şanssız bir DJ'i konu alan, bizzat rapçi tarafından çalınan bir müzikal. Peki hayranlar ne zaman The Darker the Shadow, the Brighter the Light'ı izleyebilecek ve filmde başka kimler rol alacak? Öğrenmek için okumaya devam edin. Gölge Ne Kadar Koyuysa, Işık da O Kadar Parlaktır çıkış tarihiMike Skinner.The Darker the Shadow, the Brighter the Light ilk kez Eylül ayının sonunda Liverpool, Bristol, Birmingham ve Londra'daki Everyman sinemalarında gösterime girerken, ardından Skinner'la canlı bir Soru-Cevap bölümü yapılan gösterimler 6 Ekim'de sona erdi. Bununla birlikte, The Streets'in aynı isimli yeni albümünün bugün (13 Ekim Cuma) piyasaya sürülmesi ve 22 Ekim'den itibaren Birleşik Krallık ve İrlanda turnesiyle birlikte, bu albümle yeniden gözlerimizi şenlendirebileceğimizi umuyoruz. yakında. Gölge Ne Kadar Koyuysa, Işık da O Kadar ParlaktırMike olarak da anılan bir DJ olarak başrolde Mike Skinner'ın yer aldığı kadroda ayrıca zengin kız arkadaşı Ava'yı oynayan aktris Bella May ve Mike'ın yardımcısı Free rolünde Lateef "Teef" Ojetola da yer alıyor.Oyuncu kadrosunun büyük bir kısmı Skinner'ın kişisel arkadaşlarından oluşuyor. Gölge Ne Kadar Koyuysa Işık da O Kadar Parlak neyle ilgili? Filmde bir DJ oynamasına rağmen Skinner, filmin "hiçbir şekilde otobiyografik olmadığını" söylüyor; ancak Londra'daki Visions ve Hoxton Hall'un yanı sıra Manchester's Warehouse Project ve Club Liv gibi mekanlarda performans sergilediği gerçek görüntüler de mevcut. Buna benzer daha fazlaSkinner, filmin galasında Sky News'e "Bu bir müzikal ama şarkılar seslendirme" dedi. Ancak "caz elleri veya elektrik direkleri üzerinde dans etmeyi - bu bir sonraki film" beklemediğini de sözlerine ekledi. Bilgilerinizi girerek şunları kabul etmiş olursunuz: Şartlar ve koşullar Ve Gizlilik Politikası. İstediğiniz zaman abonelikten çıkabilirsiniz."Neredeyse kara film türü bir şey gibi başlayan ama sonra kendini kaptıran çok basit bir hikaye" dedi. Onun "çok aptalca bir hikaye" olarak adlandırdığı hikaye, DJ'lik dışı çeşitli faaliyetlere çekilen Mike'ı konu alıyor: bir uyuşturucu anlaşmasını finanse etmek ve berbat etmek, zengin bir kadınla aşk yaşamak, bir tür cinayeti çözmek.Gölge Ne Kadar Karanlıksa, Işık da O Kadar Parlak FragmanıNe yazık ki, The Darker the Shadow, the Brighter the Light için bir fragman yok ancak burayı tekrar kontrol etmeyi unutmayın, çünkü elimizde olur olmaz bu bölümü güncelleyeceğiz.Film kapsamımızın daha fazlasına göz atın veya neler olduğunu öğrenmek için TV Rehberimizi ve Yayın Rehberimizi ziyaret edin.Radio Times dergisini bugün deneyin ve yalnızca 10 £ karşılığında 10 sayıya sahip olun, AYRICA evinize teslim edilen 10 £ John Lewis and Partners kuponu da alın - hemen abone olun. TV'nin en büyük yıldızlarından daha fazlası için The Radio Times Podcast'ini dinleyin.

[c-40]

A-T-3 139 China Crisis - Working With Fire And Steel/Dockland

I'm fortunate enough to work with China Crisis. On their 40th Anniversary Tour last year Gary would talk about how at this point in the bands career they were in the US, gallivanting around and being pop stars, while things at home were bad for their friends and families. Liverpool was being consistently attacked in the media and by politicians. After the 1981 riots, in Toxteth where I live now, Thatcher was urged to abandon Liverpool to what is euphemistically called "managed decline" the idea of evacuating Liverpool was also toyed with. It was May 1983 that the Militant-led Labour Party took control of Liverpool City Council https://en.wikipedia.org/wiki/Militant_in_Liverpool

At the end of the 1980s Virgin gave China Crisis an ultimatum, they wanted to keep Gary and Eddie but sack the rest of the band. Gary and Eddie said no and they left Virgin Records. That's what we call solidarity, and I love them for that

Working With Fire And Steel is the title track from their second album, it was produced by Mike Hewlett formerly of Gong

China Crisis have two 'big gigs' coming up, their touring schedule is nuts and there's a lot of pretty big dates, these ones are a bit special though. June 9th they are playing What Price Paradise in it's entirety and June 10th Diary of a Hollow Horse at the famous Everyman Theatre in Liverpool

China Crisis - Working With Fire And Steel

China Crisis - Dockland the b-side

China Crisis - Forever I And I track b2 on the 12. This is Gary on his own and a wink at getting high and listening to dub. Gary's album Luna Landings collects together unreleased instrumentals from this period, I highly recommend it