#dublin 1997

[eurovision-revisited]

Dublin 1997: Televoting

It was only natural for Eurovision countries to try to select the meta if they wanted to do well. A stubborn, conservative and stagnant consensus had formed. The ballad-schlager axis.

Occasionally a new strand would emerge accidentally (traditional Celtic/Irish music), and there was a rush to exploit it. It did not last long, and once again Balladageddon re-established itself. In the real world, these songs were not selling.

There was a push to encourage national selections to be braver and some were, but nothing managed to challenge Eurovision orthodoxy. It was time for the EBU to take action.

The juries were the problem. Not only did they consistently fail to vote for the new or experimental, they also tended to favour neighbouring countries or countries with similar musical cultures to their own. Block voting had been an issue as far back as 1963 when there were accusations that the Norwegian jury changed their results to favour Denmark. It had never really gone away, and now it was discriminating against the newcomers.

The juries needs a shake-up.

Luckily there was a solution. Telecommunications technology had recently begun being able to handle televoting. Short phones calls to exchanges that could record numbers and could cope with a sudden burst of incoming calls. It had been used in several national finals for some years, even if there were some teething problems like those that afflicted the Finnish national selection final in 1996.

In 1997 the EBU took the plunge. Five countries with the most experience at running televotes were selected to replace their juries with 100% televoted results. These could be gathered and verified during the interval act. There was only a short time for voting, but it was enough. It had the additional benefit in that those televotes cost the callers money, so there was income to be generated, although at first that reward was taken by the telecommunications companies themselves.

Even in 1997, the results were there to be seen. Some counties that scored reasonably highly with juries, did not with the televote:

Slovenia got 60 points and finished 10th, but it didn't get a single point from the televoting countries.

Spain got 96 points and finished 6th, with 17 counties giving them points. Among those that gave them nothing were three of the televoting countries.

Malta, the perennial English-language boosted nation got 66 points, finishing 9th, but no points came from the televote.

Other countries were more favoured by the televote but not at all by the juries.

Iceland got all but 2 of its 18 points from the televote

Denmark got 10 of its 25 points from just three televoting countries

Bosnia & Herzegovina got 13 of its 22 points from four televoting countries in possibly the first case of televoting sympathy for a country recently at war (although I know it's hard not to vote for Alma)

There were still some oddities, and there was some neighbourly voting clearly remaining. The German televote gave Türkiye 12 points which could be the first instance diasporic voting, but Türkiye's song finished with 121 points and finished 3rd overall, so possibly not.

Was it a success? Well more data would be needed, but there were some shifts in the direction the EBU wanted to go. That data would start rushing in during the 1998 Eurovision Song Contest. The first one to be 100% televote. Well except for the three countries that still had juries. What would the brave new jury-less world look like?

[aeolianblues]

pop stars aren't born in the 70s anymore like they used to be. These days they're born in a year uncomfortably close to my own which makes me clutch my chest and cry out

[pennydreddfull]

An Invitation to Dinner…

If you could host a dinner and anyone you invite was sure to come, who would you invite? In response to the above prompt, here is who I would invite to dinner… 1. The operator of the US Navy ‘existing secret system designed to pick up audio’… I have many, many questions… 2. Mr Revenue Commissioner, so he can explain to me why we still pay Universal Social Charge. 3. Whoever is replacing the…

[captain-athos]

@roguekaiju to answer your question about who had a punk phase in their youth

(The Last Bus Home, 1997, funny extra detail is that the band forms because the pope is visiting Dublin)

[ravennaera]

Why I think that Liam’s voice was permanently damaged during the Be Here Now tour and how that happened

Why was Liam so anxious that he would become useless during the time of Oasis' third album, and why was his mentality so shattered? The instrument that a vocalist possesses is his own voice, and other members who use instruments that exist physically can repair and replace them with other instruments if they break, but that's not the case with voices.

And Oasis was not run in a way that respected that. This is the recorded performance schedule from 1993 to 1998 Australia/New Zealand tour, and after that, it continued with 7 performances in South America before finally ending the third album tour. And when they weren't performing - during the gap period, the album was recorded, and even during the tour, B-side recordings were done here and there.

They worked Liam’s voice to death with such a tough schedule that didn't give him a single moment to rest his voice. When Liam thought that his throat would get damaged if he continued performing like that, he had no choice but to get off the stage and get criticized by the band, the press and the fans. He even had to worry that someone else would take his place if he couldn't perform.

The recording of the third album was particularly tough, and songs like Fade In/Out pushed Liam to his limits, and it is said that after recording the song, Liam was unable to sing for a week. And the song was on the set list 64 times out of the 81 shows of the third album tour.

He continued performing with a tight schedule, and was diagnosed with nodules in his neck by a doctor on December 4, 1997, the second day of the Dublin performance (so Noel performed on the second and third days). The doctor said he had to take a break from performing for a few weeks, but it was impossible because there were so many performances left^^ After taking a two-day break and getting a steroid prescription, he performed until the end of March 1998.

They had a lot of year-end performances planned for the Christmas, but the doctor said the singer has a problem with his throat and he has to rest for a few weeks. Of course, if they adjusted the performance schedule, it would have costed money, but the singer's voice would’ve been damaged if they didn’t. If they knew how irreplaceable his voice was, theywouldn't have done it that way.

Did you know that the third album cycle was the only time they didn’t have a large outdoor/stadium concert since their debut album? They already did Knebworth for their second album and played a stadium for their fourth album, so if they had replaced it with a large-scale concert for their third album, wouldn't they have been able to reduce the number of concerts? But they didn't.

The number of shows Liam had to perform without resting after being diagnosed with nodules. It went downhill from there, Liam’s voice never fully recovered after this

(Translation @/dstrbnc text on Twitter)

[doomandgloomfromthetomb]

The Year In Doom & Gloom

Doom & Gloom From The Tomb celebrated its 15th anniversary this year, which is crazy. But what can I say, I keep finding cool live tapes and keep feeling compelled to share them with you ... whoever you are! A lot of this website is just me talking to myself, hashing and rehashing and re-re-hashing various obsessions, getting impossibly niche about some of my favorite artists, trying to shine a light into the darkest corners of music history. But that makes it sound like it's a serious endeavor. Mostly, it's fun. I hope it's fun for you too. So, if you need to catch up, here's a tip-of-the-iceberg rundown of what we checked out over the last 12 months ... as always, thank a taper!

Lou Reed - Sister Ray in the 70s

“Candy Says” - Lou Reed, Kongress Zentrum, Hamburg, Germany, March 29, 1979

Lou Reed - October 1974

Lou Reed - Lady Mitchell Hall, Cambridge, England, October 13, 1972

Lou Reed - City Hall, Sheffield, England, June 1, 1974

Lou Reed - Konserthuset, Stockholm, Sweden, May 14, 1974

Lou Reed - Parc Des Expositions De Colmar, Theatre De Plein Air, Colmar, France, August 12, 2004

The Modern Lovers - Radcliffe College, Cambridge, Massachusetts, October 27, 1972

The Modern Lovers - Sword in the Stone, Boston, Massachusetts, 1972

The Modern Lovers - Boston Center for the Arts, Boston, Massachusetts, February 23, 1974

Foggy Notion - The Bowery Ballroom, New York City, December 13, 2023

The Feelies - Daniel Street, Milford, Connecticut, July 22, 2011

John Sinclair - BAR, New Haven, Connecticut, September 28, 2003

Meg Baird + Chris Forsyth, Cafe Nine, New Haven, Connecticut, October 26, 2022

John Fahey - McCabe’s Guitar Shop, Santa Monica, California, December 1979

The Go-Betweens - The Gatekeeper To Your Soul

Frank Black - Wetlands, New York City, June 13, 1994

Jacobites - Hearts Are Like Flowers

The Replacements - The Ritz, New York City, June 21, 1986

Willie Nelson - El Rey Theatre, Los Angeles, California, December 20, 1997

Neil Young - Razor Love (1984-2020)

Neil Young & Crazy Horse - Control The Violent Side

“Peace Of Mind” - Neil Young & Crazy Horse, Community Theater, Berkeley, California, November 2, 1976

Neil Young & Crazy Horse - Festival Hall, Osaka, Japan, March 4, 1976

Neil Young & Crazy Horse - Copps Coliseum, Hamilton, Ontario, October 31, 1996

Neil Young & Crazy Horse - Shoreline Amphitheatre, Mountain View, California, October 1 / October 2, 1994

Fairport Convention - Harlow Town Hall, Essex, England, June 15, 1974

Richard & Linda Thompson - Dublin Stadium, Dublin, Ireland, November 10, 1979

Robyn Hitchcock & Richard Thompson - “First Girl I Loved (Incredible String Band),” The Barbican, London, England, July 19, 2009

Can - Nordseeheilbad, Cuxhaven, Germany, January 7, 1976

Bob Dylan and The Band - “Nobody ‘Cept You” (Outtake)

Bob Dylan & The Band - Chicago Stadium, Chicago, Illinois, Jan. 3, 1974

Patti Smith - Max’s Kansas City, New York City, September 1, 1974

Patti Smith Group / John Cale / Television - The Palladium, New York City, December 31, 1976

Television - Great American Music Hall, San Francisco, California, December 9, 1992

Television - Roseland, New York City, October 2, 2004

Grant Lee Buffalo - Shepherd’s Bush Empire, London, England, October 11, 1994

Tom Petty & The Heartbreakers - Vredenburg, Utrecht, The Netherlands, December 4, 1982

Wilco - Orpheum Theatre, Boston, Massachusetts, October 19, 2002

[garadinervi]

Jacques Roubaud, (1997), Mathematics: (a novel), Translated by Ian Monk, Dalkey Archive Press, Champaign, IL, Dublin, and London, 2012 (Internet Archive here)

Cover: design and composition by Danielle Dutton, illustration by Nicholas Motte

[dailyhistoryposts]

Famine (1997) by Rowan Gillespie. Bronze. Dublin, Ireland.

[kostevysen]

Floraltalia AU | Song Headcanons (Part 2)

(E - J )

England:

France:

Finland:

Germany:

Hungary:

Iceland:

Ireland:

Italy (Veneziano):

Italy (Romano):

Japan:

[diceriadelluntore]

Storia Di Musica #342 - The Corrs, Home, 2005

Le Storie musicali di band di fratelli e sorelle ci portano in Irlanda, per una band che tra fine anni '90 e inizi 2000 fu molto popolare. The Corrs, come suggerisce il nome, sono una band di tre sorelle e un fratello, i Corr appunto. La loro storia è molto particolare e si lega a quella di un film del 1991, divenuto di culto, ambientato a Dublino, da dove provengono i nostri. The Commitments, diretto da Alan Parker, racconta la storia di Jimmy Rabbitte e del suo tentativo di mettere su una band di soul e rhythm'n'blues a Dublino, The Commitments, appunto. Il film, che è anche uno spaccato dell'isola prima della travolgente trasformazione avvenuta negli ultimi decenni, fu trampolino di lancio di una serie di attori\cantanti che dopo il film si lanciarono in carriere musicali. E tra loro c'erano i fratelli Corr. Jim Corr suonava in una band con John Hughes, che curava per Parker le selezioni dei musicisti. Hughes non sapeva che Jim avesse tre sorelle musiciste, Caroline, Sharon e Andrea, con cui si presenta i provini. Andrea ottiene una parte di recitazione con battute (è Sharon, la sorella minore di Jimmy), gli altri tre fanno da comparse, ma Hughes dopo le riprese chiede di poter diventare il loro manager. Diventano una band, dove suonano diversi strumenti, anche quelli tradizionali irlandesi. Il primo grande trampolino di lancio è l'esibizione, nel 1994, per i Mondiali di Calcio di USA 94, seguita due anni dopo per la cerimonia d'Apertuna dei Giochi Olimpici di Atlanta '96. Vanno in tour a supporto di Celine Dion, mentre il loro primo disco, Forgiven, Not Forgotten, che comprende sia brani strumentali di musica tradizionali che canzoni pop rock, svetta nelle classifiche di mezzo mondo, diventando uno dei dischi d'esordio di artisti irlandesi più di successo di ogni tempo. Nel 1997 successo per Talk On Corners, partecipano al Pavarotti And Friends a Modena e ricevono nel 1999 un Brit Award come Miglior Band Internazionale, registrando persino un MTV Unplugged, che vende milioni di copie. Il successivo disco, In Blue, prodotto da Robert John "Mutt" Lange, li consacra star internazionali: il singolo Breathless va in classifica in mezzo mondo, come Radio, l'album è il terzo disco con le maggiori vendita della Storia delle Classifiche musicali d'Irlanda dopo il The Best Of 1980-1990 degli U2 e Be Nere Now degli Oasis. Sono nominati ai Grammy Awards. Registrano un altro disco dal vivo, VH1 Presents: The Coors Live In Dublin, con ospiti Bono che duetta con loro in When The Stars Go Blue di Bryan Adams (un gioiellino) e Summer Wine di Nancy Sinatra e Ronnie Wood dei Rolling Stones che suona la chitarra in Little Wing, cover del classico di Jimi Hendrix e in Ruby Tuesday. Succede però una fatto doloroso: Jean, la madre dei fratelli Corr, muore in attesa di un trapianto di fegato all'ospedale di Newcastle, in Gran Bretagna.

E proprio alla madre, e alla loro terra, è dedicato questo disco, Home, che esce nel 2005. L'album precedente, Borrowed Heaven, già aveva riaperto la strada del folk nella loro musica, che nei dischi di successo internazionale si era un po' persa, ma in questo disco si ritorna alle origini. In scaletta 12 pezzi, divisi tra strumentali tradizionali di musica celtica irlandese, come Haste To The Wedding, che è il brano principe del ballo Céilí, uno scritto da Sharon Corr, Old Hag e due cantati in lingua gaelica dalla bellissima voce di Andrea, Buachaill ón Éirne (che vuol dire Ragazzo di Erne) e Bríd Óg Ní Mháille, Bridget O'Malley, che probabilmente è una riedizione ottocentesca di un antico canto dedicato a santa Brigida d'Irlanda. Ancora più emozionate è la parte di canti tradizionali cantati in inglese: My Lagan Love è uno dei primi traditional scoperti da Joseph Campbell, che agli inizi del 1900 intraprese un percorso di ricerca e traduzione dei canti tradizionali, musicati e riportati sugli spartiti da Herbert Hughes; la meravigliosa Spancil Hill è invece un traditional, probabilmente scozzese, che venne riadattato dai migranti irlandesi in America, dove divenne molto famosa nella zona dei Monti Appalachi: lo spancil era un modo di legare le zampe dei capi di bestiame per non farli scappare durante le fiere. Dolcissime sono Peggy Gordon e la bellissima Black Is the Color, conosciuta anche come Black Is the Color Of My True Love's Hair, brani che raccontano il carattere forte e deciso delle donne di quei posti. The Moorlough Shore è una delle più famose ballate irlandesi: è la storia di un giovane, innamorato della sua terra e di una ragazza, che però rifiuta le sue avances perché ama già un marinaio. Aspetterà il suo vero amore per sette anni. Frustrato, il ragazzo lascia la casa della sua infanzia e salpa, continuando a elogiare la ragazza che ama e che vive a Moorlough Shore. Sulla sua melodia, durante gli anni della Rivoluzione dell'Indipendenza irlandese (negli anni Dieci del 1900) i rivoluzionari cantarono The Foggy Dew, il principe dei brani di libertà irlandese. Completano la scaletta tre cover di brani moderni: Heart Like A Wheel, successo di Kate & Anna McGarrigle, poi ripreso da tanti artisti (la versione più famosa di Linda Ronstand), Old Town del leader dei Thin Lizzy Phil Lynott e un brano, Dimming Of The Day, scritto da Richard e Linda Thompson per un loro disco del 1975, Pour Down Like Silver. La musica è arrangiata con delicatezza, agli strumenti moderni sono affiancati i tin whistle, il Bodhrán (che è il tamburello irlandese) e una sezioni archi, che è sempre stato un marchio di fabbrica della musica Corrs. Spicca la voce, brillante e squillante di Andrea Corr, emozionante in più di un passaggio. Il disco, che non è di successo come i precedenti, ha comunque successo in patria, In Australia e sorprendentemente in Francia, dove vende 100 mila copie.

Andrea Corr, che ha recitato anche in altri film, tra cui Evita con Madonna e da protagonista una semisconosciuta commedia canadese, The Boys From County Clare, tenterà, con scarso successo, anche la carriera solista, con Ten Feet High. I Corrs continuano a suonare e a pubblicare materiale (l'ultimo disco del 2017) ma non hanno più raggiunto il successo dei dischi pop, nè la delicatezza, e la bellezza, del disco di oggi, un bellissimo esempio di variazioni "moderne" ai classici tradizionali della cultura delle isole britanniche, un grande tesoro culturale.

[eurovision-revisited]

Dublin 1997 - The interval act and other performances

The benefit of having a bona fide, 100% genuine pop star as a host is that the interval act is sorted. It's right there. In Oslo they had Morten Harket, and such was their extravagance, they had him as the opening song. They put on a huge separate interval act without him

Ireland and RTÉ weren't going to look a gift horse in the mouth and neither were Boyzone's management. The interval was Ronan and his fellow Boyzone band members performing their song Let the Message Run Free. Initially this just had Ronan on his own with a dance troupe, but he was soon joined by the boys dressed in full black leather trench coat ensemble, anticipating The Matrix by at least a year. They even got some choreography at the end to match the dancers.

This is Boyzone at the absolute pinnacle of their popularity. They were trying to make a push to break into the US market. To this day they're the second most popular boy band in the UK chart history after Take That. They're were also popular across Europe, so this is Eurovision getting a big name to start at the centre of the show - another attempt to get Eurovision to more credible and marketable across Europe.

If I'm honest, despite the contemporary big name, it's not particularly memorable. What you think of it will entirely depend on how well you think of Boyzone. There's no trip around Ireland on video. Nothing traditional, although Ireland have already ticked that off in 1994 and 1995. This is as straightforward a pop performance as you can get. And it only lasts about six minutes.

[psarakizs]

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀seth  crawford  é  filho  de  poseidon  do  chalé  três  e  tem  26  anos  .  a  tv  hefesto  informa  no  guia  de  programação  que  ele  está  no  nível  iii  por  estar  no  acampamento  há  vinte  e  três  anos ( oito  meses  ) ,  sabia  ?  e  se  lá  estiver  certo  ,  seth  é  bastante  extrovertido  mas  também  dizem  que  ele  é  egocêntrico  .  mas  você  sabe  como  hefesto  é  ,  sempre  inventando  fake  news  pra  atrair  audiência  .

links  importantes : pinterest⠀·⠀connections⠀·⠀desenvolvimentos⠀·⠀extras

basics.

NOME  COMPLETO:  seth  crawford ,  apesar  do  nunca a ter visto , carrega  o  sobrenome  da  mãe  biológica. 

DATA  E  LOCAL  DE  NASCIMENTO:  nasceu  dia  14  de  dezembro  de  1997  ,  em  dublin  ,  irlanda

GÊNERO  E  ORIENTAÇÃO  SEXUAL:  se  identifica  como  cis  gênero  masculino  e  é  bissexual e birromântico

ATIVIDADES:  líder  da equipe  vermelha  de  canoagem

PODER E HABILIDADES: mockingjay  —  permite  copiar  a  voz  de  alguém  ,  mesmo  a  tendo  ouvido  uma  única  vez  e  possibilitando-o  emitir  uma  melodia  hipnotizante  e  poderosa  ,  semelhante  ao  canto  do  mockingbird  ,  que  pode  afetar  emocionalmente  todas  as  criaturas  próximas  ,  sejam  elas  humanas  ou  animais  .  o  poder  também  tem  uma  conexão  com  a  natureza  e  a  vida  selvagem  .  quando  entoada  ,  os  mockingbirds  reais  e  outras  aves  são  atraídos  para  seth  ,  criando  um  espetáculo  incrível  de  asas  brancas  e  marrom  claro  voando  em  torno  dele  .  no  entanto  ,  o  poder  também  exige  cautela  -  se  usado  de  forma  excessiva  ou  sem  discernimento  ,  pode  esgotar  o  portador  e  enfraquecer  seu  emocional  .  além  disso  ,  o  impacto  emocional  pode  ser  tanto  positivo  quanto  negativo  ,  sendo  importante  que  seth  esteja  emocionalmente  equilibrado  e  focado  em  seus  objetivos  ;  força  e  reflexos  sobre  humanos. 

ARMA: ganhou  de  presente  de  seu  pai  uma  balestra  ,  onde  a  arma  em  si  é  feita  de  madeira  de  carvalho  fundida  com  ferro  estígio  ,  bem  como  as  flechas  forjadas  do  mesmo  metal. 

traits.

CARACTERÍSTICAS POSITIVAS: extrovertido  ,  responsável  ,  organizado  ,  paciente  ,  protetor  ,  engraçado  ,  atencioso  ,  confiante

CARACTERÍSTICAS NEGATIVAS: egocêntrico  ,  teimoso  ,  ciumento  ,  rancoroso  ,  indeciso  ,  dramático  ,  impaciente  ,  cético 

INSPIRAÇÕES:  aaron  samuels  (  mean  girls  )  ,  akeno  menzies  (  gossip  girl  )  ,  nate  archibald  (  gossip  girl  )  ,  gilbert  blythe  (  anne  with  an  e  )  ,  jj  maybank  (  outer  banks  )  ,  emmett  cullen  (  twilight  )  ,  ryan  howard  (  the  office  )

biography.

mesmo por de trás de toda tragédia, ainda existe o bem. ao menos, foi assim com seth. filho de poseidon, com uma jovem recém formada no ensino médio, a história do filho do deus dos mares começa antes mesmo dele ser concebido. conheceram-se durante um cruzeiro, o relacionamento que tiveram pode ser descrito como intenso, breve e marcante, para ambos. quando tiveram que se separar, poseidon tomado pelo carinho que havia nutrido, seguiu durante os meses seguintes a cuidando, de longe, apenas para que tivesse certeza que estava bem. percebeu, com o tempo, a mudança dela e descobriu que estava grávida. mas ele não podia retornar para a vida ela.

tw: suícidio

quando chegou a hora de dar a luz, a mulher sabia da responsabilidade que tinha. ela não podia manter a criança, pelo seu bem, pelo bem da criança e da sua reputação. sua família havia a enviado para a faculdade crente que estava indo estudar, e assim ela faria. estava decidida que daria o bebê para a adoção. porém, foi impossível. quando viu os olhos azuis parecidos com do homem das suas férias, ela foi tomada por um amor nunca antes conhecido. desesperada, sem saber o que fazer, jogou-se ao mar com o bebê.

fim do tw.

poseidon não poderia salvar os dois, precisava escolher um. e foi o filho. o deixou na beira da praia, em um cesto, para que alguma alma caridosa cuida-se da criança. porém, toda história de heróis existe aquele que cuida do pequeno. diferente do esperado, não foi um humano, e sim uma deusa. anfitrite, tomada pelo sofrimento da mãe que se jogou ao mar, decidiu que criaria o semideus escondido de poseidon, no mesmo lugar que havia se escondido dele.

poucos anos após, o deus acabou por descobrir o que sua esposa fizera, brigando com ela e explicando que não poderia, ele deveria ter tido a chance de crescer como qualquer outro semideus. indignada com a falta de zelo do marido, a deusa explicou que ele era muito pequeno e que teria sido morto por monstros antes mesmo da primeira noite. seth estava com três anos quando foi largado as margens do lago do acampamento meio sangue.

se alguém perguntasse a ele quando criança, diria que cresceu como qualquer outro semideus. claro que teve cuidados especiais até certa idade, mas nunca houve diferença na sua criação. muito pelo contrário, até ficar adolescente, nunca tivera nenhum contato com a tecnologia humana, tampouco tinha vontade de sair do acampamento. a influência de poseidon em seu dia-a-dia sempre fora forte, o fazendo ter ligação com os pegasus.

após a guerra contra gaia, se viu em uma encruzilhada. ele poderia permanecer no acampamento, mas tinha uma vida toda para descobrir depois das proteções que ali tinham. se arriscando por conta própria, saiu para poder viver outra realidade. naquele ano, experimentou tanta coisa e conheceu tantas pessoas, que já era um mochileiro pelo planeta. havia incorporado a seus princípios ideias de sustentabilidade e preservação ambiental, que havia começado um projeto na antártida, quando foi chamado para retornar o acampamento. chamado esse que sequer hesitou em responder.

[victusinveritas]

“You can't wash the blood from your hands as you can't wash the shame from the war.” Balkan Baroque (1997): Marina Abramović spent four days at @la_Biennale scrubbing cow bones and singing Serbian folksongs. She dedicated it to victims of the Yugoslav war. It also won the Golden Lion.

Imponderabilia (1977) by Abramović and Ulay, For this performance, members of the public had to squeeze between them in order to pass (and decide which one of them to face).

Rest Energy by Marina Abramović and Ulay was first performed in Dublin at ROSC in 1980.

Abramović’s early work was with sound. Aged 17, she hung speakers all around the building her family lived in and played the sound of a building falling down - everyone thought they were being bombed.

“It was a huge scandal.”

Rhythm 0.

Sinead Gleeson interviewed Marina Abramovic here: https://www.royalacademy.org.uk/article/marina-abramovic-interview

Rhythm 5, 1974

The Hero, 2001.

The Artist is Present, 2010.

Marina Abramović, The House with the Ocean View, 2002.

Performance; 12 days.

Naked with Skeleton, 2005.

[eucanthos]

Edward Quinn (Dublin, Feb 20, 1920 - 1997, Switzerland)

Pablo Picasso working on the “War and Peace Study” derawings on the wall of "Chapelle de la Paix" for the documentary "Picasso" by Luciano Emmer, Vallauris, 1953

https://www.capitainpetzel.de/exhibitions/99/works/artworks-9318-edward-quinn-picasso-working-in-the-chapelle-de-la-paix-1983/

https://www.puntodevistafestival.com/en/film/picasso

[scotianostra]

Happy Birthday Mark McLachlan aka Marti Pellow, born March 23rd 1965, the same year as myself.

Picture the scene, a teenage Mark chatting to his dad in Clydebank, and telling him he was going to be a musician, according to Pellow the reply went something like this....'Are you on a hallucinogenic substance or something? What's wrong with getting out there and getting an apprenticeship? I'm a builder, your grandfather was a builder, your great-grandfather was a shipbuilder. What do you want to be a musician for?'

And so it was, Mark became Marti and Mclachlan, became Pellow.

In 1982, at the age of seventeen, Marti formed the band Vortex Motion, with three friends from Clydebank High School in his hometown, the bands name was later changed to Wet, Wet, Wet who went on to have numerous hit singles and albums.

PolyGram signed the group in 1985 and spent a fortune fine tuning them in, the group scored a hit two years later with "Wishing I Was Lucky," which reached number 6 in the charts, the album Popped In Souled Out was a huge success scoring them a debut number one, two more would follow.

The Wets, as they became known had more single success in 1988 with their first number one, a cover of the Beatles' "With a Little Help from My Friends" cut for the charity ChildLine.

Hit singles including Sweet Surrender and Goodnight Girl preceded a 1994 cover of the Troggs' "Love Is All Around" which spent an astounding 14 consecutive weeks atop the charts and was their third chart topper; however, in the wake of 1997's album, 10, the Wets began splintering amid copyright squabbles, and in May 1999 Pellow left the group.

Marti had a few minor hits as a solo artist but soon found fame in London's' West End in the hit stage musical Chicago.

Marti's mother passed away in 2003 and he was touched that all his ex band members attended the funeral, he recalled his mum saying that maybe Wet Wet Wet would get back together sometime and Marti later said in an interview "Moments like that put things into perspective - it wasn't all about music, it was more about a kinship between us." The band reformed the following year.

While the group haven't officially split the earlier success has eluded them, they still attract fans to their sell out concerts, Marti is still playing to audiences in London, his last role being Che Guevara in Evita aside from music he was the narrator in Willy Russell's Blood Brothers in 2015.

Pellow is currently touring singing some of his best-known songs on a UK-wide tour. He'll be playing former band Wet Wet Wet's debut album, Popped in Souled Out, in full - plus a string of other hits. The first night was at in Dublin and he played Glasgow's OVO Hydro last Saturday, he is in Leeds tonight, followed by Newcastle, London, Bournemouth and Birmingham.

[archoneddzs15]

Sega Saturn - Impact Racing

Title: Impact Racing / インパクトレーシング

Developer: Funcom Dublin / JVC

Publisher: Coconuts Japan Entertainment

Release date: 6 June 1997

Catalogue No.: T-7307G

Genre: Racing Shooting Action

I remember playing a demo of this in the UK, but I don't think it ever did get a UK release. So, you can imagine my surprise when I came across it the other day while on vacation in Japan. Made by the Irish company Funcom Dublin, Impact Racing is what I'd call an idea gone wrong. The game is a racing game that has you blasting the other cars on the track to win the race. This is nothing new since it's been done countless times before this game was released. The main problem I have with this is that it spoils what could have been quite a decent racer. The tracks are interesting enough to make you actually want to race around them instead of clumsily getting around them while trying to shoot the car in front. This game could have been so much more fun if Funcom Dublin had just realized that this driving and shooting crap just doesn't work.