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justforbooks · 11 days ago

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The Best Album Cover Shoots – in pictures

From the Beatles crossing a zebra to a naked Prince, via Grace Jones attempting the anatomically impossible and Led Zeppelin’s New York tenements, these cover designs became as famous as the music they enclosed 🎶🎵👏

Grace Jones – Nightclubbing, Island Records, 1981, by Jean-Paul Goude

Nightclubbing's iconic artwork is a 1981 painted photograph titled Blue-Black in Black on Brown, created in New York by Goude. This was the singular image that accompanied the original LP, as it "was concealed in a plain, black inner sleeve, no lyrics and with no photo on the back cover." Composed by right angles, the photograph shows Jones cut to waist, bare chested, and dressed in an Armani man's wide shouldered suit, with an unlit cigarette aiming downward from her lip. She is shot with her signature flat top haircut and her chest bones showing; her dark skin confers upon the image a violet, blue-black colour. The image is noted for its androgyny, with Jones not only "[unpicking] some of the boundaries of unconventionality, but [choosing] to confuse such boundaries." Rick Poynor writes: "Goude admired Jones for her mixture of beauty and threat, and the Nightclubbing portrait expresses this duality with absolute composure and no false histrionics." Piers Martin of Uncut felt the cover was "arresting", and wrote: "the indigo mood, cool gaze and cigarette suggested Marlene Dietrich, the gender-bending a touch of Bowie."

Prince – Lovesexy, Paisley Park, 1988, by Jean-Baptiste Mondino (design by Laura LiPuma)

The artwork of Lovesexy sparked as much interest as did the music. Mimicking The Birth of Venus by Botticelli, the cover shows Prince reclined naked with a lily stamen suggestively positioned above his groin. It is an image that captures the LP’s essence of spirituality perfectly. Prince had even denied Warner’s management sight of the cover prior to the album’s retail release. The image was deemed far too risqué for 1988 and prompted many retailers to conceal the artwork under black plastic wrapping (Wal-Mart refusing to stock it at all) or keeping it behind the counter, deeming it too provocative to display in store. It is likely this hindered sales of the album in the more conservative leaning US. The shot is the work of fashion photographer Jean-Baptiste Mondino, Prince’s first choice to direct Under The Cherry Moon but was unavailable. Mondino would instead direct the video Mia Bocca for Jill Jones which led to doing likewise with I Wish U Heaven for Prince. He would also shoot promos for Neneh Cherry (Manchild) and Madonna’s Justify My Love. During a breakfast in LA, Prince asked Mondino if he would shoot the album’s cover. The image was captured in LA, with the lilies and stamen added at Mondino’s studio back in Paris using Paint Box software, a forerunner to Photoshop.

Mondino’s cover is the sole promotional image shot for the album – its back cover and inner sleeves feature the tracklisting and lyrics hand drawn by Margo Chase. With no alternative shots available and keeping with the theme of nakedness, the singles Alphabet St. and Glam Slam were issued without artwork, their transparent sleeves labelled with a sticker. In April 2022 Lovesexy was exhibited at The Photographers’ Gallery in London staged in celebration of the art of iconic album designs.

Boz Scaggs – Middle Man, Columbia, 1980, by Guy Bourdin

Middle Man is the ninth studio album by Boz Scaggs, released by Columbia Records in 1980. Scaggs hired members of the band Toto as session musicians (as he did for Down Two Then Left and Silk Degrees) and shared songwriting credits with them, returning to the commercial, soul-influenced rock of the latter. It would take him eight years to release his following album Other Roads, again retaining the personnel of the three preceding it.

Tirez Tirez – Etudes, Aura, 1980, by Brian Griffin (design by Bill Smith)

Brian Griffin: ‘This photograph was taken in my studio/bedroom at Elsynge Road in Wandsworth [south London] using my bed. The model is Martin Cropper, who I used in my work at the time. It was originally taken for my book Brian Griffin Copyright 1978 and later purchased for the cover by Aaron Sixx of Aura records for Tirez Tirez’.

Tom Waits – Rain Dogs, Island Records, 1985, by Anders Petersen

Rain Dogs is the ninth studio album by American singer-songwriter Tom Waits, released in September 1985 on Island Records. A loose concept album about "the urban dispossessed" of New York City, Rain Dogs is generally considered the middle album of a trilogy that includes Swordfishtrombones and Franks Wild Years.

The album, which features guitarists Keith Richards and Marc Ribot, is noted for its broad spectrum of musical styles and genres, described by Arion Berger as merging "outsider influences – socialist decadence by way of Kurt Weill, pre-rock integrity from old dirty blues, the elegiac melancholy of New Orleans funeral brass – into a singularly idiosyncratic American style."

The album peaked at number 29 on the UK charts and number 188 on the US Billboard Top 200. Rod Stewart had success with his cover of "Downtown Train", later included on some editions of his 1991 album Vagabond Heart. In 1989, it was ranked number 21 on the Rolling Stone list of the "100 greatest albums of the 1980s." In 2012, the album was ranked number 399 on the magazine's list of "The 500 Greatest Albums of All Time", and at number 357 in 2020.

Though it has been remarked that the man on the cover bears a striking resemblance to Waits, the photograph is actually one of a series taken by the Swedish photographer Anders Petersen at Café Lehmitz (a café near the Hamburg red-light boulevard Reeperbahn) in the late 1960s. The man and woman depicted on the cover are called Rose and Lilly.

Thelonious Monk – Monk, Columbia, 1964, by W Eugene Smith

Monk. (1964) is the fourth studio album Thelonious Monk released on Columbia Records, and his seventh album overall for that label. It features two original compositions and several jazz standards.

The track "Pannonica" is a tribute to the jazz patron Pannonica de Koenigswarter. The track "Teo" is a tribute to the album's producer Teo Macero.

The album cover is a photo of Monk taken by W. Eugene Smith in 1959. Between 1957 and 1965, Monk and other prominent New York jazz musicians rehearsed at the photographer's home, nicknamed 'The Jazz Loft'.

Photographer and photojournalist W Eugene Smith demanded such perfection of his images that he destroyed most of his early work. He had a vast career and helped define photojournalism through his work at Life magazine, before joining Magnum Photos in 1955. He is remembered as a master both technically and in the darkroom. This photograph is titled Thelonious Monk Rehearsing in the Loft, 1959.

Madonna – True Blue, Sire/Warner, 1986, by Herb Ritts

The album cover was shot by photographer Herb Ritts. It shows Madonna in profile, with her head thrown back and eyes closed against a sky-blue background; her skin is bleached-out, and her hair platinum blonde. Jeri Heiden, who was working at the Warner Bros. art department, was given the task of editing the photos to adapt them into record covers. The final photo was selected by Madonna, Heiden and Jeff Ayeroff, creative director of Warner Bros. at that time. After the image was chosen, Heiden experimented with a variety of treatments of the original, which was shot in black and white, to go along with the album's title, and finally arrived at the final, blue toned, hand tinted version. The album's inner sleeve did not feature any photographs, and instead was dedicated to album credits and song lyrics, since Madonna wanted to be represented by her work rather than her image.

Lucy O'Brien described the cover as a "moment of Warholian pop art. A mixture of innocence [and] idealism […] Our first glimpse of Madonna as a classic icon". For J. Randy Taraborrelli, author of Madonna: An Intimate Biography, the artwork indicated how "[True Blue] was a vehicle of growth for [Madonna]"; the "washed out color photograph" cover was "understated", especially when compared to the "sexier poses" she had been associated with in the past. For Joe Lynch from Billboard, it is one of the greatest album covers of all time.

True Blue was released on June 30, 1986. In the United States and Canada, the cover did not include the singer's name. Heiden explained in an interview with Aperture magazine that the record company thought it would be "cool" to use a shrink wrap on American releases, so that when the public took it off, they'd be left with the photograph of Madonna. In Europe, Warner felt that the name was needed, as they did not want to risk messing with Madonna's popularity. The back sleeve and booklet feature the song titles in Heiden's own handwriting. About cropping the image for the cassette and vinyl releases, Heiden said: "I think the image became more interesting cropped into a square—and at that time we always started with the album cover configuration. It was like she was floating—her clothing was not visible. She took on the appearance of a marble statue—Goddess like. In the vertical cropping you see her leather jacket and the wall, and it becomes more typical, editorial, earthly". On May 22, 2001, Warner Bros. released a remastered edition of the album with two additional remixes of "True Blue" and "La Isla Bonita". Twenty years later, a 35th anniversary edition was released; it includes additional remixes, dub and instrumental versions. It was reissued on crystal clear vinyl on November 8, 2019.

The Rolling Stones – Goats Heads Soup, The Rolling Stones Records, 1973, by David Bailey (design by Ray Lawrence)

Goats Head Soup is the eleventh studio album by the English rock band the Rolling Stones, released on 31 August 1973 by Rolling Stones Records. Like its predecessor Exile on Main St., the band composed and recorded much of it outside of the United Kingdom due to their status as tax exiles. Goats Head Soup was recorded in Jamaica, the United States and the United Kingdom. The album contains 10 tracks, including the lead single "Angie" which went to number one as a single in the US and the top five in the UK.

The album cover was designed by Ray Lawrence and photographed by David Bailey, a friend of Jagger's who had worked with the Rolling Stones since 1964. The portrait of Jagger on the front cover was approximately life size in the original 12-inch LP format. Jagger was reluctant to be shot enveloped by a pink chiffon veil, which Bailey said was meant to look like "Katharine Hepburn in The African Queen". The album's gatefold has Taylor, Wyman and Watts wrapped in a similar fabric, and Richards on the back. The album's original rejected cover art featured the entire band as centaurs and an image of goat's head soup, a Jamaican dish made from a goat's body parts, such as the head, feet and testicles.

Serge Gainsbourg – Love on the Beat, Philips, 1984, by William Klein

Love on the Beat is the fifteenth studio album by French singer and songwriter Serge Gainsbourg. On this album, Gainsbourg used American musicians to achieve a funk-heavy rock sound. The album was controversial due to its very sexual lyrical content, with homosexuality and prostitution as the subject matters on many of the tracks. Perhaps the most controversial was "Lemon Incest", which was set to Frédéric Chopin's Étude No. 3 and sung as a duet with his then-13-year-old daughter Charlotte Gainsbourg.

French singer Serge Gainsbourg dressed in drag for the cover of Love on the Beat. Gainsbourg gave up alcohol for 12 days ahead of the shoot with legendary photographer William Klein to make himself beautiful.

Grace Jones – Island Life, Island Records, 1985, by Jean-Paul Goude (design by Greg Porto)

Island Life is the first greatest hits album by Jamaican singer and songwriter Grace Jones, released in December 1985, summing up the first nine years of her musical career. The album sits among Jones' best-selling works.

The cover picture is one of the most famous images of Grace Jones and was created by her then-partner Jean-Paul Goude. The impossibly graceful arabesque is actually a montage of separate images, following Goude's ideas on creating credible illusions with his cut-and-paint technique. The body position is "anatomically unlikely".

Jones assigned her then partner, Jean-Paul Goude, to create this cover image for Island Life. In what has become an iconic portrait, Goude compiled several separate snaps of Jones and constructed this lissom and elegant, if anatomically dubious, pose, all before Photoshop existed. ‘Unless you are extraordinarily supple, you cannot do this arabesque,’ Goude has said. ‘The main point is that Grace couldn’t do it, and that’s the basis of my entire work: creating a credible illusion’.

The picture was originally published in New York magazine in 1978 and subsequently used in the music video for Jones' hit single "La Vie en rose". It has been since described as "one of pop culture's most famous photographs". Also included in the album sleeve are other iconic images of Jones, among them the "twins" photograph, Grace Jones in a cage and wearing a "maternity" dress.

The cover picture was featured in Michael Ochs' 1996 book 1000 Record Covers and has been often imitated in works by other artists. The image was also referenced in Nicki Minaj's 2011 music video for "Stupid Hoe", with Minaj mimicking the pose.

Joe Jackson – Look Sharp!, A&M, 1979, by Brian Griffin (design by Michael Ross)

Look Sharp! is the debut album by Joe Jackson, released in January 1979. The album features one of Jackson's most well-known songs, "Is She Really Going Out with Him?", as well as the title track "Look Sharp", "Sunday Papers", "One More Time" and "Fools in Love".

The cover, featuring a pair of white shoes, ranked number 22 on Rolling Stone's list of the 100 greatest album covers of all time.

In 2000, it was voted number 865 in Colin Larkin's All Time Top 1000 Albums.

The photo used on the album's cover was shot by Brian Griffin on London's South Bank, near London Waterloo station. Upon arriving at the South Bank, Griffin noticed a shaft of light landing on the ground and asked Jackson to stand there: the whole process took no more than five minutes. According to Griffin, Jackson hated the record sleeve as it did not include his face, and vowed never to work with Griffin again. Nonetheless, the album artwork became one of the nominees for the 1980 Grammy Award for Best Recording Package.

Some observers didn't understand the tongue-in-cheek nature of Jackson's choice of title and cover art—an early reviewer in New Musical Express said they "suggest an obsession with style" and sniffed that Jackson sported "a pair of white side-lace Denson winklepickers that are, unfortunately, not nearly as cool as he evidently thinks they are". As time went on, journalists became more familiar with his youthful lack of interest in fashion, and The Face noted how most agreed with the general summation of him as a "sartorial disaster area".

Brian Griffin: ‘This was shot on London’s South Bank, which you could say was my open-air studio, as I did not have a studio then. I fell in love with the quality of light that pervaded there. It was the fastest album cover shoot that I ever did, maybe it took four minutes. I saw this patch of light making a pattern on the paving and said to Joe: “Stand there!”’

Diana Ross – Silk Electric, RCA, 1982, by Andy Warhol (photograph and design)

Silk Electric is the thirteenth studio album by American R&B singer Diana Ross, released on September 10, 1982, by RCA Records. It was Ross' second of six albums released by the label during the decade. It reached No. 27 on the US Billboard 200 (No. 5 R&B), No. 33 in the UK Albums Chart and the Top 20 in Sweden, Norway and the Netherlands. The album cover was designed by Andy Warhol.

The album contains Ross' US Top 10, Grammy-nominated single, "Muscles", which was written and produced by Michael Jackson. All other tracks were produced by Ross, including the US Top 40 follow-up single "So Close" featuring prominent background vocal arrangements by Luther Vandross.

The song "In Your Arms", written by Linda Creed and Michael Masser, was covered by Teddy Pendergrass and Whitney Houston as "Hold Me" the following year. The song "I Am Me" was co-written by Ross (and incorrectly listed as co-written by Cindy Birdsong instead of Janie Bradford on the Greatest Hits: The RCA Years compilation album). The album was certified Gold in the US and Silver in the UK.

The album was remastered and re-released on September 2, 2014 by Funky Town Grooves as an "Expanded Edition", with bonus material.

Rage Against the Machine – Rage Against the Machine, Epic, 1992, by Malcolm Browne

Rage Against the Machine is the debut studio album by American rock band Rage Against the Machine. It was released on November 6, 1992, by Epic Records, four days after the release of the album's first single, "Killing in the Name". The album was based largely on the band's first commercial demo tape of the same name, completed 11 months prior to the album's release. The tape contained earlier recordings of seven of the ten songs.

The cover features a crop of Malcolm Browne's famous photograph of the self-immolation of Thích Quảng Đức, a Vietnamese Buddhist monk, in Saigon in 1963. The monk was protesting against President Ngô Đình Diệm’s administration for oppressing the Buddhist religion. In 1963, Browne’s photography and coverage of the event earned him the World Press Photo of the Year award.

The songs on Rage Against the Machine all feature political messages. Activists such as Provisional IRA hunger striker Bobby Sands and Black Panther Party founder Huey P. Newton are listed in the "Thanks For Inspiration" section. Also thanked were Ian and Alec MacKaye.

The lyrics for each song were printed in the album booklet with the exception of those for "Killing in the Name", which were omitted; the booklet reads "2. KILLING IN THE NAME", skips the lyrics and continues with the next song.

The statement "no samples, keyboards or synthesizers used in the making of this record" can be found at the end of the sleeve notes. Similar statements were made in the band's subsequent albums. The band also refer to themselves as "Guilty Parties" for each album.

The album was a critical success upon release, with several critics noting the album's politically motivated agenda and praising frontman Zack de la Rocha's strong vocal delivery. Ranked number 24 on Rolling Stone's list of the "100 Greatest Metal Albums of All Time", the album peaked at number 1 on the US Billboard Heatseekers chart and number 45 on the US Billboard 200 and has gone on to achieve a triple platinum sales certification from the Recording Industry Association of America (RIAA) in the US. Multiple publications have ranked it as one of the best albums of the 1990s. In 2020, it was ranked 221 in Rolling Stone's updated list of the "500 Greatest Albums of All Time".

The Beatles – Abbey Road, Apple, 1969, by Iain Macmillan (design by John Kosh)

Abbey Road is the eleventh studio album by the English rock band the Beatles, released on 26 September 1969, by Apple Records. It is the last album the group recorded, although Let It Be (1970) was the last album completed before the band's break-up in April 1970. It was mostly recorded in April, July, and August 1969, and topped the record charts in both the United States and the United Kingdom. A double A-side single from the album, "Something" / "Come Together", was released in October, which also topped the charts in the US.

Apple Records creative director Kosh designed the album cover. It is the only original UK Beatles album sleeve to show neither the artist name nor the album title on its front cover, which was Kosh's idea, despite EMI saying the record would not sell without this information. He later explained that "we didn't need to write the band's name on the cover […] They were the most famous band in the world". The front cover was a photograph of the group walking on a zebra crossing, based on ideas that McCartney sketched, and taken on 8 August 1969 outside EMI Studios on Abbey Road. At 11:35 that morning, photographer Iain Macmillan was given only ten minutes to take the photo while he stood on a step-ladder and a policeman held up traffic behind the camera. Macmillan took six photographs, which McCartney examined with a magnifying glass before deciding which would be used on the album sleeve.

In the image selected by McCartney, the group walk across the street in single file from left to right, with Lennon leading, followed by Starr, McCartney and Harrison. McCartney is barefoot and out of step with the others. Except for Harrison, the group are wearing suits designed by Tommy Nutter. A white Volkswagen Beetle is to the left of the picture, parked next to the zebra crossing, which belonged to one of the people living in the block of flats across from the recording studio. After the album was released, the number plate (LMW 281F) was repeatedly stolen from the car. In 2004, news sources published a claim made by retired American salesman Paul Cole that he was the man standing on the pavement to the right of the picture.

Although Abbey Road was an instant commercial success, it received mixed reviews upon release. Some critics found its music inauthentic and criticised the production's artificial effects. By contrast, critics today view the album as one of the Beatles' best and one of the greatest albums of all time. George Harrison's two songs on the album, "Something" and "Here Comes the Sun", are considered among the best he wrote for the group. The album's cover, featuring the Beatles walking across the zebra crossing outside of Abbey Road Studios (then officially named EMI Studios), is one of the most famous and imitated of all time.

Graham Parker and the Rumour – The Parkerilla, Mercury, 1978, by Brian Griffin (design by Barney Bubbles)

The Parkerilla is a 1978 live double album by Graham Parker and The Rumour. It was recorded at Winter Gardens, Bournemouth, Manchester Opera House, Apollo Theatre, Oxford and The Palladium, New York City; and mixed at Rockfield Studios, Wales.

The album was recorded as a contractual obligation album as Parker had already signed with Arista and was preparing "Squeezing Out Sparks" for that label. The album was longer than a traditional record and Mercury elected to release it as a double album. The single "Hey Lord Don't Ask Me Questions" was a re-recording of a song from the first album (and slightly retitled) with the song occupying the fourth side.

The album met with a mixed reception from critics who were waiting for new material from Parker.

In 1991, Rolling Stone ranked The Parkerilla number 64 on its list of 100 greatest album covers. The cover photography was by Brian Griffin, with the artwork completed by Barney Bubbles.

Brian Griffin: ‘Dave Robinson of Stiff Records commissioned me for this. It was my first album cover and was shot on the South Bank in London next to the Hayward Gallery. The idea to make Graham Parker look like a gorilla was Dave’s, using prosthetics. This album was also my introduction to Barney Bubbles, who designed the cover’.

Led Zeppelin – Physical Grafitti, Swan Song, 1975, by Elliott Erwitt (design by AGI/Mike Doud/Peter Corriston)

Physical Graffiti is the sixth album by the English rock band Led Zeppelin. Released as a double album on 24 February 1975 in the United States and on 28 February 1975 in the United Kingdom, it was the group's first album to be released under their new label, Swan Song Records. The band wrote and recorded eight new songs for the album in early 1974 at Headley Grange, a country house in Hampshire, which gave them ample time to improvise arrangements and experiment with recording. The total playing time covered just under three sides of an LP, so they decided to expand it into a double album by including previously unreleased tracks from the sessions for the band's earlier albums Led Zeppelin III (1970), Led Zeppelin IV (1971) and Houses of the Holy (1973). The album covered a range of styles including hard rock, progressive rock, rock 'n' roll and folk. The album was then mixed over summer 1974 and planned for an end-of-year release; however, its release was delayed because the Peter Corriston-designed die-cut album cover proved difficult to manufacture.

The album was originally released with a die-cut sleeve design depicting a New York City tenement block, through whose windows various cultural icons could be interchangeably viewed. The album designer, Peter Corriston, was looking for a building that was symmetrical with interesting details, that was not obstructed by other objects and would fit the square album cover. He subsequently came up with the rest of the cover based on the idea of people moving in and out of the tenement, with various sleeves that could be placed under the main cover and filling the windows with various pieces of information.

The two five-storey buildings photographed for the album cover are located at 96 and 98 St. Mark's Place in New York City. The original photograph underwent a number of tweaks to arrive at the final image. The fourth floor of the building had to be cropped out to fit the square album cover format. (The front doorway and stoop at 96 St. Mark's Place is also the location used by the Rolling Stones for the music video promoting their single "Waiting on a Friend", from their 1981 album Tattoo You).

Eschewing the usual gatefold design in favour of a special die-cut cover, the original album jacket included four covers made up of two inners (for each disc), a middle insert cover and an outer cover. The middle insert cover is white and details all the album track listings and recording information. The outer cover has die-cut windows on the building, so when the middle cover is wrapped around the inner covers and slid into the outer cover, the title of the album is shown on the front cover, spelling out the name "Physical Graffiti". Images in the windows touched upon a set of American icons and a range of Hollywood ephemera. Pictures of W. C. Fields and Buzz Aldrin alternated with the snapshots of Led Zeppelin. Photographs of Lee Harvey Oswald, Marcel Duchamp and Pope Leo XIII are also featured. Per the liner notes, package concept and design was by AGI/Mike Doud (London) and Peter Corriston (New York). Photography was by Elliott Erwitt, B. P. Fallon, and Roy Harper. "Tinting Extraordinaire": Maurice Tate, and window illustration by Dave Heffernan. In 1976, the album was nominated for a Grammy Award in the category of best album package.

Physical Graffiti was commercially and critically successful upon its release and debuted at number one on album charts in the UK and number three in the United States. It was promoted by a successful U.S. tour and a five-night residency at Earl's Court, London. The album has been reissued on CD several times, including an expansive 40th anniversary edition in 2015. Physical Graffiti was later certified 16× platinum in the United States by the Recording Industry Association of America (RIAA) in 2006, signifying shipments of over eight million copies in the US.

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#just for books #Best Album Cover Shoots #Grace Jones #Prince #Boz Scaggs #Tirez Tirez #Tom Waits #Thelonious Monk #Madonna #The Rolling Stones #Serge Gainsbourg #Joe Jackson #Diana Ross #Rage Against the Machine #The Beatles #Graham Parker and the Rumour #Led Zeppelin

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wingzie · 2 months ago

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BTS in the UK Part Two: 2019

In May 2019, BTS travelled to London to perform at Wembley. An extra date was added due to tickets being sold out within 90 minutes and it was announced the concert would be broadcasted in real time on Vlive Plus. Art was seen on Brick Lane advertising it.

Due to the members being quiet the hashtag #FindBTSParty started, with Army making jokes about if BTS actually made it to London or not and where they were. Later on, Namjoon and Hobi also posted, revealing that they were indeed here.

BTS performed Boy With Luv on Britain’s Got Talent. At the end, Jin gave the rose to Dec. Dec later gave the rose to an Army who had waited a long time to get into the venue.

dailymotion

There was plenty of support on the ground, with the Wembley stadium turning purple. There was also a chalk project at Piccadilly Circus, with Army writing messages of love on the pavement.

The BTS Hyundai advert at Piccadilly circus, with a massive crowd of Army watching. They also stayed behind to spend time together whilst singing and dancing.

Before their concert, BTS took part in a press conference, where they discussed the upcoming shows and answered questions about the group. The members posted photos from the event. One of the members then posted on twitter “C U Soon”, adding to the hype.

On 1st June, BTS began their first concert at Wembley.

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Whilst making their way out of Wembley, Army sang back and forth “So show me, I show you” from Magic Shop.

After the concert, Jin posted a tweet taken from backstage. Namjoon posted a photo from the National Gallery and Yoongi also posted a selca. Yoongi then went on Vlive.

Before the second day began, some Army did Jungkook’s Euphoria fanchant on their way to Wembley. Jin also posted before the concert began.

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BTS performed their second concert date:

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Whilst getting ready for the encore, text appeared on the screen to indicate that ARMY TIME would happen at Wembley.

Army then sang Young Forever, with everyone getting emotional.

After the concert, Hobi posted his thanks. Jungkook went Live after the concert. The Korean BBQ place called Olle posted the signatures of Jin, then of Jimin and Jungkook who had visited earlier in the week.

Jimin posted his thanks to his friends for attending. This flag was spotted around on the day, with the owners claiming to be friends of Jimin. Jimin later mentioned going around London with them and Jungkook. Jimin also kept the banners, which were later seen on BTS Festa in 2021.

BTS filmed episodes 91-94 in London, saying that they had to film inside the hotel because of the rainy weather.

A few days later, an interview was released where BTS were interviewed by Adele Roberts again.

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On 9th August 2019, Taehyung/V released Winter Bear. The MV featured self-filmed scenes of London.

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Sources:

#wingzie #btswembley #btsuk #Youtube

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lizouri · 2 months ago

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Methodist Central Hall.

Central Hall Westminster in London is a versatile venue that functions as a Methodist church and a bustling conference hub. The space seamlessly blends spirituality and functionality, offering a vast Great Hall, serene art galleries, and office spaces.

📍: London, City of Westminster

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coochiequeens · 4 months ago

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In other words: men have fit over something not centering them.

By Emily Jane Davies 11 October 2024

An LGB Alliance conference held in Westminster was thrown into chaos today after 'trans activists' reportedly released cockroaches, meal worms and crickets inside.

The charity says it 'promotes the rights of lesbians, bisexuals and gay men, as recognised by biological sex'.

When the group was made a charity in 2021, several furious trans rights groups appealed the decision.

Today, the gay rights group held a conference at the Queen Elizabeth II Conference Centre in central London but videos on social media show bugs at the event.

Posts on X by those in attendance claim they saw seven young trans right activists dump two bags of the insects.

Videos show hundreds of the bugs crawling over the purple chairs at the hall.

An LGB Alliance conference held in Westminster was thrown into chaos today after 'trans activists' reportedly released cockroaches, meal worms and crickets inside

Posts on X by those in attendance claim they saw seven young trans right activists dump two bags of the insects

Jamie Reed, a speaker at the event, posted: 'Two minutes before I was supposed to speak on the stage a TRA just dumped a bag, full of cockroaches and bugs all across the auditorium and ran out.

'Please take note: I will not be silenced. You can try everything to intimidate me into silence. It will not work. As I was to take the stage at the @AllianceLGB conference a TRA dumped bags of live bugs.

'We went through two layers of security, including metal detectors.'

Another post read: 'Trans activists have just disrupted the annual Conference being held by LGB Alliance by releasing insects in the main hall.

'These nasty individuals who seek to disrupt a peaceful conference of lesbian and gay people show themselves up to be the real bigots.'

MailOnline approached the LGB Alliance for more information.

A Met Police spokesperson told MailOnline: 'Police were called at 16:24hrs on Friday, 11 October to a report of a protest at the Queen Elizabeth II Centre in Broad Sanctuary.

'Four protesters were reported to have released a number of insects inside the venue.

'They were detained by security and escorted from the premises by appropriate adults.

'Police have their details and an investigation into the circumstances remains ongoing.'

The gay rights group has a controversial past, clashing with trans rights charities.

In July last year, the transgender charity Mermaids today its case to have LGB Alliance stripped of its charitable status in what is believed to have been the first case of its kind in the UK.

The attempt by the trans group was branded 'profoundly homophobic' at the tribunal and Mermaid's case was thrown out.

Mermaids launched the legal action arguing that the LGB Alliance should be stripped of its charitable status, alleging the organisation is merely a front for transphobia and political campaigning to prevent changes on gender self-identification in the law.

The two charities fundamentally disagree on issues of trans rights, with the LGB Alliance taking the view that people cannot change their biological sex while Mermaids argue they can.

See rest of article

#LGB Alliance #Westminster #Queen Elizabeth II Conference Centre #TRAs just being disruptive men

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saintmeghanmarkle · 3 months ago

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Suffer the little children by u/Mickleborough

Suffer the little children A little pattern seems to be emerging, beginning with Sussexes finding an excuse to appear in public wearing poppies close to Remembrance Day, 11 November.On 7 November they delivered a video message at the inaugural Global Ministerial Conference on Violence Against Children, in Colombia, the one to which they weren’t invited.https://ift.tt/83mQxlk poppy on lapel because, you know, it’s good to show that you remember the fallen. The way the Royal Family does.(NB This is much smoother than their initial ‘personal remembrance’ of war dead on Remembrance Day 2020, by traipsing around Los Angeles National Cemetery with a private professional photographer in tow:https://ift.tt/tEv2RIG Mail archived / unarchivedLest we forget, this, too, was the year that Harry’s request to lay a personal wreath at the Cenotaph in London, on Remembrance Day, was rejected by the late Queen Elizabeth. Much victimhood by Harry, overlooking the fact that personal wreaths aren’t laid on that occasion. But we digress.)Hot on the heels of the video message (about children) come these headlines. According to the Daily Telegraph archived / unarchived:https://ift.tt/dXh09xU wants to take the ‘spirit of the Invictus Games’, with its ‘message of resilience and courage’, to ‘schools worldwide’.Children again.Why children? Some reasons spring to mind:- Associating with children implies that one’s caring, nurturing, trustworthy, etc etc etc.- Children are cute and guaranteed to garner attention.- Children are a captive audience - they’re already grouped in schools, at no cost: no hiring venues, promotion, fear of empty seats.- Children aren’t critical - no jeers, boos, or awkward questions from them.In my opinion, imparting the values of resilience and courage via the Invictus Games is not very suitable. It could be interpreted as telling children that if they join the armed forces; see action; and suffer life-changing injuries, then Invictus will help them heal.This isn’t quite the same as encouraging them to be disciplined in sport so that they might, one day, compete in the Olympics. Or to work hard and become successful entrepreneurs (eh, Meghan?). Far more positive messages.Trust the Daily Mail to focus on the shady side:https://ift.tt/iQoVDfe will be filled by said school kids, their siblings, and their parents. post link: https://ift.tt/PJAkVFh author: Mickleborough submitted: November 19, 2024 at 10:17PM via SaintMeghanMarkle on Reddit disclaimer: all views + opinions expressed by the author of this post, as well as any comments and reblogs, are solely the author's own; they do not necessarily reflect the views of the administrator of this Tumblr blog. For entertainment only.

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bitter69uk · 10 months ago

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Born on this day: decadent and charismatic German-Italian actress, model, scene-maker, style icon, “Lady Rolling Stone” and ultimate rock chick Anita Pallenberg (6 April 1942 – 13 June 2017). Pallenberg was an alluring occasional presence in art-y bohemian nightlife in early 1990s London. I recall her DJ’ing at the Horse Hospital once, and coming face to face with her when I opened the bathroom door (“I always need to pee!” she cackled). But before that, buried in the listings of Time Out magazine (in the pre-internet days when it was a dense essential bible that we all relied on), I read about a screening of Pallenberg’s old home movies in East London. It announced she would be present, possibly hosting or emceeing. The venue was a palatial industrial loft in Shoreditch (possibly someone’s apartment), just before gentrification went full tilt boogie there. I sat alone in the back and overheard people conferring that a vintage Cadillac had been dispatched to collect Anita. She arrived late and alone - and sat next to me! Pallenberg – looking just like she did in that 1995 Calvin Klein ad by Steven Meisel with that other ravaged countercultural survivor Joe Dallesandro – radiated elegantly ruined glamour. I never got to meet Nico, but this was a very respectable equivalent. We made small talk. As Pallenberg’s friend Marianne Faithfull describes in her autobiography, “She spoke in a baffling dada hipsterese. An outlandish Italo-German-Cockney slang that mangled her syntax into surreal fragments.” Pallenberg glugged red wine and chain-smoked throughout (there’s a theory she was one of the inspirations for Patsy Stone in Absolutely Fabulous). She also kept up a running commentary on what was happening onscreen (mostly images of herself – clad in Ossie Clark and vintage finery – and Keith Richards in the late sixties cavorting on their jet-set travels). At one point, things turned intimate – a seemingly post-coital Anita and Keef canoodling in bed together. The camera zoomed in on her naked breast. “That’s my neeeple,” she declared in her gravelly Marlene Dietrich voice. I can’t wait to see the upcoming documentary Catching Fire: The Story of Anita Pallenberg. Portrait of Pallenberg by Michael Cooper, 1967.

#anita pallenberg #lady rolling stone #it girl #lobotomy room #the rolling stones #muse #decadence #hedonist #scene maker #rock chick #style icon #ravaged #elegantly wasted #ruined glamour

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richwall101 · 8 months ago

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Kings Weston House is a historic building in Kings Weston Lane, Kingsweston, Bristol, England. Built during the early 18th century, it was remodelled several times, the most recent in the mid-19th century. The building was owned by several generations of the Southwell family. By World War I, the house was used as a hospital and then later used as a school by the Bath University School of Architecture. The building is today used as a conference and wedding venue, as well as a communal residence.

The building was built between 1712 and 1719, and was designed by Sir John Vanbrugh for the lawyer and politician Edward Southwell on the site of an earlier Tudor house. It was then remodelled in 1763–1768 by Robert Mylne and again between 1845 and 1850 by Thomas Hopper. The Kings Weston estate possesses one of the largest collections of buildings designed by Sir John Vanbrugh in the UK. Whilst the house and the majority of the estate's buildings are still standing, others have been demolished or have been heavily altered. Bristol is the only UK city outside London to possess buildings designed by Vanbrugh. A significant architectural feature is the grouping of all the chimneys into a massive arcade.

#Kings Weston House #Mansion #Georgian #Bristol #UK #Architecture

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churchhouseconf · 6 months ago

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Top London Conference Venues: Perfect Spaces for Your Next Event

Find the ideal venue for your next business gathering with London conference venues. These venues offer a range of stylish and well-equipped spaces and a professional and memorable experience. Choose from central locations and impressive facilities tailored to meet your event needs. Visit us now!

#London Conference Venues #Conference Venues #Venues #Conference Venues in London

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blueorchidhotels · 8 months ago

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Long Stay Hotels in Westminster: Experience Luxury and Comfort at Blue Orchid Hotels

Westminster, one of London's most iconic and historically rich districts, is a prime location for extended stays in the city. Whether you are visiting for business, leisure, or a bit of both, Westminster offers a unique blend of cultural landmarks, vibrant neighbourhoods, and excellent connectivity. When it comes to finding the perfect long stay hotel, Blue Orchid Hotels stand out for their commitment to providing luxury, comfort, and personalized services tailored to long-term guests. Among their esteemed properties, Wellington by Blue Orchid and The Rochester by Blue Orchid are celebrated as the best boutique hotels in Westminster, suitable for couples, families, business trips, and leisure stays.

History of Westminster

Westminster has a rich history dating back to the medieval period, playing a central role in British politics, religion, and culture. Originally, an island on the River Thames, the area became significant when Edward the Confessor built Westminster Abbey in the 11th century. The Abbey has been the site of coronations since William the Conqueror in 1066. The Palace of Westminster, now home to the UK Parliament, has roots going back to the early medieval era as well. Over the centuries, Westminster has evolved into a bustling district that houses not only the political heart of the nation but also numerous historical landmarks, making it a vibrant area steeped in heritage and culture.

Why Choose Westminster for Long Stay Accommodation

Westminster is at the heart of London, making it an ideal base for extended stays. Here are some reasons why:

Proximity to Major Attractions: Stay within walking distance of world-famous landmarks like Buckingham Palace, Westminster Abbey, and the Houses of Parliament.

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Day Trips from Central London:

Check these day trips that promise for an unforgettable experience.

Vibrant Local Amenities: Enjoy a plethora of restaurants, shops, and parks, offering everything you need for daily living and leisure.

Must-See Attractions in Westminster, London

Westminster is one of London's most iconic districts, home to some of the most famous landmarks and cultural sites in the city. Whether you are visiting for a short trip or an extended stay, Westminster offers a wealth of attractions that cater to all interests. Here are some must-see attractions in Westminster, London:

1. The Houses of Parliament and Big Ben

Description: The Palace of Westminster, also known as the Houses of Parliament, is a stunning Gothic building that houses the UK Parliament. Big Ben, the iconic clock tower, is part of this complex.

Highlights: Guided tours of the Parliament buildings, including the House of Commons and House of Lords; witnessing the Changing of the Guard ceremony; hearing Big Ben chime.

2. Westminster Abbey

Description: A UNESCO World Heritage site, Westminster Abbey is a magnificent Gothic church with over a thousand years of history. It is the traditional venue for coronations and royal weddings.

Highlights: The Coronation Chair, Poets' Corner, the resting places of monarchs and notable figures, and stunning stained glass windows.

3. Buckingham Palace

Description: The official residence of the British monarch, Buckingham Palace is an iconic symbol of the British monarchy.

Highlights: The Changing of the Guard ceremony, tours of the State Rooms (open to the public during the summer), the beautiful palace gardens.

4. St. James's Park

Description: One of London’s oldest and most picturesque parks, St. James’s Park offers a serene escape in the heart of the city.

Highlights: Scenic walks, views of Buckingham Palace, pelican feeding time, the Blue Bridge for excellent photo opportunities.

5. The Churchill War Rooms

Description: Part of the Imperial War Museum, the Churchill War Rooms offer a fascinating glimpse into Winston Churchill's wartime bunker and the secret underground headquarters used during WWII.

Highlights: The Map Room, Churchill’s office and living quarters, interactive exhibits on Churchill's life and legacy.

6. The National Gallery

Description: Located in Trafalgar Square, the National Gallery houses an extensive collection of Western European paintings from the 13th to the 19th centuries.

Highlights: Works by masters such as Van Gogh, Da Vinci, Rembrandt, and Turner; free admission; special exhibitions and events.

7. The Victoria and Albert Museum

Description: Known as the V&A, this museum is the world's largest museum of decorative arts and design, with a vast collection spanning 5,000 years.

Highlights: Fashion and textiles, ceramics, jewelry, and the renowned Cast Courts.

8. The Tate Britain

Description: Tate Britain is home to the national collection of British art from the 16th century to the present day.

Highlights: Works by J.M.W. Turner, John Constable, and modern British artists; special exhibitions and events.

9. The Westminster Cathedral

Description: Not to be confused with Westminster Abbey, Westminster Cathedral is the mother church of the Catholic Church in England and Wales.

Highlights: Stunning Byzantine architecture, the cathedral’s mosaics, and the tower offering panoramic views of London.

10. Trafalgar Square

Description: A bustling public square in Westminster, Trafalgar Square is a central point for tourists and locals alike.

Highlights: Nelson's Column, the National Gallery, fountains, and frequent cultural events and demonstrations.

Benefits of Staying at Blue Orchid Hotels for Long-Term Guests

Blue Orchid Hotels are renowned for their exceptional hospitality and quality services. Here’s why they’re perfect for long-term stays, suitable for couples, families, business trips, and leisure stays:

Discounted Rates: Enjoy special rates for extended stays, making your visit more affordable without compromising on luxury.

Enhanced Amenities: Long-term guests receive enhanced amenities, including spacious suites, in-room kitchen facilities, and dedicated workspaces.

Personalized Services: Experience personalized service tailored to your needs, ensuring your stay is comfortable and enjoyable.

Detailed Look at Blue Orchid Hotels' Long Stay Options

Blue Orchid Hotels in Westminster offer a range of features and services designed to cater to long-term guests. Among the best options are Wellington by Blue Orchid and The Rochester by Blue Orchid, known for their boutique charm and exceptional service, suitable for couples, families, business trips, and leisure stays.

Wellington by Blue Orchid:

Hotel Features:

Fully Equipped Kitchens: Prepare your own meals with ease using fully equipped kitchens available in our long stay suites.

Spacious Living Areas: Enjoy the luxury of space with separate living areas and bedrooms, perfect for relaxing after a busy day.

In-Room Laundry Facilities: Benefit from the convenience of in-room laundry facilities, making it easy to manage your wardrobe during an extended stay.

High-Speed Internet: Stay connected with high-speed internet and dedicated workspaces, ideal for remote work or keeping in touch with loved ones.

Exclusive Services:

Housekeeping Services: Enjoy regular housekeeping services to keep your space clean and comfortable.

Concierge Services: Our concierge team is always available to assist with your needs, from booking tickets to recommending local attractions.

Access to Facilities: Long-term guests have full access to hotel facilities, including fitness centres, business centres, and dining options.

The Rochester by Blue Orchid:

Hotel Features:

Elegant and Spacious Rooms: Experience the charm of boutique luxury with rooms that are both elegant and spacious, providing a comfortable home away from home.

In-Room Dining Options: Take advantage of in-room dining services, offering convenience and variety for extended stays.

Luxurious Bedding: Enjoy a restful night's sleep with high-quality bedding and linens, ensuring maximum comfort.

Work and Leisure Balance: The Rochester provides spaces designed for both work and relaxation, perfect for long-term guests.

Exclusive Services:

Personalized Guest Services: Experience tailored services to meet your specific needs, ensuring a pleasant and personalized stay.

On-Site Dining: Savor delicious meals at the hotel’s restaurant, offering a range of culinary delights.

Fitness and Wellness: Access to fitness facilities to maintain your wellness routine during your stay.

Top Central London Hotel Packages and Reservation Details

Blue Orchid Hotels offer special packages for long-term stays, Spa package, Family Stays, Luxury suite package, etc providing excellent value for extended visits. These packages are perfect for those seeking 4-star hotels, boutique hotels, and luxury accommodation in central London. Contact us directly for the best rates and to learn more about our tailored long stay options. Visit our website or call us to make a reservation and ensure a luxurious and comfortable stay in Westminster.

Conclusion

Choosing Westminster for your long stay means enjoying a vibrant, well-connected area rich in history and culture. Blue Orchid Hotels, particularly Wellington by Blue Orchid and The Rochester by Blue Orchid, offer the perfect accommodation, combining luxury, comfort, and personalized service to make your extended stay memorable. Suitable for couples, families, business trips, and leisure stays, Blue Orchid Hotels ensure a truly exceptional experience. Book your long-term stay with Blue Orchid Hotels today and experience the best of Westminster.

#hotels in london uk #5 star hotels in central london #central london hotels #london hotels deals #best hotel in central london #conference venues in london #london hotel booking

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panfritoo · 6 months ago

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Exhibition Review: Women in Revolt! Art and Activism in the UK 1970-1990

Anything feminist puts me instantly on guard. Feminism sells. Sure. But can't female artists be recognised for anything other than having a vagina? Female artists in Britain did not occupy the spaces of museums and galleries, their work has been safeguarded under individual mattresses and home archives. So I approached Tate Britain's exhibition with a certain scepticism, wondering if the show would be a tokenistic gesture of promoting ‘inclusivity’.

From the get-go, there is one thing obvious. There are no Guerrilla Girls. There are no Mona Lisas. Each piece, interdependent, brings dimension to all the contradictions and experiences of women at a time of significant sociopolitical change. As a result, the exhibition is messy and fatiguing; it almost tries too much at once. However, this is no sign of failure, there is a feminist, non-capitalist politics which informs the curation of the exhibition. Women in Revolt! Art and Activism in the UK 1970-1990 showcases the works of over 100 female artists who used their work to campaign for women’s rights and whose contribution to British culture has been incredibly uncredited.

Arranged chronologically, the exhibition begins with photographs taken by then-20-year-old Chandon Fraser of the First Women’s Liberation Conference that took place in Oxford. Unlike images of any male gathering, these images are intimate, women are smiling and some carrying their infants with them. These women are wives, mothers, activists and artists all carrying the burden of being a woman in each role. Maureen Scott's painting Mother and Child at Breaking Point supplies an honest reflection on being a devoted mother and at the same time, losing the sense of ‘I’. Or, Susan Hiller's "10 Months," where she documents her growing pregnant belly through photographs, along with text from her journal where she writes about being a woman artist. At the time, being a female artist and a mother were considered incompatible. These works demonstrate that while society accepts that there are good, bad, and they-went-to-buy-milk-they-said fathers, mothers are held to different standards.

The works are witty and thought provoking, for instance, Monica SJOOS referencing phallic culture with a painting of a big penis overcasting a city or Rose Finn-Kelcey's 'The Divided Self' a self-portrait of her sitting on a bench at Hyde Park, bookended, appearing on opposite sides of the bench in conversation with her 'other' self. The photograph examines the dichotomy between the person we are in private and the person we are in public.

The exhibition also recognises the influence of subcultures in their role of pushing the boundaries behind the theatrics of womanhood. In the 1980s, against London's depressive political backdrop, a bunch of working-class teenagers were determined to build their own swinging London and escape into an electric new counterculture. These kids would gather around cubs like Blitz's which made the ultimate test bed for new romantics, punks, fashion and lesbian squatters. The photographs by Jill Posner of lesbian couples inhabiting new places were a way to challenge traditional female beauty canons aimed at male arousal and defy sexual orientation attitudes. While others such as Jill Westwood’s photographs of her wearing a latex outfit or Liz Rideal’s self-portraits of her face in a photo booth as she reaches orgasm would use hyper-sexualisation as a means of declaring control over their bodies and acknowledging their sexual self.

It becomes evident that women produced work on the fringes of the art industry, creating their magazines, putting shows at alternative venues and sustaining their work through collaboration. The postal art project supported by Monica Ross and Su Richardson is an example of the networks women built to disseminate their work. These works included in the exhibition are small-scale pieces of artwork using DIY techniques that women would produce on kitchen counters with random items found in the house. These collectibles were mailed between women creating documentation of their experiences. Forms of low-status art became a significant medium of feminist art, which is a direct reflection of women's precarious material conditions at the time.

The exhibition does not focus on a universal experience of women, each room has the function to provide a new layer to the narrative of feminism activism in Britain. Marlene Smiths' “My mother opens the door at 7 am. She is not bulletproof” a portrait of Dorothy Cherry Grace who was shot at her home in Brixton documents the BLK Art Group's contribution to feminist activism and racism in Britain.

Turning our view back to the present, what does it all mean? Perhaps this is the most important. One cannot stop themselves from making connections between women’s rights then and now. Abortion is being criminalised in my countries disowning women from their bodies, women are still inflicted between becoming a mother and pursuing their careers, walking alone at night is still dangerous, and social media algorithms have taken a role in exposing young minds to figures such as Andrew Tate and their “toxic masculinity” content. But at the same time, I wouldn’t want to live anywhere else in time but now.

I’ve confessed to myself that I am not a feminist of my time, as a young woman I’ve become weary of the term. Women In Revolt has put into question why I refuse to recognise this history of my gender when it means everything I take for granted now. Despite my initial judgements, this exhibition is a revelation.

#feminism #art #art exhibition #tate britain #archive of women artists #female artists #british art #exhibition review

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sweetdreamsjeff · 5 months ago

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Jeff Buckley in the U.K.

Jim Irvin, 'From Hallelujah to the Last Goodbye' (Post Hill), May 2018

Excerpted from Jeff Buckley: From Hallelujah to the Last Goodbye by Jeff's former manager Dave Lory and former MOJO man Jim Irvin (Post Hill Press).

JEFF BUCKLEY loved British music; the nervous energy in British punk, the wired consciousness of the Clash, the way Siouxsie and the Banshees went from gun-metal moodiness to skies full of fireworks.

He adored the Cocteau Twins, of course, especially Liz Fraser's "impossible voice". He loved how the Smiths called to outsiders and nerds. He loved the textures of Johnny Marr's supple guitar and the mordant presence of Steve Jones's guitar in the Sex Pistols.

Jeff, whose own nervous energy was considerable, became even more wired whenever we went to the UK; he was stimulated by its variety. He also appreciated its compactness – the lack of eight-hour drives between cities was refreshing.

Sony had passed on Live at Sin-é in Europe. We were understandably disappointed, but there was a solution close at hand: Steve Abbott, known to everyone as Abbo, who ran the eccentric indie record label Big Cat and had picked up on many of the promising un-signed bands playing in New York: Pavement, Mercury Rev, Luscious Jackson. He had approached Jeff after Gods & Monsters and Sin-é shows and asked him if he'd like to record with Big Cat, but then Sony stepped in. Jeff felt that he owed Abbo a record, so when Columbia UK passed on Live at Sin-é and Michele Anthony instigated a funding deal with Big Cat, it seemed the perfect opportunity for them to become involved. Abbo jumped at the chance.

Big Cat's small team – Abbo, co-owner Linda Obadiah, Frank Neidlich in marketing, and Jacqui Rice in press – did such a good job that the week it was released in Europe, Live at Sin-é sold over four thousand copies, which was amazing for a complete unknown.

After a Sony conference, where it was clear that a lot of the affiliates were bemused by him, Jeff had a warm-up show at Whelan's in Dublin. By the time he came on, the crowd, several drinks into its evening, had become a little boisterous. Jeff said hello softly, as usual, but no one was really paying attention. Jeff just stood there, waiting. People started to quieten down and watch to see what he would do. There was a pint of his favourite beer, Guinness, sitting on the stool next to him. Jeff lifted the glass to his lips and downed it in one hit. Everyone on the room cheered, and he began the Irish show with the crowd completely on his side.

The audience was more blasé the next night at his London debut at The Borderline, a Western-themed venue under a dubious Mexican diner in Soho, right in the heart of London, a group of local reps for hip American indie labels like Sub Pop and Merge yacking away rather disrespectfully at the bar. In the age of grunge, a lone guy with a guitar softly singing Edith Piaf covers was baffling for some.

"It was an epiphany for me," says Sara Silver, Sony's European head of marketing. "There are some shows where it just feels like you're a voyeur, looking into someone's soul. This was one of those. He was charismatic, but also haunting, and I think because of my particular situation at the time, still suffering from the [loss of my husband], he resonated hugely. This haunting sound was a powerful force, and it was my job to work out how we took it to the world."

A gig the next night in Glasgow meant an early-morning flight back to Heathrow the following morning to catch a session with GLR, London's local BBC station, a slot designed to alert people to the next couple of gigs at the Garage in Islington and at Bunjies, a cute little basement folk club in Central London that dated back to the early 1960s and made Sin-é seem generously proportioned.

Abbo was accompanying Jeff on this run.

"We'd meet regularly at a bar called Tom & Jerry's in New York, hang out and drink Guinness together," Abbo says, "I suppose I became a friend of his, and he didn't seem to have many real friends. I'd only discovered I liked the blues since living in New York, so it was great hanging with him, because he was a huge blues and jazz fan and if there was a guitar around he had to pick it up and show off. He knew every Robert Johnson song, every Muddy Waters tune, Bessie Smith; he introduced me to the physicality of the blues, watching it at close quarters. Everybody talks about his voice, but he was a brilliant guitarist. The guitar was an extension of his body.

"Tim Buckley hadn't really entered my line of vision growing up listening to black music. Singer-songwriters with fluffy hairstyles were not currency on my council estate in Luton! We were in Tom & Jerry's and someone said to Jeff, 'I've been listening to your dad,' and I said, 'Who's your dad?' and he said, 'Tim Buckley.' I knew the name from record shopping; I'd seen the sleeves in the racks, but that's it. But when he came over to Britain there were loads of Tim Buckley fans. And it was a real problem early on, because he really didn't like talking about him."

The traffic from the airport to the GLR studios just off Baker Street was awful. A road accident had slowed everything to a standstill. Jeff's slot on the mid-morning show was fast approaching. "Of course, this was before mobile phones, so I had no way of communicating with the radio station that we were stuck in traffic," says Abbo. "For the last few days on this tour, everyone who'd interviewed Jeff had been asking about his dad. How did Tim write 'Song To The Siren'? Was there stuff in his lyrics that he might have related to? Things Jeff couldn't answer.

"We were listening to GLR while we waited in traffic and the presenter kept saying, 'We're supposed to have this artist, Tim Buckley's son, turning up, but he's late....Will he or won't he turn up?' This went on and on. She must have said 'Tim Buckley's son' about four times and didn't mention Jeff once. Suddenly, he just kicked my car radio in with his big DMs [Doc Martens], just smashed the fascia and then sat back sulking all the way there. I could get another radio, of course, but I was mostly worried he wasn't going to do the performance.

"We finally arrived about forty minutes late and they were all so rude to us, and yet they knew what the problem was, as they were broadcasting traffic updates and warnings of delays themselves. If I were him, I'd have walked out. The female presenter was a typical local radio DJ, a bit gushy and knew nothing about him and his music. I had a word with the station manager to ask her to stop mentioning Tim Buckley, and he handed her a note to that effect. Jeff just sat there silently and she said, 'What are you going to play?' and Jeff said, 'A song.' I'm thinking, 'Oh god, here we go.' And he started to play "Grace." He did this long guitar introduction, went on for about a minute, like he needed to calm himself down before he got to the actual start of the song, and then he launched into the most electrifying performance. The best I ever heard him do it.

"There were about six phones in the control room, and they all started lighting up. 'Who is this? Who is this? It's amazing!' And all the time, Jeff's getting more and more into it. The presenter went from being this standoffish woman to...I swear she would have thrown herself on him given half a chance, the second he finished singing. You could see she was totally enthralled."

Presenter: "You looked quite exhausted at the end of the song."

Jeff: "I was getting a lot of anger out. Something happened on the way here..."

"The phones didn't stop throughout the next song. The station manager said that in all his twelve years at the station, he'd never seen a reaction like it."

Abbo thinks this performance sparked Jeff's breakthrough. There were certainly plenty of people in line outside the Garage in North London that night. Inside, the first stars were taking note. Chrissie Hynde and Jon McEnroe were in the audience. Chrissie had been a big fan and a friend of Tim's, had actually interviewed him while she was briefly a music journalist with the NME, and she was obviously curious to see how his offspring compared. They struck up a conversation after the show and she clearly said the right thing, because he went off with her to jam with the Pretenders in a nearby rehearsal room. I wasn't carrying anything heavy because of a recent lung collapse, and I didn't want Jeff to pull any important muscles, so I asked McEnroe if he wouldn't mind. He happily hauled Jeff's amp downstairs to the car. The Pretenders' jam with special guests Buckley and Mac went on all night.

Bunjies, as I've said, was tiny, a basement folk club and coffee bar on West Street in Soho, along from the Ivy, with gingham tablecloths and melted candles in wine bottles on the tables and a performance area tucked into a couple of arches in what must have been a wine cellar at one point. It looked unchanged since it had begun in the early 1960s, and had seen a couple of folk booms come and go. It was more of a cafe with an open-mic policy by this point, which felt like a good place for Jeff. There wasn't really any need for amplification, so when we arrived for a sound check there was very little to do but see where Jeff was going to stand in the cramped space and gauge how his voice reflected off the nicotine-stained ceilings. While Jeff did that, I went outside for some fresh air and was stunned to see a line of people already waiting to get into the show.

I took a look at the guest list and realised we'd be lucky to fit twenty of this assembling crowd in the tiny space. Every time I looked up, the line was getting further down West Street. I went back into the venue and found Jeff talking to Emma Banks, the agent. He was saying how great the venue was and that he'd like to do something like hand out flowers to everyone before he went on.

"Jesus, you won't believe what's happening out there," I said to them. "The line goes about four blocks. There's no way these people are going to get in. Is there any way we can do two sets?" Jeff was happy to. Emma spoke to the club owner and was told they had some regular club night happening later on. She came back and said, "They can't do it but I've had an idea!" She disappeared up the steps onto the street, and I spoke to Jeff.

"What flowers would you like?"

"White roses," he said.

"I'll get them," I said, and went back up to the street, where the line had grown even longer.

I walked around looking for a florist and bumped into Emma. "I've booked Andy's Forge," she said. "It's a little place just around the corner in Denmark Street. He can go on at 10:30."

I bought as many white roses as I could find. Jeff handed them to people waiting outside and those lucky enough to get into the club, as he squeezed himself into the corner that passed for a stage. He sang upward, listening to his voice reflect off the curved ceiling into this hot, crowded, and attentive space. There must have been a hundred people stuffed in there.

When the show was over, Jeff walked up the steps to the huddle of patient people that Emma had gathered, plus anyone from the first show who wanted to tag along, and led this crowd like the Pied Piper toward Andy's Forge. Abbo was alongside me. "Have you ever seen anything like this before?" I said.

"Never!" he said. And we laughed liked idiots at the wonderful absurdity of hanging out with Jeff.

#jeff buckley #jeffbuckley #Jeff Buckley in the U.K.#Jim Irvin #'From Hallelujah to the Last Goodbye' (Post Hill)#May 2018

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