tag:blogger.com,1999:blog-61706820273220910192024-03-19T08:48:42.522+00:00This Way UpCulture new and old (and in between) plus photos & guest posts. Instagram: johnconnors100 / X (aka Twitter) @JohnConnors100 / Alt blog : thiswayupzinealt.blogspot.com / Site: www.johnconnorswriter.comJohn Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.comBlogger1459125tag:blogger.com,1999:blog-6170682027322091019.post-83092844941119458412024-03-18T18:29:00.000+00:002024-03-18T18:29:01.791+00:00Top of the Pops- 2nd & 9th March 1989<p><b style="font-family: inherit;">Words by
Chris Arnsby</b><span style="font-family: inherit;">.<br /></span><b style="font-family: inherit;">02/03/1989</b></p><p class="MsoNormal"><span style="font-family: inherit;">Gary Davies:
“Hello. A very good evening to you. It's Thursday night, welcome to another Top
of the Pops.<br /></span><span style="font-family: inherit;">Anthea Turner:
“And tonight in the studio we've got Sam Brown, Tyree, Texas, and Gloria
Estefan and the Miami Sound Machine!”<br /></span><span style="font-family: inherit;">Gary Davies:
“But first we're going to blow the house down will you welcome Living In a
Box.”<br /></span><span style="font-family: inherit;">Anthea Turner:
“Yeeeeess!”</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">[17] LIVING
IN A BOX: blow the house down.</b><span style="font-family: inherit;">
More thunderflashes. The BBC has invested in a new type which send up a shower
of sparks and a less smoke than the old ones. The first round of sparks go up
following the line “don't be afraid, let it show.” This is a bit of a shame
because the next line is, “don't be afraid, just let it explode.”</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Did someone
hear “don't be afraid,” and press the button too early? This speculation is
confirmed when the second time the “let it explode,” line is used a nice shower
of sparks busts up behind the band. And the third time. At least whoever's
finger was on the button got the timing right for the final round of explosions
at the climax of the song. <i>(John- If, as previously confirmed, they live in "a cardboard box" blowing said dwelling down would not be that difficult)</i></span></p><p class="MsoNormal"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGZ3fCXe_AlhGKBUDpj_YPl_F7Z85i-bqXpQoQ2pTgHZJf5oYX2oUAT38vOWo30QN81hGOy1VIBAghJwquGzieQYT_j0MgkEAUkloS6OfFMxTqC4m_7RS7IMFgVFdDCq3N9xINWiMJHW1U5uWDB6_Qo2r5mThLVhgM9zOZO33dD87eXPGBYI3TIHQNdE8q/s603/s-l1200.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="603" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGZ3fCXe_AlhGKBUDpj_YPl_F7Z85i-bqXpQoQ2pTgHZJf5oYX2oUAT38vOWo30QN81hGOy1VIBAghJwquGzieQYT_j0MgkEAUkloS6OfFMxTqC4m_7RS7IMFgVFdDCq3N9xINWiMJHW1U5uWDB6_Qo2r5mThLVhgM9zOZO33dD87eXPGBYI3TIHQNdE8q/w398-h400/s-l1200.webp" width="398" /></a></span></div><span style="font-family: inherit;"><br /><i><br /></i></span><p></p><p class="MsoNormal"><span style="font-family: inherit;"><i><br /></i></span></p><p class="MsoNormal"><span></span></p><a name='more'></a><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[4] SAM
BROWN: stop.</b> “Over
there,” says Gary Davies and points. Sam Brown isn't over there, she's on
videotape in a performance repeated from the 16/02/1989 edition. Gary Davies we
are wise to your lies and knavish tricks.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
40 TO 31</b>.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[9] JASON
DONOVAN: too many broken hearts. </b>Unless
you are Anthea Turner, in which case the song is called Too Many Lonely Hearts.
Jason Donovan is on video. </span><span style="font-family: inherit;">Afterwards,
Anthea Turner announces that Jason Donovan is “looking really hunky!” “I'm glad
you think so,” says Gary Davies, then lest anyone might question his place on
the Kinsey Scale he quickly adds, “... I don't.”</span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">BREAKERS:<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">[23] DEPECHE
MODE: everything counts<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">[26] DEACON
BLUE: wages day<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">[30] DONNA
SUMMER: this time i know it's for real<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">[28] W. A.
S. P. : mean man<o:p></o:p></span></b></p><p class="MsoNormal"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTjV_z9hmTmVNvkWVijYyJ8V03KwH-EBJkv5vG9xrv-RSKQLJi9dccf62JuiSKuWxCW6i9nkprJT593Fm88KjBhpPHles8GSUhdkA3Mlot_UGfPHhzuPbrrHStFf57nIUeOFTR5vihKpTv4lOiTdo_fyBYqkzGUjklrCqM5zeRk8p9-uLwxNdXpLQ8tr2t/s600/R-195694-1192143997.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="597" data-original-width="600" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTjV_z9hmTmVNvkWVijYyJ8V03KwH-EBJkv5vG9xrv-RSKQLJi9dccf62JuiSKuWxCW6i9nkprJT593Fm88KjBhpPHles8GSUhdkA3Mlot_UGfPHhzuPbrrHStFf57nIUeOFTR5vihKpTv4lOiTdo_fyBYqkzGUjklrCqM5zeRk8p9-uLwxNdXpLQ8tr2t/w400-h398/R-195694-1192143997.jpg" width="400" /></a></b></div><b><br /><span style="font-family: inherit;"><br /></span></b><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[16] TYREE
FEATURING KOOL ROCK STEADY: turn up the base. </b><i>Top of the Pops</i> has previously made use of an effect
where the programme's logo is rotated, as if pasted on all four sides of a box.
Now, Vision Mixer Hilary Briegel feeds the output of four cameras into the
effect, one for each side of the box obviously, and it looks great.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Two things
really help. The first being that all four camera angles are sufficiently
different to sell the visual; there's a close up of Tyree working the record
decks; then one of Kool Rock Steady; then a wide shot of the stage with Tyree
to the right of the picture and Kool Rock Steady to the left; and then finally
a reverse angle. Also, the spin of the box has been set so it appears to rotate
on each repeat of “turn up the base/turn it up,” it could be a happy
coincidence but the timing seems too precise to be anything except deliberate.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Veteran effects
technician Dave Chapman is credited with video effects this week. He's clearly
had a go at the Quantel box with his soldering iron. <b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">CHARTS FROM
30 TO 11.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>GLORIA
ESTEFAN: can't stay away from you. </b>“Singing
live!” says Anthea Turner. Well yes, she is singing live on this recording
which is played in from the 16/02/1989 show.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[8] TEXAS: i
don't want a lover. </b>The
16/02/1989 tape has been getting a lot of use tonight. So when Gary Davies
announced that Texas are “singing live tonight,” my response is to raise a
sceptical eyebrow and go “yeah, suuuuure they are,” and then possibly to
speculate about whether Texas will be joined on stage by Jimmy Hill. But I'm
wrong. Texas really are behind Gary Davies.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Anthea Turner
is now so excited that she steps on Gary Davies' link. “That is just such an
excellent, excellent song,” he says and then attempts to continue, getting as
far as “let's.. ta...” before Turner butts in and bubbles, “and now our last
look at the charts! Our final countdown!” Gary Davies stares into the camera
and works on his poker face.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 10:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[1] SIMPLE
MINDS: belfast child. </b>On
video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[14] POISON:
every rose. </b>Who's on
next week? Anthea has the answer, “Nicky Campbell and a few guests from Comic
Relief.” How intriguing. It's certainly something to think about while Every
Rose plays out over the closing credits.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK: </b><span style="font-family: inherit;">Tyree
featuring Kool Rock Steady, Turn Up The Base.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>09/03/1989<br /><br /></b></span><span style="font-family: inherit;">Nicky Campbell:
“Oh yes. Good evening and a very warm welcome to a special Top of the Pops,
Comic Relief edition. Let me introduce you to my very special co-host Lenny
Henry!”<br /></span><span style="font-family: inherit;">Lenny Henry:
[Shrieks] “Yeeah. We're red nose rockin' for the next thirty minutes. I'm gonna
go absolutely crazy, here's my pants [does Rik Mayall-esuqe hip wobbling] and
here's my pals.”<br /></span><span style="font-family: inherit;">Norman Pace [as
Ron]: “Listen. Give your cash to comic relief.”<br /></span><span style="font-family: inherit;">Gareth
Hale</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">[as Ron]: “Because it's hard to
talk when you ain't got no teeth.”<br /></span><span style="font-family: inherit;">Nicky Campbell:
“AndherearetheReynoldsGirls.”<br /></span><span style="font-family: inherit;">Lenny Henry:
“Yee hah!”</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtv0cFU3KW48yAbIiKcMEm4HKHnvnOdoyraLrfyGiNy38cT3UIiZ3rmNYJYO1DffyJ9vBzFvkKDfPuVe6-u8w5FUhHsl17-IjLj7bnSFgchdE4rNVfy_QngffNr9cbMmjxWSrgMYYLo9U-teHDSfLVo9ITwZxMojkMzQ7rGfSIfyVX30IpN0UqmT75ajQS/s640/640px-Fleetwood_Mac_Billboard_1977.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtv0cFU3KW48yAbIiKcMEm4HKHnvnOdoyraLrfyGiNy38cT3UIiZ3rmNYJYO1DffyJ9vBzFvkKDfPuVe6-u8w5FUhHsl17-IjLj7bnSFgchdE4rNVfy_QngffNr9cbMmjxWSrgMYYLo9U-teHDSfLVo9ITwZxMojkMzQ7rGfSIfyVX30IpN0UqmT75ajQS/w400-h400/640px-Fleetwood_Mac_Billboard_1977.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">[17]
REYNOLDS GIRLS: i'd rather jack. </b><span style="font-family: inherit;">Things
fall apart immediately. The introduction to </span><i style="font-family: inherit;">Top of the Pops </i><span style="font-family: inherit;">takes almost
twice as long as usual, 30 seconds. I like to imagine Paul Ciani sitting in the
studio gallery smoking eight cigarettes simultaneously and shrieking into Nicky
Campbell's earpiece “why are they still talking? CUE THE REYNOLDS GIRLS.”</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">To modern eyes,
the Reynolds Girls arrive with a lot of baggage. Much time has been spent
debating whether the song is legitimate protest, a foretelling of Matthew
Bannister's defenestration of the <i>Radio One</i> old guard, self-aggrandising
rubbish, a joke, an act of Swiftian self-loathing on the part of Pete Waterman,
or [insert other opinion]. I have little to add. Except that I was 17 in 1989.
I didn't care about the age of the DJs on the radio. They were all old. I
didn't much like the Rolling Stones, Dire Straits, or Fleetwood Mac. And I
thought I'd Rather Jack was rubbish. Pink Floyd got a pass because I had
nostalgic memories of being frightened by the marching hammers in the video for
Another Brick In The Wall.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">The direction
for the Reynolds Girls is surprisingly poor. Go back and watch Mel and Kim
perform Respectable, 05/03/1987. The pair are mainly shot in mid shot or close
up, and they dominate the screen. Generally the only time both are shown head
to toe on camera is when they are not singing and then they don't dance so much
as stride around, fashion show style. By contrast, the camera angles for the
Reynolds Girls don't take their dance routine into account. The pair are often
left facing away from camera. When they are looking the right way, Paul Ciani's
direction favours long wide shots that leaves the pair marooned and alone on a
vast stage. The wide shots wouldn't be a problem if there were 10 Reynolds
Girls or the choreography was amazing, but there aren't and it isn't. The
performance looks like two of your mates mucking around in the disco while the
42 year old Pete Waterman complains that the 28 year old Nicky Campbell is too
old to play his songs.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">It does seem a
bit on the nose for this song to be on <i>Top of the Pops</i> the same week
Jason Donovan's terrible song reaches Number One. What's that Pete? I can't
hear what your complaining about over the sound of all the money you're making.<o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-family: inherit;">(John- And
all this time later millions of people still listen to Fleetwood Mac whereas
the Reynolds Girls……….)<b><o:p></o:p></b></span></i></p><p class="MsoNormal"><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikxYJgYjxJPCTVJXw63PIL-OGCd-2iu3t2v6TvVgNDROftTFA800MrT35ORzmQ-FAaxsk-EHLPQ7AWQI9ZE71BiFU3E2ODHDcycctA-xLuGunFxkfEEW2A0tWGtQcmDJ-sBCnlteS_LH2c5dKOELNeur_dW0d7USJjD0ujAwZUprzeizHX9Vi4wTL32Fuc/s1200/3004.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikxYJgYjxJPCTVJXw63PIL-OGCd-2iu3t2v6TvVgNDROftTFA800MrT35ORzmQ-FAaxsk-EHLPQ7AWQI9ZE71BiFU3E2ODHDcycctA-xLuGunFxkfEEW2A0tWGtQcmDJ-sBCnlteS_LH2c5dKOELNeur_dW0d7USJjD0ujAwZUprzeizHX9Vi4wTL32Fuc/w400-h300/3004.webp" width="400" /></a></i></div><i><br /><span style="font-family: inherit;"><br /></span></i><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[16] DUSTY
SPRINGFIELD: nothing has been proved. </b>This
being <i>Comic Relief</i> Eve the studio is festooned in red noses. Lenny Henry
wears a gold-lamé coat with red noses stuck to it. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Another chaotic
link, Lenny Henry attempting to link the Reynolds Girls to Dusty Springfield
comes out with the non sequitur “I'd rather jack supremo... no...” “Profumo,”
Nicky Campbell corrects him. Was his original line was supposed to be “I'd
rather jack Profumo”? I'm not sure that's much better.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Dusty
Springfield shakes her head and puts her hand to her forehead before she starts
singing. It looks like she's corpsing. Is Lenny Henry pulling silly faces at
her?<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3O3z48TBF5zNsWdpOhv8vH-dB4tnNBMOeWveoB4bFCT_bcaIM9WE270S1vBu-L86iimNVOgKgjKjxF6Z0YlyfrZlOApjFr0x_IMvp0K4rQ-ZzHNq745VRY1vfHeARhxJL3ncSa2dY2gD_qy-AkgMj9_aduHuGF-mnN-LFsQ64wsU53htb7KCZfqdtgnWY/s300/Dusty_Springfield_-_Nothing_Has_Been_Proved.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="297" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3O3z48TBF5zNsWdpOhv8vH-dB4tnNBMOeWveoB4bFCT_bcaIM9WE270S1vBu-L86iimNVOgKgjKjxF6Z0YlyfrZlOApjFr0x_IMvp0K4rQ-ZzHNq745VRY1vfHeARhxJL3ncSa2dY2gD_qy-AkgMj9_aduHuGF-mnN-LFsQ64wsU53htb7KCZfqdtgnWY/w396-h400/Dusty_Springfield_-_Nothing_Has_Been_Proved.jpg" width="396" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
40 TO 31</b>. Vas Blackwood
joins Lenny and Nicky in the crow's nest to introduce the charts. The
background to the wipe into the charts is a tile of the comic relief logo for
1989. And, the countdown has two overlaid red noses either side of the chart
position.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[24] WOMACK
AND WOMACK: celebrate the world. </b>Did
any of these links get rehearsed? Hale and Pace are in the studio as The
Management (which caused me no small amount of confusion at first because I
couldn't remember which year they were responsible for the single, it was 1991)
and they introduce Womack and Womack as part of a messy link which rambles
into<span style="mso-spacerun: yes;"> </span>the introduction to Celebrate The
World. </span><span style="font-family: inherit;">Womack and
Womack are clearly recorded earlier but I can't really work out when.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[18] DEACON
BLUE: wages day. </b>There's
a small podium at the end of each wing of the main stage, it's occasionally
used by the hosts. This time a couple of lads and a girl are standing on the
one at the end of the stage right wing, clapping along. Have they been placed
there by the floor manager or did they climb up under their own initiative to
get a better view? It doesn't really matter because suddenly they are in the
way. As one of the camera cranes tracks backwards, just after the first split
screen shot, it catches a member of the studio crew getting the trio off the
podium so it can be used by one of the handheld camera operators.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Keep an eye on
the back wall of the stage at the same time. See it wobble. There's a handheld
camera operator back there, alternating between getting shots of the drummer
and the keyboard player, he must have backed into the wall hard.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">CHARTS FROM
30 TO 11.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[15] PAULA
ABDUL: straight up. </b>Paul
Abdul is travelling with a full posse. Herself, and two pairs of dancers and
three chairs. Abdul, and the two women dancers, stride over and sit facing the
camera in a position popularised by Christine Keeler, appropriate for a show
which also features Dusty Springfield singing Nothing Has Been Proved.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">During the
first chorus, watch out for Lenny Henry blundering into shot as he heads to the
mark for his next link. Let's hope <i>Top of the Pops </i>wasn't planning to
use this performance again because its just been very effectively time stamped.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">This is a
catchy pop song but not necessarily a brilliant one. The performance is
brilliant, elevated by the choreography and camera direction. Everything that's
wrong with the Reynolds Girls performance is right here. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">I got thinking
about the difference between the two routines. I think it comes down to the
difference between being professional and being amateur. Paula Abdul is clearly
an experienced professional. The Reynolds Girls aren't. Being an amateur
performer on <i>Top of the Pops</i> can be charming and endearing and could
have been made to work in the Reynolds Girls favour, but their image is all
wrong. They're not professional dancers so why give them a routine to remember?
Instead encourage them to act looser and have fun. In the end, I think the
person who prepared the Reynolds Girls for television did a very poor job and
doomed them from the start.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0lDL5Jf4Ry91G_TmZ-T9L7KopHwYBj6dtOLexjJX2XdCs0ltBrdIA7gU9-8usKLV3PasTNIp2jOQrSqzeznTH_gjooO3kJ8bJPOZXuXZOIk20UnKcYWuC_sg4k_VBNv-qYIlIpOm8yioi1kKtYZCRZFhIlKYUb3RmfDs1cuKIIAJYD3FjIP25VDHb5YdQ/s482/straight-up-us-12in-vinyl-1988.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="482" data-original-width="481" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0lDL5Jf4Ry91G_TmZ-T9L7KopHwYBj6dtOLexjJX2XdCs0ltBrdIA7gU9-8usKLV3PasTNIp2jOQrSqzeznTH_gjooO3kJ8bJPOZXuXZOIk20UnKcYWuC_sg4k_VBNv-qYIlIpOm8yioi1kKtYZCRZFhIlKYUb3RmfDs1cuKIIAJYD3FjIP25VDHb5YdQ/w399-h400/straight-up-us-12in-vinyl-1988.jpg" width="399" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[3]
BANANARAMA/LANANEENEENOONOO: help.</b>
On video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[11] DONNA
SUMMER: this time i know it's for real.</b> Another pre-recorded performance but this time it can be
dated to the studio session for last week's show. Check out the vertical
configuration of neon tubes which can be seen on the other side of the studio.
They first appeared last week on the stage used by Tyree and Kool Rock Steady.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 10:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[1] JASON
DONOVAN: too many broken hearts. </b>On
video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[21] : mean
man. </b>Sybil Ruscoe and
Simon Mayo next week, hopefully joined by Rod McKenzie. W. A. S. P. plays out
over the closing titles with this week's hosting duties credited to NICKY
CAMPBELL & LENNY HENRY and friends of COMIC RELIEF.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK: </b><span style="font-family: inherit;">Paula
Abdul, Straight Up.</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal"><b><o:p><span style="font-family: inherit;"> </span></o:p></b></p>
<p class="MsoNormal"><b><o:p><span style="font-family: inherit;"> </span></o:p></b></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-71733708410538287502024-03-12T18:27:00.000+00:002024-03-12T18:27:48.867+00:00Reviews - Damsel, The Sidemen Story<p> </p><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b><span style="font-family: inherit;">Damsel<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The idea of a damsel in
distress who rises to the occasion rather than waiting for a prince to rescue
her is a fun idea that this film starring Millie Bobby Brown of <i>Stranger Things</i>
leans into. In an unspecified time and place that borrows from English history
and mythology, a struggling family offers their eldest daughter Elodie to the royal family to
marry a prince which seems fairytale enough till we -and she – learn the
terrible truth about what the marriage will mean. I should have said awful
truth really because the central conceit of the film is so unintentionally silly which
somewhat undermines the subsequently deadly serious proceedings resulting in an
uneven if enjoyable enough result.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtAvsPHbZNx9u6J3Jqb7EfpzKEbOd4Kg7IFbj8L_ucZo_v0ReFfR0DSGdL9_WLE4FmQf49BpY9tb5pOPJTOsp2TNoDP8IvpSLebGTn1phsbAsPvyed6-jpClGkX_D0p4tjuOwMvWiz6AMo60td3AnLKqJvg7_e4j0wO_axFs4hHIlGVOiTU5G8JMESFcLM/s442/Damsel-226701907-mmed.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="442" data-original-width="300" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtAvsPHbZNx9u6J3Jqb7EfpzKEbOd4Kg7IFbj8L_ucZo_v0ReFfR0DSGdL9_WLE4FmQf49BpY9tb5pOPJTOsp2TNoDP8IvpSLebGTn1phsbAsPvyed6-jpClGkX_D0p4tjuOwMvWiz6AMo60td3AnLKqJvg7_e4j0wO_axFs4hHIlGVOiTU5G8JMESFcLM/w434-h640/Damsel-226701907-mmed.jpg" width="434" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The big twist happens
at the wedding ceremony whereby after they have been betrothed with blood, her
new husband chucks her down a crevasse where it turns out that many previous
royal brides have ended up to appease the wrath of a dragon whose children a
previous King slayed in cold blood. For some reason though when the throwing over
the edge happened, I could not take it seriously. I mean how is the succession
ever assured if princesses keep being literally thrown away moments after
marriage? And our evil dragon hunts them down by smelling the royal blood that
they have just been given by a cut on the hand. Does such a small amount of
blood really circulate so quickly around the body? Also does the dragon really
believe that all these women are royal daughters? <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The narrative is also
very clumsy in placing obvious things exactly where they need to be for no good
reason. I know myself this is part of the storytelling process but it needs to either
be well presented or explained. Yet our heroine finds a handy cave full of
fireflies that can heal wounds across a gap she is just able to jump because
she has a knife from the earlier ceremony. There’s a useful crystal wall that
sits just beneath an opening in the cave. Despite their predicament previous incumbents
have sketched helpful clues on the cave walls.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Still, after a sluggish
opening, the film manages to gain some traction as Elodie deals with the perils
of being trapped underground with a dragon. It says something about the other
characters that the dynamic between hunter and prey is more interesting than Elodie’s
interaction with anyone else, partly due to Shohreh Aghdashloo’s excellent voice
work which breathes character into this creature. The dragon is very well realised visually
too and when it shoots fire it's got a real lava quality that makes this seem one of the screen's more dangerous dragons. The two play cat and mouse with each other and the results are tense and well
shot meaning you sort of forget the odd method by which they began. The ending
gives a suitable fiery climax albeit with an awkward redemption for our scaly antagonist
which sort of ignores all the things she has previously done. All three main
characters being female also adds a different tone albeit only by making the
male characters little more than set dressing.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNjrtnt4s2OxjX8-TPqDHZsDzszoBp-1m6rzyP1lMk3SmPxkR_OBdUvVxromqBhrt8MX6GTNCUI2n-RNx0EbyJMsOWhKW3y6zRqVe04QTJNSwwtFK7Qmf3YN20VRmhAJDNNKMOnGmTzzMXfiQoWfTKRPgDrmEl89Y8RqfViyx-ENfJGmP5QkJlR85mU9_U/s1814/damsel-dragon.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="790" data-original-width="1814" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNjrtnt4s2OxjX8-TPqDHZsDzszoBp-1m6rzyP1lMk3SmPxkR_OBdUvVxromqBhrt8MX6GTNCUI2n-RNx0EbyJMsOWhKW3y6zRqVe04QTJNSwwtFK7Qmf3YN20VRmhAJDNNKMOnGmTzzMXfiQoWfTKRPgDrmEl89Y8RqfViyx-ENfJGmP5QkJlR85mU9_U/w640-h278/damsel-dragon.jpeg" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The rest of the cast
are unseen for the bulk of the film; Ray Winstone brings customary heft to the
under written role of Elodie’s conflicted father, poor Nick Robinson gets very
little to work with as Prince Henry who seems to have no opinion on
the terrible thing he’s partaken in. There’s a good sisterly chemistry between Millie
Bobby Brown and Brooke Carter as Floria whilst Angela Basset brings some fire to
the role of Elodie’s stepmother. Robin Wright is evil enough as Isabelle though
is another underserved character. Millie Bobby Brown herself is used to her characters
suffering and is at her best when she goes full <i>Die Hard</i> though the role is not
as suited to her as that of <i>Enola Holmes</i>. </span><span style="font-family: inherit;">If you can get past the
bizarre idea,<i> Damsel</i> is entertaining and sometimes exciting but with a little
more script writing rigour could have been even better.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b><span style="font-family: inherit;">The Sidemen Story</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">For over ten years The
Sidemen, collectively and individually, have provided some of YouTube’s best
content and maintained consistently high views during a decade when other
personalities have come and gone. Their brand of challenges, games and
generally boisterous material may have started off mostly about football but
has expanded into all kinds of exploits. Nowadays goal scoring on a muddy field
and messing about in their house has been replaced by videos tilting for the
same ambition as Mr Beast. When I first heard about this Netflix documentary
I’d imagined it would be something of a vanity project whereas <i>The Sidemen
Story</i> has compiled a portrait of seven individuals who are very familiar to
anyone whose watched their stuff yet adding new perspectives that we didn’t
know. It may skip over some years but the essence of what makes The Sidemen so
successful – and a few of the hurdles along the way - is all contained in this
well produced film.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">If you’ve never watched
any of the Sidemen videos thinking they are just about football or sport then
you might be surprised as just how varied content they produce. Amongst the
best are the Hide and Seek videos which use the simple premise of them trying
to find other YouTubers in an array of interesting locations from a mansion to
the interior of a sports stadium to an area of London and beyond. They started their collaborations at the end of their teens and now approaching their thirties remain more
popular than ever. Whichever way you slice the stats they are as huge as any
other famous person you could mention and as the film points out their charity
football match had more views that the Cup Final.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">While unique as a seven-piece
group- most vloggers are individuals or less defined groups- The Sidemen have
also been at the vanguard of the move from television to YouTube for a younger
generation. Someone says in the film “TV is dead” and all of the success of the
group has been self-generated. Even when they released a Xmas single in 2022-
the film shows the chaotic promo campaign through London on an open topped bus-
it was wholly independent of any music business involvement. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-66cBi75nlIC7X5FkA0o8OFOI7Rrp_iTUlymCKZaUz0JgEvU15JfJYkb0Dp6cDe6Li6DEtRzQ3KPQ78GwnvoE_0P5rd5bDeCDblNQ9f3iYhLmvu58bNiCKlOLV_t4zfRkJI8hHfKjIj1ZlPbg1ir-dfd1WFqidq-nxtyQ5FViUuMlAHWwEa4awFTWBOpZ/s1484/the-sidemen-story.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="834" data-original-width="1484" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-66cBi75nlIC7X5FkA0o8OFOI7Rrp_iTUlymCKZaUz0JgEvU15JfJYkb0Dp6cDe6Li6DEtRzQ3KPQ78GwnvoE_0P5rd5bDeCDblNQ9f3iYhLmvu58bNiCKlOLV_t4zfRkJI8hHfKjIj1ZlPbg1ir-dfd1WFqidq-nxtyQ5FViUuMlAHWwEa4awFTWBOpZ/w640-h360/the-sidemen-story.jpg" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The film starts to tell
their story though does make some chronological leaps that miss out the growth
of the brand, especially the merch (clothing, books), the early focus
primarily on football and the Sidemen Houses. Thus, we leap from 2014 when their success is becoming
bigger to 2017, the year of the iconic diss tracks. The definitive explanation
as to why KSI left and then drifted back is not quite here but it seems that
the anger in some of those videos, though using outrageously funny lines, was
real enough for a while. Yet the sting in the tail is that this fall out made
The Sidemen more popular than ever. You sense that the issue of KSI’s
popularity beyond The Sidemen – he is also a successful boxer and rapper- can sometimes be an
irritant amongst the others.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Each of the seven is
profiled briefly though with enough detail to show how they fit together
underlined by sequences where they are all chatting. The documentary
doesn’t flinch from also showing some of the harder moments along the way notably
Ethan’s mental health issues and the pressures that fame brings. Yet compared
to many who find themselves in the spotlight they seem to deal with it
gracefully. This may be because they are being themselves in the videos and as clips
here show and is always evident in the videos treat their fans with respect
and humour. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">There’s some behind the
scenes footage which inevitably show that making these videos is tremendous fun and testimony
from friends, YouTube people and even Mr Beast himself. The results are
refreshingly honest, which I suppose is exactly what The Sidemen are.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p><b><span style="font-family: inherit;">Damsel and The Sidemen
Story are both currently available on Netflix.</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" style="font-size: 12pt;"><o:p> </o:p></span></p><br /><p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-87154314384082555852024-03-08T18:38:00.000+00:002024-03-08T18:38:56.741+00:00Top of the Pops 16 & 23 February 1989<p> </p><p class="MsoNormal"><span style="font-family: inherit;"><b>16/02/1989<br /></b></span><span style="font-family: inherit;">More
housekeeping: Top of the Pops cannot be stopped! (except by the BBC in 2005).
Many thanks to Billy Smart and mumu03 who both stepped in and offered help to
keep these write ups going. Billy Smart has kindly hooked me up with the
relevant episodes and I understand from the Popscene forum (in other news, I've
learned there's a Popscene forum) that efforts are being made to get the whole
huge archive back online somewhere. Let's see what happens.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Mark Goodier:
“Yo. Good evening and welcome to Europe's number one pop show.”<br /></span><span style="font-family: inherit;">Andy Crane:
“It's two days after Valentine's Day but we're still feeling romantic, we're
still feeling mushy.”<br /></span><span style="font-family: inherit;">Mark Goodier:
“Well almost, with our first band. They are the biggest British rock band in
the world.”<br /></span><span style="font-family: inherit;">Andy Crane:
“This is single number six from Hysteria, Def Leppard...”<br /></span><span style="font-family: inherit;">Mark Goodier:
“Woh!”<br /></span><span style="font-family: inherit;">Andy Crane:
“... Rocket!”</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">[20] DEF
LEPPARD: rocket.</b><span style="font-family: inherit;"> The
biggest British rock band in the world? Iron Maiden make a note to never appear
again on </span><i style="font-family: inherit;">Top of the Pops.</i></p>
<p class="MsoNormal"><span style="font-family: inherit;">But enough of
that. These write ups have been given a new lease of life so lets use it to
talk about camera positioning. This edition opens with an odd, and very dark,
shot of the audience. The camera then rises up to reveal our hosts in the
crow's nest. But where is the camera? The crow's nest sits at the join of the
two arms of the main stage and the camera has been placed behind the stage
right arm, in the gap between the back of the arm and the black drapes used to
cover the studio wall. This is why the crowd shot looked so murky, they've been
gathered in a part of the set that was never lit or designed to appear on
camera. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">This angle also
allows a good look at the painted flat that hangs behind the crow's nest. I
think it's been there since the twenty fifth anniversary party revamp,
31/12/1985, but you don't normally get to see it because it's behind the hosts.
We get a much better angle here, although it's partially obscured by a
combination of Mark Goodier, some bloke, and a couple of heart-shaped balloons.
The logo is a canvas flat hung from the ceiling (it's gently swinging backwards
and forwards, and you can see one of the ropes suspending it from the lighting
grid) with the <i>Top of the Pops </i>logo stuck on; the big white circle in
the middle casts a shadow.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinlBA4VFg5H8eOCL5OdGBgdIHv3gIWuVV0ILmZedbis2nS6cdgWgzZjER4gZLxD8EvJUhZ-Q7aYJIdSaqwN_WfSRaYl8BQKBMHjRGRy_VENR2xrmDq5AGHxfsH6V2oyoMwJZrJKBbGmyz0xX2OIi7-iYleOT7dUsXnY-ntJG3ycPZxb9xPnAh2kYdBVXjU/s512/unnamed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="512" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinlBA4VFg5H8eOCL5OdGBgdIHv3gIWuVV0ILmZedbis2nS6cdgWgzZjER4gZLxD8EvJUhZ-Q7aYJIdSaqwN_WfSRaYl8BQKBMHjRGRy_VENR2xrmDq5AGHxfsH6V2oyoMwJZrJKBbGmyz0xX2OIi7-iYleOT7dUsXnY-ntJG3ycPZxb9xPnAh2kYdBVXjU/w400-h400/unnamed.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p><p class="MsoNormal"><span></span></p><a name='more'></a><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;">Def Leppard may
be “the biggest British rock band in the world,” (Pink Floyd cross Mark Goodier
off their Christmas card list) but they are less important than Samantha Fox.
Last week she was allowed to sing her ghastly single uninterrupted. This week
Mark Goodier is cuts off Def Leppard (“serious rock and roll!” Bachman-Turner
overdrive tut disappointedly). After a week's respite, Paul Ciani has resumed
his war against time and his attempts to cram as many songs into 30 minutes can
be best represented by a picture of Richard Hannay hanging from Big Ben.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[2] SIMPLE
MINDS: belfast child. </b>On
video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
40 TO 31</b>.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[33] GLORIA
ESTEFAN: can't stay away from you. </b>Gloria
Estefan is seated on a tall chair, alone on stage. That's how you know this is
a serious song.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[24] POISON:
every rose has its thorn</b>.
On video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">BREAKERS:<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">37 EDIE
BRICKELL AND NEW BOHEMIANS: what i am<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">38 POP WILL
EAT ITSELF: can u dig it?<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">34 DEBBIE
GIBSON: lost in your eyes<o:p></o:p></span></b></p><p class="MsoNormal"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN_GJ7Y1QlIfFDyE9xdjpqYLzhPIFsnylvHptzhVwuAOccZSfzwFbC7IM_2t3zbgxTq4pdGoQB9-k9I_TrqfsrXBmR51zROGK_ZKdpEOXkXat7O364tJZMOttE-HyvF4XjWb4seR6sFoMr7Oo578snbZWO94hfOpjnoSyTGCE6fDallFIK4XYBEGjCE_Fr/s700/s-l1600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN_GJ7Y1QlIfFDyE9xdjpqYLzhPIFsnylvHptzhVwuAOccZSfzwFbC7IM_2t3zbgxTq4pdGoQB9-k9I_TrqfsrXBmR51zROGK_ZKdpEOXkXat7O364tJZMOttE-HyvF4XjWb4seR6sFoMr7Oo578snbZWO94hfOpjnoSyTGCE6fDallFIK4XYBEGjCE_Fr/w400-h400/s-l1600.jpg" width="400" /></a></b></div><b><br /><span style="font-family: inherit;"><br /></span></b><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[21] TEXAS:
i don't want a lover. </b>There's
a terrific performer's eye view of the studio from a camera at the back of the
stage, looking straight out into the audience. The camera operator then walks
to the front of the stage to grab a view of lead singer Sharleen Spiteri and
when Vision Mixer Kathryn Randall cuts to another view you can see the first
camera operator standing with his back to the audience, completely blocking
their view of Texas. It must have been to see <i>Top of the Pops</i> recorded.
The studio audience would have to pretend to ignore people dashing around and
leaping up and down off the stages, and also deal with huge cameras which could
roll out of the darkness and crush the unwary, but the viewer at home watching
the finished programme feels like they are floating invisibly around the
studio.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">CHARTS FROM
30 TO 11.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[17] SAM
BROWN: stop</b>. I am
distracted by trivia. The string quartet at the back of the stage all have
music stands set up in front of them but the stands are positioned about six
feet away from where the musicians are sitting. Surely that's too far for them
to properly see all the little dots and squiggles? Was Sam Brown's gimmick that
she had assembled a troop of long-sighted musicians?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Also, the two
backing singers. The one on the right has mastered the slow shoulder
roll/walking on the spot move but the one on the left moves very uncertainly,
as if she's only just been introduced to the concept.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Next, Sam Brown
does the full palm out Supreme's style stop-in-the-name-of-love gesture (as
required by BS ISO 22574:2023) but every time she does this the camera is in a
medium close up, or nearer, and the impact is lost. It seems like the move is a
surprise to the camera operators, did she not do this at rehearsal? <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Finally.
There's a clunkingly obvious edit just as the song goes into the musical
interlude. You thought it had another minute or so to run? Guess again, here's
Andy Crane.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[32] STYLE
COUNCIL: promised land</b>.
Weird editing makes this look like a pre-recorded performance. It isn't but I'm
baffled why Paul Ciani works so hard to make it look like one. Maybe the
cutting in and out is designed to hide a problem with the recording?<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 10:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[1] MARC
ALMOND & GENE PUTNEY: something's gotten hold of my heart. </b>On video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[29]
S'XPRESS: hey music lover. </b>On
video.<b> </b>Bruno Bookes and Susi Mathis next week.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK: </b><span style="font-family: inherit;">Sam Brown,
Stop.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>23/02/1989<br /></b></span><span style="font-family: inherit;">Bruno Brookes:
“Hello and welcome to Europe's number one TV pop show this is Top of the Pops,
I'm Bruno and here is the lovely Susie Mathis.”<br /></span><span style="font-family: inherit;">Susie Mathis:
“We've got a great show for you tonight. Starting with the highest climber up
fifteen places to fourteen it's S'Express.”<br /></span><span style="font-family: inherit;">Bruno Brookes:
“Yeah, look out for the electronic filofax from Mark Moore.”</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFLwN3SlDkeYBLut5GeogJGXbGveVJD-2Ewll-Y4zqJjn40wnSrVeNo7aVyo9V_454SSIhYiiB6qyDpeu02el1XovfjzkbVKDMu8x5UpRmBtXVWav-dD0J07lUhkWCmTzT2IBJNNY9aCb2h1cM7JT2dY9w4dyNZPM6HBC9gr5qgRvzu83xBLzActGCvFP-/s600/R-189210-1405623743-4160.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="599" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFLwN3SlDkeYBLut5GeogJGXbGveVJD-2Ewll-Y4zqJjn40wnSrVeNo7aVyo9V_454SSIhYiiB6qyDpeu02el1XovfjzkbVKDMu8x5UpRmBtXVWav-dD0J07lUhkWCmTzT2IBJNNY9aCb2h1cM7JT2dY9w4dyNZPM6HBC9gr5qgRvzu83xBLzActGCvFP-/w399-h400/R-189210-1405623743-4160.jpg" width="399" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><b style="font-family: inherit;">[15]
S'XPRESS: hey music lover. </b><span style="font-family: inherit;">I'm
not sure what Bruno Brookes comment is about. I'm sure it was hilarious in
context. What Mark Moore is waving around is a... well obviously I don't
know... it looks like a beige chunk of electronics. It could be a stylophone
for all I know.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">There's a new
name credited with Lighting, Mike Manning. IMDB tells me he's also worked on <i>KYTV,
Happy Families, Eastenders, </i>and the <i>Victoria Wood</i> series that wasn't
<i>As Seen on TV</i>. Mike has absolutely blasted the main stage with white
light. I think I get what he's trying to do here, he's trying to make the
perspex scenery glow, but I don't know if it works. The picture just looks very
flat and washed out. Unfortunately this is not a great S'Express performance.
The video is great, with lots of larking about and fun, but here in the studio
everyone is just standing in a line dancing on the spot<span style="mso-spacerun: yes;"> </span>and waiting for the camera to find them.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>MICHEAL
JACKSON: leave me alone. </b>On
video with a small section of bonus tape damage.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
40 TO 31</b>.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[32] EDIE
BRICKELL & NEW BOHEMIANS: what am i: </b>Now this looks better. Mike Manning is still working on
flooding the stage with light but this time he's used a deep orange. It looks
brilliant. The steel of the Needle stage reflects enough of the purple of the
studio that there's a proper colour contrast going on and through the gaps in
the stage walls you can see the black of the studio lit by neon tubes. Fab.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[10] RICK
ASTLEY: hold me in your arms.</b>
A repeat of the 09/02/1989 performance.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">BREAKERS:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[33] TYREE
featuring KOOL ROCK STEADY: turn up the bass. </b>Surely I've seen this video before. It's
the one for Jack Your Body by Steve "Silk" Hurley. Turn Up The Bass
appears to have got two releases and two videos, one in 1988 and one in 1989.
The 1988 release recycled the video for Jack Your Body wholesale (minus a
couple of bits snipped where the words Jack Your Body appeared on screen) the
1989 video, according to Youtube is completely different. <i>Top of the Pops</i>
uses a clip from the 1988 video for the 1989 single. Cripes, all that research
just for a 30 second clip.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYs4KpMzDyk5uXyLISKqnrqYNJ-UNYh4U7WOI7ID_uj4XnhEoYlOsbH2RSyMu3FO4V3h-uCFJ7lCWlkK2CW16Ymug4PLMeBWfXR2bNgpJGTsPpOz41WVOGXaSZHSfmsiiHFmmK6mEwwZXO8Nhp2NktDDGnn5YFmVCDz-I_tQzbuCl_0uX2ARJg9GP7WKW-/s600/R-195694-1192143997.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="597" data-original-width="600" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYs4KpMzDyk5uXyLISKqnrqYNJ-UNYh4U7WOI7ID_uj4XnhEoYlOsbH2RSyMu3FO4V3h-uCFJ7lCWlkK2CW16Ymug4PLMeBWfXR2bNgpJGTsPpOz41WVOGXaSZHSfmsiiHFmmK6mEwwZXO8Nhp2NktDDGnn5YFmVCDz-I_tQzbuCl_0uX2ARJg9GP7WKW-/w400-h398/R-195694-1192143997.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">[31] LIVING
IN A BOX: blow the house down.<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">[30] TONE
LOC: wild thing.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[28] DUSTY
SPRINGFIELD: nothing has been proved. </b>Unless
you are Bruno Brookes in which case the song is called Nothing to Prove.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[16] HUE
& CRY: looking for linda. </b>Pat
and Greg Kane are “singing live.” Alas, I only have eyes for the guitarist who
steals focus by deliberately standing under the flickering stage light which
illuminates him in shades of green, yellow, and purple.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">CHARTS FROM
30 TO 11.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[2] MICHAEL
BALL: love changes everything.</b>
God bless him, Michael Ball is clearly overwhelmed by the rapturous applause he
gets from the crowd. He bows and says “thank you,” one of the few times I can
remember the performer addressing the crowd outside of a song.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">“Aspects of
Love opens London, April 12<sup>th</sup>,” says Susie Mathis. <i>Top of the
Pops</i> is promoting Andrew Lloyd Webber musicals now, is it? Was this a
contractual obligation of Michael Ball appearing? Like those announcements that
used to be made over the end credits of sitcoms, “David Garlick is currently
appearing in <i>Not With My Trousers Full of Gypsum, You Don't!<b> </b></i>at
the Philtrum Theatre, Oswestry.”<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 10:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[1] SIMPLE
MINDS: belfast child. </b>On
video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[12]
BANANARAMA / LANANEENEENOONOO: help. </b>On
video. Gary Davies and Anthea Turner next week.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK: </b><span style="font-family: inherit;">Edie
Brickell & New Bohemians, What Am I.</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal"><b><o:p><span style="font-family: inherit;"> </span></o:p></b></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-21075442587001796952024-03-06T19:28:00.003+00:002024-03-06T19:40:29.037+00:00Film Review- Dune Part 2<p> </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">This is a proper thrill of a movie which faithfully represents the book while keening towards
making as exciting a film as possible. It sets a different pace from the first
part being dynamic and exciting where that was thoughtful and moody while succeeding
in painting a place that seems realistic. Even though there are plenty of
digital effects they are rendered to fit in with the picturesque locations. The
book is famously knotty, filled with the internal thoughts of many of the
characters and this film captures that aspect even better than the first part
without resorting to endless narration. There are also some of the most
thrilling battle sequences you’ll see peppered through the film. If part one
had a stillness, part two barely stops for breath and is certainly the zippiest
two and three quarter hour film I’ve seen. At the end I felt like I had sand in
my shoes.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Spoilers follow in this review...</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPDxYGb5U-sBqBlz8-8YTiLMXhsifP2tMgLMKZGLHr6ZQk-B00nhLReqQqkREJh7W4TvrJG9j4sJYOaos8e4KA_AoNtN3uJkcqigfjWOnCIDBgVe1fpVHVQthp-QIUsGifWRMrlnEa_OdLbIZollsAu5A836Km1Lb10HSQY9Lr11ZHvcrMjLaEMB5KOXvP/s1024/Dune-Part-Two-Movie-Poster-819x1024.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="819" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPDxYGb5U-sBqBlz8-8YTiLMXhsifP2tMgLMKZGLHr6ZQk-B00nhLReqQqkREJh7W4TvrJG9j4sJYOaos8e4KA_AoNtN3uJkcqigfjWOnCIDBgVe1fpVHVQthp-QIUsGifWRMrlnEa_OdLbIZollsAu5A836Km1Lb10HSQY9Lr11ZHvcrMjLaEMB5KOXvP/w512-h640/Dune-Part-Two-Movie-Poster-819x1024.webp" width="512" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> <span></span></span></o:p></p><a name='more'></a><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The action picks up
more or less straight away from part one as the Fremen somewhat reluctantly
allow Paul and Jessica head for shelter in the South. With murmurings of
resentment over the death of Jamis at the end of the first film and some suspicion
over tales of a prophecy Paul has a lot to prove before he can join the counter
attack to the Harkonnens. Along the way both he and his mother experience major
changes that move them closer to the respective destinies. Meanwhile the
endless attacks drive Baron Harkonnen and the Emperor to employ increasingly drastic
measures so that they can rid themselves of this thorn in their side.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">It is a much faster
paced film than the first punctuated by numerous action sequences each with
their own inventive turn. One of the highlights is the first time Paul rides a
sandworm in which the visuals and sound becomes cacophonous making for a real
immersive experience and terrifically exciting. </span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">And these enigmatic sand dwellers will prove
to be the ultimate element of surprise later on during the breathtaking climactic
battle which is about the most epic thing you will ever see!</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Everything from the
sandscape to the combat is visceral and hard edged, especially a centrepiece
tussle between Paul and Feyd Rautha which is brilliantly choreographed and shot
to make you gasp at what looks like real jeopardy. Arrakis continually seems
like the most dangerous place in the Universe! The saturated colour palette
brings out the grain and muted décor so well and we’re even treated to a
monochrome sequence that looks stunning. All the action is supported by Hans
Zimmer’s very loud atmospheric symphonics which cement the strangeness of the
movie. It is a blockbuster for sure, but every frame is treated with the care
you’d see in a much more low key indie or arthouse film. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGsrHVrEYmZD3H5Mdxb8LZ5ZD9rOJGf7hB-wF6Jaif983dqvdwvm4J3Pp0mE0bzJJaTf-mSLDR_rHr7F__wS3ql_YQTd6EsPRx1Wr-DYjDWnc5nAZTEHPnn4sbqBsJ5xV-UyXxf2n7Ysu6be7KWKepoMWPP6nIuOptlGidp0oSveCd7xWcS-0ZNKfnF20r/s1920/Dune-Part-Two-Runtime-Currently-Clocks-In-At-Over-3-Hours-1.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGsrHVrEYmZD3H5Mdxb8LZ5ZD9rOJGf7hB-wF6Jaif983dqvdwvm4J3Pp0mE0bzJJaTf-mSLDR_rHr7F__wS3ql_YQTd6EsPRx1Wr-DYjDWnc5nAZTEHPnn4sbqBsJ5xV-UyXxf2n7Ysu6be7KWKepoMWPP6nIuOptlGidp0oSveCd7xWcS-0ZNKfnF20r/w640-h360/Dune-Part-Two-Runtime-Currently-Clocks-In-At-Over-3-Hours-1.webp" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">It’s not all spectacle
either, there’s a real sense of relevance to the material which examines
religious manipulation, destiny and warfare from different angles. Of course
the parallels with many real historic situations and even things in today’s
news looms over this story. Are the Fremen terrorists or freedom fighters?<span style="mso-spacerun: yes;"> </span>Even our hero Paul has to become a less
likeable character to achieve his ends. With several other sub plots involving
people on both sides manoeuvring for position not to mention the hovering
presence of the Bene Gesserit there are a lot of stands. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The film does, as the
first did, omit some long sequences yet everything we need to know is here <span style="mso-spacerun: yes;"> </span>Just as the Fremen seem at one with their
desert environment- some scenes show them leaping out of hiding from under
sand- so the Bene Gesserit are in their element when shaping events yet just as
vital amidst the spectacle are the character moments that allow us a similar
insight into each person as the book .It can be a look or a movement but the camera
picks it all up. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">As he acquires friends,
supporters and finally worshippers (as well as a slew of names) Paul finds he
has to change yet he remains reticent to step into the prophecy until t becomes
inevitable. <span style="mso-spacerun: yes;"> </span>He way he is gradually moves
from being a stranger to a leader to a mythical figure is well presented. I’m
not always a fan of fiction that leans too much on the idea of `prophecy` or
`destiny` but this story is persuasively played and we see different attitudes
to Paul’s ascent. Paul’s rise is often orchestrated by other people’s perception
of him and he himself says he wants simply to be part of the Fremen rather than
their leader, much less their God. He knows too that if he takes the steps prophesised
he cannot stay with Chani. Is this just a white saviour story though?
Technically perhaps but it is not Paul’s prophecy, he is a reluctant messiah at
every step.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvOutL5LHrN2k4ag2UOIcnlFO4kewbBiFQ8w1ukYtpSq_-VcZ9h6kESiyUuJtp3Ekb6JyokKAi_e0AjE-UiXWDBOEhTNccLxeqBJ2QyKS-VggIxdNvJyhaVcnoV9Gd2hpy5NQQHQrRyiMU2prmOrc8cJOzUFS4iK3Nuqt3klGInaYeZz7HppIGrlWo3Smd/s1566/rev-1-DUN2-T1-0014_High_Res_JPEG_msyhve.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="881" data-original-width="1566" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvOutL5LHrN2k4ag2UOIcnlFO4kewbBiFQ8w1ukYtpSq_-VcZ9h6kESiyUuJtp3Ekb6JyokKAi_e0AjE-UiXWDBOEhTNccLxeqBJ2QyKS-VggIxdNvJyhaVcnoV9Gd2hpy5NQQHQrRyiMU2prmOrc8cJOzUFS4iK3Nuqt3klGInaYeZz7HppIGrlWo3Smd/w640-h360/rev-1-DUN2-T1-0014_High_Res_JPEG_msyhve.jpg" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">All of which is so well
performed by Timothee Chalamet whose undoubted charisma is tested as the
narrative progresses and he is definitely up for the challenge. He and Zendaya’s
Chani also have great chemistry and her role in this film is to challenge him
while at the same time caring for him. When he makes a big decision at the end,
the look on her face tells you exactly what she is feeling. Austin Butler’s
feral Feyd Rautha is a terrifying character amidst a film that contains several
dangerous people – the actor’s animalistic movement and expression really makes
an impact. It is not just Paul who changes, his mother Jessica undergoes a
ritual called the Water of Life (basically drinking the water from a sandworm)
to become a Reverend Mother and her parental protectiveness so evident in the
first film is replace by a cold calculating demeanour which Rebecca Ferguson is
able to show despite a face covered in lettering and behind a veil. Incidentally
however spooky the Bene Gesserit look in their high hats, I couldn’t help but
wonder about the practicalities. Presumably they never visit a planet with low ceilings!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">From such a densely plotted
and inhabited story Denis Villeneuve has superbly filleted the key moments and
thus the movie is easy to follow even for anyone who didn’t see the first one. It
Is one of those films that transcends its genre to become a must see experience
– an epic in every sense of the word! Now they’ve got to film <i>Dune Messiah</i>
surely…<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKZfBuIOc-hxrgGRej4HCSqNjmaMTS8hlq0K3XHc_pfydFBtffLje8anUJRknacHAlvwgEjg9UrMRHXfgrvz9_etpJyKO667gHGK9hEbaDOD1Mcl3qrFbQGqTijwjbNenpXTBh7sEmcgoKYgeaE1hlageS04aroJBBuM-UuIny8VXbpseSQC1xE25QM4lN/s1200/rev_1_DUN2_T3_0044r_High_Res_JPEG.0.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKZfBuIOc-hxrgGRej4HCSqNjmaMTS8hlq0K3XHc_pfydFBtffLje8anUJRknacHAlvwgEjg9UrMRHXfgrvz9_etpJyKO667gHGK9hEbaDOD1Mcl3qrFbQGqTijwjbNenpXTBh7sEmcgoKYgeaE1hlageS04aroJBBuM-UuIny8VXbpseSQC1xE25QM4lN/w640-h426/rev_1_DUN2_T3_0044r_High_Res_JPEG.0.jpeg" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-49217922111583286822024-03-01T18:36:00.000+00:002024-03-01T18:36:18.334+00:00Reading the original Dune novel<p> </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">With the second part of the film adaptation
of Frank Herbert’s <i>Dune</i> now with us, I have been re-reading the book
and oddly I’ve done it in two parts. I’d hoped to finish it in 2021 to post
just before the first film was released but circumstances meant I had to stop half
way. So, in a way that paralleled the film this year I’ve finished the book
and completed this post before the second film! It’s a hefty tome as you might
imagine and despite the reach of the movies there is still some material left
out though this is not one of those book versus film comparison articles. Rather
I wanted to re-live the novel itself.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWHFlWgyaoTCWBhfvrtt63hy3oLnyqI2KV2YG0ewfXp3IBVqv6TTRVG_kRSNgndoNYQDbjlFoysM9E8IWUqQD0W9DxQ2mf9duvZChZgqCgEud2_xnLsS2XnoQ-0rK_7RF-A0QWgvBZ554K1xBvb29pSwODuqdfWIQiIw5-bveRRIlTw81LF8Yx0WkSMfou/s2894/20240225_191419.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2894" data-original-width="1822" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWHFlWgyaoTCWBhfvrtt63hy3oLnyqI2KV2YG0ewfXp3IBVqv6TTRVG_kRSNgndoNYQDbjlFoysM9E8IWUqQD0W9DxQ2mf9duvZChZgqCgEud2_xnLsS2XnoQ-0rK_7RF-A0QWgvBZ554K1xBvb29pSwODuqdfWIQiIw5-bveRRIlTw81LF8Yx0WkSMfou/w402-h640/20240225_191419.jpg" width="402" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span></span></p><a name='more'></a><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">When I was a teenager, I read <i>Dune</i>
more than once amongst several keynote science fiction novels that interested
me back then. Now that the new film version was finally arriving in cinemas, I
thought I’d dig it out of the sand and give it another read. It’s a big
commitment for me as I rarely get time to read anything more than short articles
online or in a magazine but a commitment I wanted to make. Wonderfully I read the
same copy I had all those decades ago. Nothing else remains from those days as
I’ve never been a collector (though given the prices some old stuff now goes
for perhaps that was a foolish way to move on) but somehow this book- and its
sequel <i>Dune Messiah-</i> were never thrown away. I suppose that says
something about them. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">It runs for 456 pages in all, excluding
several appendices detailing background on the planet Arrakis and the
terminology of the Imperium, themselves fascinating. I wouldn’t really look at
them before you read the book however as they give away plot points and even
the birth and death dates of significant characters. I suppose if you’re a skim
reader they’re an ideal cheat though they will not provide you with the meat of
the story. Frank Herbert is a writer who likes different languages, the
etymology he brings into play echoes several countries not least Middle Eastern
terminology. Anyone reading will have their own pronunciation going on in their
head! It begins simply enough, The Atre ides house, one of many making up the
Imperium are to take their turn holding the desolate desert planet Arrakis in
“quasi-fief” replacing sworn enemies the Harkonnen’s. The advantage? They get
to mine the ultra-valuable spice called melange. The disadvantages? Well, it’s
a horrible place and the Harkonnens may have left traps. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Before leaving fifteen-year-old Paul
must undergo a test called the Gom Jabbar, described in Herbert’s appendix as
“a poison needle tipped with meta cyanide” “used by Bene Gesseritt proctors in
the death alternative test of human awareness.” Or, in Paul’s case, you put
your hand in a box that appears to burn it to a crisp but actually it’s an
illusion albeit a mighty powerful one. This scene is where the oft hash tagged
phrase “fear is the mind killer” comes from. He is also surprised by a sudden
`attack` from one of his father’s most loyal officers gurney Halleck
emphasising the dangers he is heading into. Herbert spreads these ominous portents
amidst quotes from holy texts.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">As you can tell It takes a while to get
used to the rhythm of the storytelling especially as it weaves in and out of
several character’s thoughts often about the other person in a conversation.
Yet this soon turns out to be a valuable tool enabling an easier understanding
of the culture and traditions of the world we’re delving into. It’s also an
effective way of creating tension in what might otherwise be a lot of
conversations filled with exposition. This is particularly appliable to Doctor
Yueh whose dilemma creates a more sympathetic character than you initially take
him for. There’s a riveting conversation between the man who has been Paul’s
teacher and Lady Jessica (Paul’s mother) in which the doctor’s guilt is like a
tide he is trying to stop but he can’t. “That, at least, was truth” he thinks
more than once when he can be honest.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg9O27n1OaIu3Q8LOo9YSlPQxd8LlV6wadeCVwcX0tq8AUjoFotVBCX97qhyX8XsZp_Ejoic1oYe3C3FGtS_AJPPWAsmj70Jb0E-ylVsCApL31TlUG52bOkuAuF-JmlnA3usx8CXN1qDJM5fMoVkTLhpuW1dkodchQfZhXVILNiA5GbXPPX2N6JkjABHhh/s600/Writer_FrankHerbert.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg9O27n1OaIu3Q8LOo9YSlPQxd8LlV6wadeCVwcX0tq8AUjoFotVBCX97qhyX8XsZp_Ejoic1oYe3C3FGtS_AJPPWAsmj70Jb0E-ylVsCApL31TlUG52bOkuAuF-JmlnA3usx8CXN1qDJM5fMoVkTLhpuW1dkodchQfZhXVILNiA5GbXPPX2N6JkjABHhh/w266-h400/Writer_FrankHerbert.jpg" width="266" /></a></div><br /><div style="text-align: center;"><i>Frank Herbert</i></div><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Frank Herbert is excellent with what
brief but informative descriptive passages. Where someone like Charles Dickens
for example (and I say this as a Dickens fan) will take paragraphs to describe
every nook and cranny or every defining facial feature, Herbert prefers economy
so we don’t read about the journey to Arrakis, instead Herbert offers a
sentence about lady Jessica’s luggage and mentions “shadowed carvings,” “deeply
recessed windows” and “arched ceilings.” It’s enough to paint a vivid picture.
The value of water on such a stark planet is also emphasised. Paul is soon in
danger from an attempt to kill him with a Hunter- Seeker, a remote-controlled piece
of metal designed to kill. We also start to learn about Arrakis’ mysteries- of
Fremen who have totally blue eyes due to their intake of melange and enormous
sandworms. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The next segment sees Herbert focussing
on the different approach House Atreides takes to Arrakis. We are privy to Duke
Leto’s doubts about people surrounding him even Jessica. This causes him to act
subtly in trying to make friends amongst the inhabitants so we see him waving
away lapses of expected protocol, banning a tradition involving the waste of
water and most significantly placing the safe rescue of workers on a
Sandcrawler above saving the spice they’ve mined even risking his own life to
help save them. “I like this duke” thinks Kynes, the Fremen who oversees overseeing
the changes and is initially suspicious. Paul meanwhile seems unnaturally
accustomed to the place with his training and perhaps something more enabling
him to read situations accurately. A telling scene occurs when Kynes comments
on how easily he has donned a stillsuit even though he’d never worn one before,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Frank Herbert is clearly not writing for
children so he avoids going into a lot of detail when it comes to action
segments thus when an actual sandworm enters the story for the first time it is
barely described. The Harkonnen takeover a little later is presented afterwards
as characters react to the fact that it has already happened. On the other hand,
he enjoys the detail of character interaction. A lengthy sequence in the
evening before the Harkonnens return is devoted to a dinner which is packed
with underlying tension as small talk frequently threatens to become cause of
argument. He shows the event from multiple perspectives, each betraying certain
aspects of that person’s intent. You wouldn’t imagine this might be riveting
yet it is. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5SzvweMLwV5mWQJRyCC5unTj9JmUjCHBr9mkO_DfWNH_UJAyVv4hu0k3dTT1w7F26VeG6ASjelcI603J4Q7pAl3hqMtJWzkqkCNDsz2sdR9xe71nOCLW5m7qgjAjCAjl7OXT_Dnl9u8V6i1I37t5PN8AtRy8-mYkQlrgC8U3U40BzrCE1mqaK3NnbF-t6/s2736/20240225_191432.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2736" data-original-width="1857" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5SzvweMLwV5mWQJRyCC5unTj9JmUjCHBr9mkO_DfWNH_UJAyVv4hu0k3dTT1w7F26VeG6ASjelcI603J4Q7pAl3hqMtJWzkqkCNDsz2sdR9xe71nOCLW5m7qgjAjCAjl7OXT_Dnl9u8V6i1I37t5PN8AtRy8-mYkQlrgC8U3U40BzrCE1mqaK3NnbF-t6/w434-h640/20240225_191432.jpg" width="434" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The novel turns on a penny soon
afterwards- the reader will have sensed the tension of a potential Harkonnen
move and after tricking the reader- and Jessica- into thinking it might be
happening (the culprit is a drunken Idaho) we come to a pivotal set of events in
which several prominent characters are killed. I can’t remember off hand a
novel which dispatches so many key people in a relatively short number of pages
but Yeuh’s treachery is exposed though he has a final trick to try and kill
Harkonnen. The Baron himself puts in an appearance – as originated I’d say the
TV miniseries was a more accurate portrayal than the slightly over the top
David lynch version. He’s a difficult villain for these times of course because
being and I do feel Herbert avoids analysing him with the same forensic detail
he affords Paul or Jessica or several others.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">As we approach page 200 Jessica and Paul
are in the desert having escaped the Harkonnen purge with some help and the
story begins to move into Paul’s transformation. He becomes increasingly aware of
everything as his power grows and there’s quite a sustained period where the
novel becomes a survival one. Their efforts to survive in the desert bring out
the more descriptive side of Frank Herbert’s writing though he’s not one to
leap beyond the ordinariness of description so however vividly this is
portrayed on the page it does become a bit repetitive. I’m not a fan of survival
fiction in any case so this was probably always the part of the novel I found
heaviest going. One episode that describes in some detail how they retrieve
their supplies making me want to skip pages or at least skim read. However,
there is no doubting the omnipresence of the sandworms who are mostly depicted
as shifting crests of sand rather than bursting out. It adds tension to
proceedings,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The interaction with the Fremen comes in
an extended sequence where Jessica and Paul are spotted in the rocks and meet
Stilgar. Here the novel is able to give more nuance to their meeting than a
film, with Herbert’s love of italicised asides showing the shifting way the
Fremen leader and Jessica view each other. Rather than go into the combat that
climaxes the first film the duo first travel to the `stietch`, described ad `a
meeting place in times of danger`. Travelling by night it is only when they’re
here that one of the Fremen challenges Paul while Stilgar contemplates potential
marriage to Jessica. The way the author delves into character’s thoughts
creates such an unusual rhythm to the text. Chani is introduced in person at
this point too, her job to train Paul in the ways of the tribe. The fight
between Paul and Jamiis presents over four pages like a strategic plan with
echoes of Paul’s training frequently revisited.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">One lighter touch is that Muad’Dib <span style="mso-spacerun: yes;"> </span>which Paul choses as his Fremen name is also
the name of a jumping mouse The Fremen’s ambitions are also revealed to
gradually change the climate cap<span style="mso-spacerun: yes;"> </span>- they
show Paul a large water pool in a cavern and tell him they have thousands of
these dotted around. Jessica’s transformation into Reverand Mother is described
across several pages as a mystical yet primal experience where Herbert’s use of
different character’s perspective works really well. Its tense too because the
reader doesn’t know quite what will occur<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">As the novel reaches its conclusion
Herbert brings everything together with skill with both a large battle and a one-on-one
battle. The Baron’s comeuppance is a brief as it is final and were glad to see
the back of him. His misdeeds are described in some detail by the author
throughout the story and will shock those who only know the story from the
films. In one example he has someone killed for being a bad chess player. As
matters draw towards the climax, we also see examples of Paul’s so called time
vision which enables him to see possible futures.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">I’d say this is not a novel even for
everyone who’s enjoyed the films and I did find it heavy going and, as you can
see from above, a difficult mass to review especially as its taken months to
finish. From my perspective now it’s not the amazing book I once thought it was
but that’s more about me than Frank Herbert who has certainly created a
timeless world. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-27515586690830046222024-02-28T19:24:00.001+00:002024-02-28T19:24:16.577+00:00Happy Twenty Ninth!<p> </p><p class="MsoNormal"><span style="line-height: 107%;"><span style="font-family: inherit;">Are you a leapling? Tomorrow is 29<span style="font-size: 13.3333px;">th</span> February – that
date that only comes round every four years because of temporal oddities. As people
ascribe superstition to anything a bit out of the ordinary there are a lot of
Leap year traditions many of which relate to the old fashioned concept that only
on this day a woman can propose to a man. In ye olden times only a man could
propose marriage so women had to wait till 29 Feb to do so. Nowadays of course
a woman can propose on any date of the year if she chooses and people don’t
accuse her of breaking the laws of the land nor does she change into a turnip.
So where does all this nonsense come from? The answer it seems involves an
unlikely mash up of the Moon, Julius Caesar and St Patrick. <o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="line-height: 107%;"><o:p><span style="font-family: inherit;"> </span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijN4WKqWrwdUT-QvJ6Cctw_Lc-SxrZ5Qrfkfapl4HZ6p3Bm3HoVKoBOyLdr9P9hapb_eKLqGSIBollboGbePndk2TCM_SPw1Kms4IeuJBvs5pzKaEsNUToe6GULiHcBFy6edxB0rcCmpCKw0iFoG3f1D_ns2boQyIVGkp1QT44-ooarH1uAOJ410m8Er-A/s455/29.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="431" data-original-width="455" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijN4WKqWrwdUT-QvJ6Cctw_Lc-SxrZ5Qrfkfapl4HZ6p3Bm3HoVKoBOyLdr9P9hapb_eKLqGSIBollboGbePndk2TCM_SPw1Kms4IeuJBvs5pzKaEsNUToe6GULiHcBFy6edxB0rcCmpCKw0iFoG3f1D_ns2boQyIVGkp1QT44-ooarH1uAOJ410m8Er-A/s320/29.JPG" width="320" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal"><span style="line-height: 107%;"><span style="font-family: inherit;">It was Julius Caesar who took time out from conquests and
big dinners to note that many other cultures calendar’s were out of line with
the Roman one. The likes of the Chinese, Hebrew and Buddhist calendars are
lunisolar meaning the dates indicate the position of the Moon as well as that
of Earth relative to the Sun. There’s a gap of about eleven days between a
lunar cycle and the Earth’s orbit meaning that they had what is called an
extra intercalary month. So Caesar, clearly a man who found the whole thing
waffly, created a calendar with 365 days and an extra day each four years. It
wasn’t always the 29<span style="font-size: 13.3333px;">th</span> February, there was a period when they just
had two 24 Februarys which must have created all sorts of problems. The Gregorian
calendar refined this idea so that a leap year occurs e<span style="background: white; color: #202122;">very year that is exactly divisible by four . </span>Apparently,
this is still causing a drift which will mean it will be an extra, extra day
every 3,030 years. <o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="line-height: 107%;"><span style="font-family: inherit;">The whole proposal tradition is thought to have started in
fifth century Ireland. Presumably when they met for a coffee in Costa, St Bridget
of Kildare moaned to St Patrick that women were not allowed to propose to men.
St Pat decreed that the only day this could occur on the only day that turns up
once every four years. So, yes, it was a man who chose the arrangement. Yet according to tradition this was not without caveats. In
England if the man rejected the proposal he had to buy the woman several pairs
of gloves, a silk gown or a fur coat to compensate for her disappointment
though let’s be honest she was unlikely to speak to him again. In Scotland the woman was supposed to wear a red petticoat when proposing. In Denmark the idea of a
compensatory gift was taken to the brink of humiliation for the woman who would
be give twelve pairs of gloves to cover her ringless fingers. <o:p></o:p></span></span></p><p class="MsoNormal"><span style="line-height: 107%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd6XSQaf8wAf1vFDzYqjwEXPSJZgOj0-0ab-x0ND2pSEhOXuSZbDPY0L5grfaWQad8j49Lh0tfjPEgCGS4fPdu6oaZMzhDJHtyS7fOtriUURJVMpVg0aQSKSrw_pPId71Lyy00RDFkZHACPhTjsXtUtAiuzm8Mf2MScCdxNGFqTVF_xFpIu42O9lg86dHW/s348/iu.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="348" data-original-width="273" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd6XSQaf8wAf1vFDzYqjwEXPSJZgOj0-0ab-x0ND2pSEhOXuSZbDPY0L5grfaWQad8j49Lh0tfjPEgCGS4fPdu6oaZMzhDJHtyS7fOtriUURJVMpVg0aQSKSrw_pPId71Lyy00RDFkZHACPhTjsXtUtAiuzm8Mf2MScCdxNGFqTVF_xFpIu42O9lg86dHW/w314-h400/iu.webp" width="314" /></a></div><div style="text-align: center;"><i>"Will you marry me, I have a salver aflame and some martial arts thingy"</i></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="line-height: 107%;"><span style="font-family: inherit;">In 1980 the French added a new idea in the form of a
newspaper that only publishes once every four years on 29 February.
It is called La Bougie du Sapeur which means Sapper’s Candle, a reference to an
old French comic character who was born on this date. In Taiwan leap year is
considered to hold bad luck for elderly people<span style="mso-spacerun: yes;">
</span>so married daughters cook pig’s trotters<span style="mso-spacerun: yes;">
</span>for their parents which are said to bring good fortune though I’m not so
sure. Similar bad leap year luck omens come in Greece where couples who marry
in a leap year are more likely to divorce and if that is not bad enough if you
actually divorce during a leap year<span style="mso-spacerun: yes;"> </span>you
will not find happiness for the rest of our life. More pleasant is the Leap
Year cocktail you can buy in London’s Savoy Hotel that was created in 1928. Its
ingredients are <span style="color: black;">gin, sweet vermouth, Grand Marnier and lime juice and if you have enough of them you may forget that your proposal was rejected. </span><o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="line-height: 107%;"><span style="font-family: inherit;">Anyone born on 29 February is known as a leapling which to
me just conjures up visions of a small rabbit like animal that jumps about six
feet in the air as it travels. So what do these leaplings do about birthdays? <span style="mso-spacerun: yes;"> </span>Eight years after their birth they are still technically
two! Except they aren’t and they just celebrate their birthday on 1 March in
the intervening three years. As far as anyone knows leaplings do not inherit
any special powers or abilities not even to jump higher than anyone else. There
are estimated to be about five million of them around at any time. Amongst the
famous leaplings have been composer <span style="background: white; color: black; mso-color-alt: windowtext;">Gioachino Rossini ,</span> rapper Ja Rule,
singer Dinah Shore, actor Joss Ackland, pope Pope <span style="font-family: inherit;">Paul the third,</span> <span style="background: white; color: black; mso-color-alt: windowtext;">John Philip Holland
who invented the submarine, band leader Jimmy Dorsey.</span></span></span></p><p class="MsoNormal"><span style="line-height: 107%;"></span></p><div class="separator" style="clear: both; font-family: inherit; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZzMXFDXVncRwpT9M8vy39KeRQ3VvKHg_q6sDCE3UezPisJifcOHNM-BsPs3XNC_wGtTR3wurNGnpJtA7slzNttXZ1CNk_lbsXoh1k8rtQqf-LKkFaq_WV6F9-wDxWQGgWKqLiD0Jn1us1mOjYSOkn_av8hLzXkskmoEDCRYdvvuHmlgEAVcCpAw498FI/s1000/la-bougie-du-sapeur-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZzMXFDXVncRwpT9M8vy39KeRQ3VvKHg_q6sDCE3UezPisJifcOHNM-BsPs3XNC_wGtTR3wurNGnpJtA7slzNttXZ1CNk_lbsXoh1k8rtQqf-LKkFaq_WV6F9-wDxWQGgWKqLiD0Jn1us1mOjYSOkn_av8hLzXkskmoEDCRYdvvuHmlgEAVcCpAw498FI/w400-h200/la-bougie-du-sapeur-5.jpg" width="400" /></a></div><br /><div style="text-align: center;"><i>You thought I'd made it up</i></div><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><span style="background: white; color: black; line-height: 107%;">Considering
the potential for mystical imagery, super power storytelling or apocalyptic
events, there does not seem to have been a lot of Leap Year related fiction
around. A 2010 film called <i>Leap Year</i> turns out to be a romantic comedy.
I’ve never seen it but the synopsis says the main character heads to Ireland to propose
when her other half is at a conference there because she’s fed up waiting for
him. </span><span style="background: white; line-height: 107%;"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="background: white; color: black; line-height: 107%;"><span style="font-family: inherit;">Maybe
the Leap Year tradition needs to change and become a day of reward for
everyone, an extra bank holiday every four years just because. I wonder if St
Patrick would approve?</span></span></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-29871498031294054172024-02-25T19:06:00.003+00:002024-03-08T18:38:25.892+00:00Top of the Pops 2 & 9 February 1989<p> </p><p class="MsoNormal"><span style="font-family: inherit;">Housekeeping:
The Mega folder I've been using to download these episodes has gone very AWOL.
If anyone can use the comments to link me to another source of episodes then
that would be really helpful. If not, these write ups have come to a very unceremonious
end...<br /></span><i><span style="font-family: inherit;">(John- Which
would be a pity because nobody wants to end in February. Plus these are the
most viewed posts on the blog and without them the whole future of the blog is
at risk. And possibly also the world. OK maybe not the world. So if anyone knows of an alternative source - as the iPlayer only keeps a random handful un-chronologically - that would be wonderful. Otherwise Chris is going to start reviewing every episode of Weather starting in 1950)</span></i></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">Words by
Chris Arnsby</span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>02/02/1989<br /></b></span><span style="font-family: inherit;">Steve Wright.
“Hi!! Hello!! Good evening!! Hello and welcome to another exciting Top of the
Pops!! I'm Steve Wright!! This is Simon Mayo!! Tonight we're going to be in
full effect!!”<br /></span><span style="font-family: inherit;">Simon Mayo: “We
certainly are and we're going to check out the hat parade first of all. At
number five, on the Love Train, this is Holly Johnson in the crowd in the
middle there.”<br /></span><span style="font-family: inherit;">Simon Mayo:
“Yeeah!!”</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Steve Wright
died on 12</span><sup style="font-family: inherit;">th</sup><span style="font-family: inherit;"> February this year. After I'd written up this episode.
A quick re-read has shown I didn't say anything rude about him -this time- and
given me cause to reflect. Steve Wright was part of the </span><i style="font-family: inherit;">Radio 1 </i><span style="font-family: inherit;">furniture
by the time I tuned in so I don't really remember having an opinion about him.
If you tuned in between 3-5.30pm he was just there. What I do remember is his
move to host the Breakfast Show in 1994 which drove me away from </span><i style="font-family: inherit;">Radio 1</i><span style="font-family: inherit;">.
The antics of Wright and his Posse were too much for my fragile 7am state as I
was preparing for a day at work. And that was it, until I started watching the </span><i style="font-family: inherit;">Top
of the Pops </i><span style="font-family: inherit;">repeats. Steve Wright's first show was 07/02/1980 and going
back I find I was surprisingly positive about him:</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><span style="font-family: inherit;">“It's Steve
Wright's first show. He only started as a Radio One DJ in January 1980 so he's
really been rushed on to Top of the Pops. Simon Bates had to wait ages for his
turn. The classic line-up I remember is almost completely in place. Only Gary
"sloppy bit" Davies is missing. So how does Steve Wright do? Not bad.
It's a more polished performance than Simon Bates gave at the end of 1979 but
Steve Wright needs to learn to stop waggling his head around so much.”</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDaElZSzFmyNxp3vzYbU-5CbUUgAPmsX8pZnFeoXQlhSOnUZMjGwreN0-ZaA2nK8M4InaH_z8U1LulVR7Zsah2S5fBJoPQjzSNVz_DkilFjpPw5ciYROQyfwqfcEMoY9ua_3fILas4hveB3Vk-aWKdLhSxWsEF1KLcCsRK1m4zKsp1FhHrF_vOB6Mbz1__/s296/Steve_Wright.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="295" data-original-width="296" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDaElZSzFmyNxp3vzYbU-5CbUUgAPmsX8pZnFeoXQlhSOnUZMjGwreN0-ZaA2nK8M4InaH_z8U1LulVR7Zsah2S5fBJoPQjzSNVz_DkilFjpPw5ciYROQyfwqfcEMoY9ua_3fILas4hveB3Vk-aWKdLhSxWsEF1KLcCsRK1m4zKsp1FhHrF_vOB6Mbz1__/w400-h399/Steve_Wright.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p><p class="MsoNormal"><span></span></p><a name='more'></a><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;">That positive
opinion soon soured. Steve Wright became my least liked presenter. And here we
are 10 years later. Over at the Cookd and Bombd forum someone dropped a link to
an Easter Monday show (23/04/1984) and out of curiosity I clicked on the link.
It's like listening to a different person. What seems laboured and unfunny on
television sounds natural on the radio. I've belated realised is that Steve
Wright the DJ was infinitely better than Steve Wright the TV presenter. I get
the impression he was someone who either struggled to build a TV persona or
constantly strained to be visually wacky in the belief that this would
translate his radio personality over to television. Steve Wright, much better
on the radio than the television. It's not much of a summary of a life lived
but its the best I can offer. If you'd like to dive back into the heady days of
Easter Monday 1984 (Alton Towers and Thorpe Park are full and all the roads are
clogged with traffic jams) then you can listen here:</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><a href="https://www.mixcloud.com/noeltyrrel/steve-wright-radio-1-easter-monday-23rd-april-1984/">https://www.mixcloud.com/noeltyrrel/steve-wright-radio-1-easter-monday-23rd-april-1984/</a><o:p></o:p></span></p>
<p class="MsoNormal"><b style="font-family: inherit;">[5] HOLLY
JOHNSON: love train. </b><span style="font-family: inherit;">This
week, Holly Johnson is wearing a lavender and grey cloth crown. The crown
suffers badly from poor internal structural support and has slumped over to one
side on his head. It needs something to keep it properly in shape. At the the
moment it looks like a badly disciplined tea cosy.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[3] ROY
ORBISON: you got it. </b>On
video. The clip runs for 150 seconds. A new 1989 record.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
40 TO 31</b>.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[10] ROBERT
HOWARD & KYM MAZELLE: wait.</b>
I didn't recognise Dr. Robert, ex-of The Blow Monkeys. He's gone square. He's
cut off his magnificent fringe and stopped dressing like the last of the new
romantics. Boo! Doctor Robert! Boo! I liked you, you were cool and now you've
gone all boring and mainstream.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwr4mc0teuLye63COEMwKg0swN_YCxu9psjiBtuXhuurNYsfnuA4rXTtbjPCdQ9vuEaeK52o-iV-cqURkJQjmawSc5YOHwVgO8SMWGwu-S9CzbbPhsWP7t0n3Q5Cvx8sd8F08tLUJkmO79flDocQUuI8FfWdOhwMkHaKL91ap28Y2daSjPe9NzHirrYWGD/s300/The_Lover_in_Me_12-inch_cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwr4mc0teuLye63COEMwKg0swN_YCxu9psjiBtuXhuurNYsfnuA4rXTtbjPCdQ9vuEaeK52o-iV-cqURkJQjmawSc5YOHwVgO8SMWGwu-S9CzbbPhsWP7t0n3Q5Cvx8sd8F08tLUJkmO79flDocQUuI8FfWdOhwMkHaKL91ap28Y2daSjPe9NzHirrYWGD/w400-h400/The_Lover_in_Me_12-inch_cover.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[23] SHEENA
EASTON: the lover in me.</b>
Simon Mayo's link into Sheena Easton: “Well if you've ever wondered what
happens to the costumes for BBC drama series, here's the answer. Wearing one of
the big hits from <i>The Forsyte Saga</i>, at twenty three this is Sheena
Easton.” Cut to Sheena Easton in a pre-recorded performance, wearing an
unremarkable and modern looking dress. What happened? Did someone show Simon
Mayo a photo of Nyree Dawn Porter and say, “you won't believe what Sheena
Easton is wearing”<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">BREAKERS:<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">24 MICHAEL
BALL: love changes everything<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">27 YAZZ:
fine time<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">31 HUE AND
CRY: looking for linda<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">29 SAMANTHA
FOX: i only wanna be with you<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[22] SIMPLY
RED: it's only love. </b>Historians
debate the precise point at which Mick Hucknall lead singer of Simply Red
turned into the modern parody figure called Mick Hucknall. I'd suggest that
point is here. If only because of the horrible, horrible, shirt he's wearing.
Presumably he thinks he can pull it off on the grounds that he's Mick Hucknall.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">CHARTS FROM
30 TO 11.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[4]
ROACHFORD: cuddly toy. </b>Roachford
and the band pull off a well staged performance with a decent amount of
business; watch out for the moments when Roachford points his microphone at the
guitar of the guy next to him, to highlight the electric guitar riffs. It's all
very polished and professional, and I don't feel like I've got anything
meaningful to add. The best character on stage is clearly the drummer who grins
at the camera like a maniac.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 10:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[1] MARC
ALMOND & GENE PITNEY: something's gotten hold of my heart. </b>This week, a chance to see the video.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKLeW5A4272WUxMASBqLRT2ZJBj9Q8zVpkox9CbVqIZjp82G8_AVV8JmSZag8J5MfWoVtxceCT979NgnOEwfFaI18msuyB2fOM2Qp3J6_xBpzeV0ODY6a_U5hPpGFztVoYebS59TAXclF3gkFyWkTEPQQRVSJlCsZdRxyAh2Wu3J3ytnR2NG0HctyG0XBs/s640/a7e8w2-4014085218-e1677062499795.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="412" data-original-width="640" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKLeW5A4272WUxMASBqLRT2ZJBj9Q8zVpkox9CbVqIZjp82G8_AVV8JmSZag8J5MfWoVtxceCT979NgnOEwfFaI18msuyB2fOM2Qp3J6_xBpzeV0ODY6a_U5hPpGFztVoYebS59TAXclF3gkFyWkTEPQQRVSJlCsZdRxyAh2Wu3J3ytnR2NG0HctyG0XBs/w400-h258/a7e8w2-4014085218-e1677062499795.webp" width="400" /></a></div><br /><div style="text-align: center;"><br /></div><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[18] BOBBY
BROWN: my prerogative. </b>Next
week, Mike Read and Sybil Ruscoe -no Rod McKenzie? <i>(John- Who the jiggins is Rod McKenzie?)</i><o:p></o:p></span></p>
<p class="MsoNormal"><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK: Then Jerico, Big Area</b><span style="font-family: inherit;">.
I suppose.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>09/02/1989<br /></b></span><span style="font-family: inherit;">Sybil Ruscoe:
“Good evening. Welcome to Top of the Pops. Live on BBC1 and Radio 1FM. And what
a show we've got lined up tonight.” </span><i style="font-family: inherit;">(John- Who the jiggins is Sybil Roscoe)<br /></i><span style="font-family: inherit;">Mike Read: “I
Only Wanna Be With You was number four for Dusty Springfield, it was number
four for the Bay City Rollers, and number four for the Tourists. Samantha Fox
is sixteen places away from doing it again.”</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">[20]
SAMANTHA FOX: i only wanna be with you. </b><span style="font-family: inherit;">There's another enigmatic message on the pre-titles
countdown clock. “STEREO DUBBED LU +CLOCK -3DB EACH CHANNEL”. And the red
kipper flies at midnight!</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">For the past
few weeks I've been diligently listing the songs cut short each week to allow
Paul Ciani to cram a quart into the <i>Top of the Pops </i>pint. Why is this
the first song for three weeks allowed to reach a natural conclusion? Richard
Skinner was made to interrupt Roachford, and Gary Davies very half-heartedly
interrupted Then Jericho, last week Simon Mayo dun the deed. Did Mike Read
refuse to interrupt Samantha Fox for artistic reasons? Is this a naked
demonstration of the power of Mike Stock, Matt Aitken, and Pete Waterman; did
they threaten to break Paul Ciani's toes?<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[26] RICK
ASTLEY: hold me in your arms. </b>Rick
Astley gets a very lukewarm round of applause from the audience. Is this
because the audience are done with Rickmania, or is it down to Mike Read's
bizarre introduction? Something about “the internationally famous Les Nemes
playboys with their featured vocalist.” What?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Watch out for
the clunking edit at the end of the song. Samantha Fox gets extra song time at
Rick's expense.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
40 TO 31</b>.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[11] YAZZ:
fine time.</b> Sybil Ruscoe
gets a little lost in her introduction and manages to repeat the words “this
week,” three times in the space of about ten seconds.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[23] HUE AND
CRY: looking for linda. </b>Sorry.
I've got nothing.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">BREAKERS:<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">[31] DEF
LEPPARD: rocket<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">[33] POISON:
every rose has its thorn<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[32] TEXAS:
i don't want a lover. </b>“Sybil's
theme song,” according to Mike Read. Nice one Mike, that's both uncalled for
and creepy.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[12] MICHAEL
BALL: love changes everything.</b>
Cripes this episode is heavy going. Samantha Fox and Rick Astley stalled the
vehicle and none of the subsequent songs have got it going again. What's next?<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[9] BOBBY
BROWN: my prerogative.</b>
On video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">CHARTS FROM
30 TO 11.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[6]
MORRISSEY: the last of the international playboys. </b>Sybil gets the song title right, adding
in the word famous between “the” and “international”. Did the person typing in
the caption get tired?<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>TOP 10: </b>With Morrissey's song correctly named. <b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[1] MARC
ALMOND & GENE PUTNEY: something's gotten hold of my heart. </b>A second repeat for the performance from
19/01/1989.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[2] MIKE
& THE MECHANICS: the living years. </b>Yazz gets a snog from Mike Read. A revolting development.
“What a terrific show tonight”, lies Sybil. It was a slog. What shall we play
out with? Oh, something dreary. Andy Crane and Mark Goodier next week.<o:p></o:p></span></p>
<p class="MsoNormal"><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK: Marc Almond and Gene Pitney, something's gotten hold of my heart. </b><span style="font-family: inherit;">I know its a repeat.</span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><b><o:p><span style="font-family: inherit;"> </span></o:p></b></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com3tag:blogger.com,1999:blog-6170682027322091019.post-86560531613707111152024-02-23T18:37:00.000+00:002024-02-23T18:37:04.510+00:00Reviews- Madame Web, Dumb Money <p> </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><b><i>Madame Web</i></b> is not the dud that
critics have been making it out to be, it’s a perfectly enjoyable and sometimes
tense thriller that can be enjoyed even if like me you don’t know the
intricacies of Spiderverse lore. It is true to say though that the premise
would be more suited to the nuances of a TV series and can come across as
sluggish in this format. That said, when the film does ramp up it does include a couple of stand out action sequences. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp-u1-Jnz7bHs4O0_DRVvES6GkyEzYxnxVVGZuB2f7gtKui0drb49Qoc2GSCz3ZCmPsGuZcV0HJZoE4MeFXaTBvz3u-cuMLW5kaKYCUc_cAIE7BYXprfZYRcfDhfJiYRI_4BJP7kqwLL-VZHRn8wpeVe3ODRZVH5KZ6-t42OIPq4TKIZGI6riTyWaCKPm2/s1792/Screenshot+2023-12-12+at+7.45.46%E2%80%AFAM.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1792" data-original-width="1432" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp-u1-Jnz7bHs4O0_DRVvES6GkyEzYxnxVVGZuB2f7gtKui0drb49Qoc2GSCz3ZCmPsGuZcV0HJZoE4MeFXaTBvz3u-cuMLW5kaKYCUc_cAIE7BYXprfZYRcfDhfJiYRI_4BJP7kqwLL-VZHRn8wpeVe3ODRZVH5KZ6-t42OIPq4TKIZGI6riTyWaCKPm2/w512-h640/Screenshot+2023-12-12+at+7.45.46%E2%80%AFAM.jpg" width="512" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">We start in Peru in
1973 where pregnant Constance Webb is looking for rare spiders but doesn’t
realise her fellow explorer Ezekiel Sims is actually on his own quest. I
suppose alarm bells should have rung when she looked at his first name! Though
she dies, her daughter is born courtesy of a mysterious race of spider people
and we meet her again in 2003 where she works as a paramedic in New York. After
an accident she starts to experience what at first seem like nightmares but
actually turn out to be visions of traumatic events about to happen. Still
struggling to cope with this, she is thrown into a scenario with three seemingly
random girls who actually have a connection to her and are being targeted by
none other than Ezekial. He, too, has these visions and believe the trio will,
with spider related powers, kill him so he aims to dispose of them first. The
rest of the film sees Cassie and the girls trying to escape and outwit their pursuer.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The results have a distinct
<i>Terminator</i> vibe not least because of Ezekiel’s relentless, unstoppable
drive. He is dressed in a familiar but all dark Spiderman costume and , crawls,
leaps and doggedly pursues them whatever is thrown in his way. The threat is
very visceral, and it does make a refreshing change not to have characters
firing energy beams aplenty; instead both sides have to utilise what is around
them. <span style="mso-spacerun: yes;"> </span>So it plays more like a thriller
than a comic book film. The action is well assembled including two excellent
sequences. The initially frenzied encounter between Cassandra and the girls as
they first realise the menace on the train becomes an extended chase packed
with incident and clever use of the locations. Later on the movie climaxes with
a terrific confrontation in, around and on top of old dockside buildings. This
is director SJ Clarkson’s first big screen feature having had a career on some
superb UK tv shows and she rises to the occasion with sharp action.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">A director and cast are
only as strong as the story they have to tell and it is the case that <i>Madame
Web</i> takes a long time to kick off properly. While Ezekiel is an effective
antagonist in the action sequences, as a character his motivations are less
distinct. It never occurs to him that the danger to his life is because of what
he himself may do yet its not clear what he really does except hire someone
(who is she?) to hack into all the security cameras in the city. Cassandra is
played with a snarky air by Dakota Johnson, an interesting choice which I
rather like but which seems to be one of the aspects of the film that irked the
critics. Yet despite her outward appearance she is a caring person and cannot abandon
the girls even though she might wish. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The trio she has to
look after- played by Celeste O’Connor, Sydney Sweeney and Isabela Merced - are
just about able to define their characters in the running time. They successfully
avoid the cliched teenage mode with a minimum of faux street talk though there
is slight repetition when they each reveal their difficult backgrounds. They
are all outsiders and perhaps that does lean into cliché. Can happy individuals
ever become superheroes? <span style="mso-spacerun: yes;"> </span>It does feel
like we are being set up for sequels as the girls don’t assume their spider
identities here so presumably another film (unlikely to happen after this
film’s reception) would show us that? <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Something that perhaps
overexcited fans is the connection with Spiderman which isn’t overplayed except
for the fact that the Peruvian spider people sport skins very similar to that
of our friendly neighbourhood hero a coincidence that jars with various
Spiderman origin films showing Peter Parker making his first costumes. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">There’s been a lot of
talk of superhero fatigue and I think there is some truth in that but <i>Madame
Web</i> is actually an example that offers a different slant on the genre and
it rarely looks like the generic superhero film we’ve grown used to. In some of
the reviews and comments I’ve read there’s also an air of misogyny in the
response to the very idea that a big movie can be carried by a quartet of
female characters and it may be that in the superhero world that is too much
for the target audience. That says more about the public than it does about any
particular film. I’ve never seen a film written off so quickly not just by
critics and audiences but also by the studios who are already distancing
themselves from it. <span style="mso-spacerun: yes;"> </span>It could just be
that this is the wrong time for <i>Madame Web</i> and that in years to come it
will become more appreciated for what it is rather than what people want it to
be. Why not go see it and make up your own mind?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikdNIglt9-nXNty7LMpFdzsOP68PwxfdrgsVxUCpyNeeafMWPtT7Idn4xeRRk-i84OBz3p08EhGEMAqQ-kJWVYKVQuc4G4tc8d2m8_e4HCnoy2nup01kzorwAD8oexON5NbyDOw3029dwcfuefmM_f6HAEnM1jU0OBYZRCHFq9Nd7Zqfd24JQHpM4bV1O/s800/DP_8488540_DUMBMONEY_2000x3000LSR_DiagonalKeyArt.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="533" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikdNIglt9-nXNty7LMpFdzsOP68PwxfdrgsVxUCpyNeeafMWPtT7Idn4xeRRk-i84OBz3p08EhGEMAqQ-kJWVYKVQuc4G4tc8d2m8_e4HCnoy2nup01kzorwAD8oexON5NbyDOw3029dwcfuefmM_f6HAEnM1jU0OBYZRCHFq9Nd7Zqfd24JQHpM4bV1O/w426-h640/DP_8488540_DUMBMONEY_2000x3000LSR_DiagonalKeyArt.webp" width="426" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b><span style="color: #0070c0;"><o:p><span style="font-family: inherit;"> </span></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><b><i>Dumb Money</i></b> is the derogatory term
given by Wall Street to public investors and Craig Gillespie’s film dramatizes
the true story of how an online investor spooked the market in 2021. Keith
Gill- known by his streaming handle Roaring Kitty- believed that the shares of Gamestop,
a video game company were being artificially undervalued (sold short) so he
started buying them. As he broadcast this ad the prices began to rise so more
of his followers also bought shares sending the price soaring and causing considerable
alarm. This is a David and Goliath tale of the little man taking on the corporate
giants and potentially losing them billions despite their efforts to fight
back.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">You wouldn’t necessarily
imagine the story would make an engaging film however Gillespie’s approach is
to cast his net wide encompassing the stories of several other investors who
bought shares and what happened to them. There are winners and losers and it
adds a human dimension to what would otherwise be a drama full of people
staring at screens or talking on the phone. There is a real tension that
develops as people weigh up whether to sell or not especially when their
profits start to rack up. On the other side of the fence we see the initial
dismissive complacency of the professional slowly being replaced by concern and
then panic as bankruptcy looms. Brokerage services halt the sale of the shares which
leads to values falling again potentially losing all the monies people have
made. So; do they sell or not?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The film underlines
what has always seemed to me a bizarre way to run economic matters based as
much on the `mood` of the market which is artificially created by the
machinations of a small but hugely influential coterie of very rich people
rather than anything more practical. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Visually being set in
2021 seems to help the mood and you could imagine that something like this
would not have had the effect it did had everyone not been so glued to their
screens during the pandemic. The face masks and references to Covid remind us
of just what a strange time that was.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Most of the characters
we see never meet on screen and because of the period when it’s set even the
later investigation takes place remotely. To make the movie as authentic as
possible Gillespie also uses real news footage of the time and, when it comes to
the government hearing, actual film of questions being asked which is then
answered verbatim by the actors. The film makes no attempt to portray Gill as
either good or bad, he is as surprised as anyone when his actions create an
economic juggernaut. We even see that online he streamed with his actual
balance sheets on screen in the background as transparency. Played by the ever
versatile Paul Dano he is someone<span style="mso-spacerun: yes;"> </span>we can
admire for making a stand. A great cast ensure this is always more than a drama
documentary with especially good performances from Shailene Woodley as Keith’s
wife and Pete Davidson as his wayward brother. A different and absorbing tale
well told.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-39087176732429279212024-02-18T19:27:00.000+00:002024-02-18T19:27:18.608+00:00Oil Strike North <p> </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The North sea oil boom
was a huge thing in the 1970s. In theory it was supposed to make the UK self-sufficient
in oil supplies instead of relying on the Arab countries who dominated the
market. It was controversial in many ways. There were suggestions that Scotland,
off whose coast the oil fields sat, did not receive enough of the profits while
others argued that the environmental cost was not worth it. For a period, the
industry thrived and there were benefits for the communities adjacent to the
fields. Given such topicality it is no wonder a tv drama was commissioned in
the form of <i>Oil Strike North</i>. The name sounds exciting and the series
suggests that oil companies competed, sometimes ruthlessly, over the fields and
there was much wheeling and dealing. It also depicts the pressurised
environment on the rigs themselves, cut off from land amidst harsh weather <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0dq5yEXg4Tj_AOGiDftxHPlQL9_wiJmXYdWak_ww0gWceUm7oimX7kUW-hWUo1mF_Qt6CSE34Mt5QN5K2iNvIlWkm3ijGQp1GKfVe6mVDTEwMAgkMFUGf9ESv4bd_Fv6n-zdwrXNGn3D698xaMjf22GkTu6qwbgITqwuQY2n4P0bFydaf9eSUXQF9Zmkf/s695/MV5BNDA0NzM0YTMtM2M3OC00OWE3LWFlZTItNzBhMjQ3NDQyNDBmXkEyXkFqcGdeQXVyMTQ0OTk2ODk@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="695" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0dq5yEXg4Tj_AOGiDftxHPlQL9_wiJmXYdWak_ww0gWceUm7oimX7kUW-hWUo1mF_Qt6CSE34Mt5QN5K2iNvIlWkm3ijGQp1GKfVe6mVDTEwMAgkMFUGf9ESv4bd_Fv6n-zdwrXNGn3D698xaMjf22GkTu6qwbgITqwuQY2n4P0bFydaf9eSUXQF9Zmkf/w640-h392/MV5BNDA0NzM0YTMtM2M3OC00OWE3LWFlZTItNzBhMjQ3NDQyNDBmXkEyXkFqcGdeQXVyMTQ0OTk2ODk@._V1_.jpg" width="640" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><i style="mso-bidi-font-style: normal;">Oil Strike North</i> seemed to be a series the BBC had high expectations
for giving it a Radio Times cover (albeit shared with <i>Quiller</i>) and
launching it in a prime-time evening slot <span style="mso-spacerun: yes;"> </span>starting on 26 August 1975 at the beginning of
the prestigious Autumn Season. Created by Gerard Glaister and NJ Crisp, the
idea was that in contrast to the BBC’s previous hit <i style="mso-bidi-font-style: normal;">The Troubleshooters,</i> which was set amidst power struggles in
corporate offices and boardrooms, <i style="mso-bidi-font-style: normal;">Oil Strike
North</i> would take the viewer to the working heart of a big company, called
Triumph Oil, on the Nelson One oil rig in the North Sea. It was mainly about
the harsh challenges and how both that and the isolation affected the workers
and their families. This reflected a
general feeling at the Corporation that Seventies drama needed to connect more
with working families rather than be solely concerned with rich or powerful
individuals. To make the scenario more dramatic the narrative included the fact that the company only had three months left to find oil before their government funded
concessions ran out. The series was filmed in Peterhead and the regular cast
includes several well-known names from British tv drama of the 1970s including
Nigel Davenport, Barbara Shelley, Glyn Owen, and Maurice Roeves. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Born in 1915, Gerard
Glaister had been working mainly in the theatre when he undertook a BBC directors’
course in the late 1950s and made his tv debut directing in January 1957. Over
the next three decades he would work both as a director and/or producer on a
number of flagship series including <i style="mso-bidi-font-style: normal;">Maigret</i>,
<i style="mso-bidi-font-style: normal;">Dr Finlay’s Casebook</i>, <i style="mso-bidi-font-style: normal;">The Expert</i>, <i style="mso-bidi-font-style: normal;">The Brothers</i>, <i style="mso-bidi-font-style: normal;">Colditz</i>, <i style="mso-bidi-font-style: normal;">Secret Army</i> and <i style="mso-bidi-font-style: normal;">Howard’s Way</i>. </span><span style="font-family: inherit;">The idea for </span><i style="font-family: inherit; mso-bidi-font-style: normal;">Oil Strike North</i><span style="font-family: inherit;"> was pitched to the BBC
by Glaiser along with NJ Crisp, a writer with whom he had frequently
collaborated. The two had undertaken two years’ worth of research into the
industry visiting coastal towns in North Scotland, oil rigs and the ships that
serviced them as well as talking with oil company executives. They wanted the
series to show how people dealt with the difficult weather conditions
envisioning a series that used divers, helicopters and supply ships emphasising
the remoteness of their location. The series would show fearsome storms as well
as the drilling operation itself making the whole thing look hard and
uncomfortable work to an audience sitting in the comfort of their home.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihbNIy1ZVPyQYEkacLJwo_nEMFkFMG8NKNoIGEL9Uf974GD-uiYiAhAzZTkCVSNLEujrZM95Enm2r71z3-7UqiN_kmKxuVi93khk6uW3iZ-z6LTEvXI1ApPYhROAZiTYX98w90fZMDLzMeYAycXhhRVhG8QMr9Hdq5-fEhEunXo_b2lLf8WQ0AgL0S_YWz/s430/glaister.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="318" data-original-width="430" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihbNIy1ZVPyQYEkacLJwo_nEMFkFMG8NKNoIGEL9Uf974GD-uiYiAhAzZTkCVSNLEujrZM95Enm2r71z3-7UqiN_kmKxuVi93khk6uW3iZ-z6LTEvXI1ApPYhROAZiTYX98w90fZMDLzMeYAycXhhRVhG8QMr9Hdq5-fEhEunXo_b2lLf8WQ0AgL0S_YWz/w400-h296/glaister.jpg" width="400" /></a></div><br /><div style="text-align: center;"><i>Gerard Glaister</i></div><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Glaister told Radio
Times: "We wanted to show that the battle for oil in the North Sea is not
just about priceless hardware, but about people at every level, from the
government official down to the rig-men and roustabouts (drilling
labourers)". He also highlighted what he felt was the importance of the
industry: “We think it's the most important economic development since the
Industrial Revolution. People do not seem to have grasped how totally we have
become an oil-dependent country. As one of our characters says, "Oil
doesn't just drive power stations and ships, and heat factories … it's in the
clothes you wear, the shoes on your feet, the paint on your house, the carpet
you walk on, plastics, chemicals, fertilizers…".<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The more conventional
drama of the series was largely provided by Michael Whitney’s Frank Ward and his
wife Julia played by Angela Douglas. While he faced the pressures of the job
she was seen to struggle with no sense of direction while he was away. Crisp
told Radio Times: "(Ward) is particularly obsessive about his work. He
likes the uncertainty of never knowing what may happen next or where he's going
to be sent. His wife ……is on the other hand, like many wives both in and out of
the oil industry, a person who finds it nerve-wracking to have no permanent,
settled home, and not to know with any degree of assurance when her husband
will walk in through the front door." The environmental concerns raised by
oil were also included in the programme, as Glaister told Radio Times "We
aim to present both sides of the passionate argument about oil and its effect
on the environment. Angus Gallagher, who's the editor of our fictional Muirport
Gazette, is rigidly devoted to the old culture and to his native part of Scotland.
He uses his position to crusade against what he sees as the roughshod methods
of the oil companies” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The series opened with
`Deadline` penned by Ken Hughes and directed by Peter Cregeen which is a
feature length introduction running one hour seventeen minutes and thankfully someone
has uploaded it to YouTube. A year ago, I’d watched (and enjoyed) <i>The Rig</i>,
a series also set in the North Sea albeit in the declining days of the oil boom.
Comparing the two shows how television has changed. Nowadays if a series is set
in a work environment like this that is merely a backdrop to something else- a
thriller or a romance or, in the case of <i>The Rig</i>, a science fiction
adventure. Back in the 70s they made a drama out of the work itself and
watching `Deadline` it was with the expectation of some strange happening that
did not occur. I am too used to modern drama I suppose. Instead, Peter Cregeen
manages to squeeze enough tension from matters with directorial flourishes mixed with a lot of real North Sea footage. Because all the outdoor material was shot
on film this mixes with the other scenes perfectly. You don’t always know what
is going on but it is suitably windswept and metallic to work effectively in conveying the difficult environment. A sequence when a
ship almost crashes into the rig is particularly well conveyed using only editing, camera
tricks and sound work. No model shots here.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkcaI2x0evYuHkSna4rQ96LDv31bfDR3N18UZDnea2v3xMSLQT4rNWtEU2WzbNFwXOpJLuRtKePH_i1gkJxSMlnQaG0oJN6FEBNOHs93B2d_AHDTZm2V38n_j53kPGUSn8iO2sUqej1XmcI2VDPg2EnASzXklufglcBYpb5lGTzRrhnCaEndsd1vW4g3Z4/s846/Oil%20Stirke%20north%20RT%20cover.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="846" data-original-width="660" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkcaI2x0evYuHkSna4rQ96LDv31bfDR3N18UZDnea2v3xMSLQT4rNWtEU2WzbNFwXOpJLuRtKePH_i1gkJxSMlnQaG0oJN6FEBNOHs93B2d_AHDTZm2V38n_j53kPGUSn8iO2sUqej1XmcI2VDPg2EnASzXklufglcBYpb5lGTzRrhnCaEndsd1vW4g3Z4/w500-h640/Oil%20Stirke%20north%20RT%20cover.JPG" width="500" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The other thing I
noticed is that the lead characters are all older, white men. There’s no
attempt to shoehorn a younger or more diverse character in to be a conventional
hero- instead the drama comes from the dilemma that Nigel Davenport’s character
Jim Fraser faces. To trump an opposing company Triumph, he must move a rig to a
remote field and start drilling within the three months left of the option, so
Fraser needs to recruit the best to make this seemingly impossible thing
happen. The script does have plenty of technical jargon and business meetings
but it’s always delivered in a manner that is understandable to the viewer. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The man he calls in for
the job is American Frank Ward who clashes right away with Maurice Roeves' character McGraw. Their arguments form the majority of the more dramatic moments
in the episode. Ward wants to do something while they are towing the rig,
McGraw says it can’t be done and in the end it is done. Angela Douglas adds the human side to things as Julie struggles with the
loneliness and Scottish gloom. She runs away to go to New York (though as far
as I can tell she’s English) and Frank has to rush to the airport to stop her.
He takes a helicopter by the way! There’s a silent passport control officer we
keep cutting back to who would be played by a comedian in a modern series but <i>Oil
Strike North</i> does not do jokes so the opportunity is not fully taken.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">There is a hardbitten pioneer
spirit to these characters as if they’re hewn from those explorers of yore.
When they get home they reach for the drinks cabinet rather than the kettle and
they always think they are right. I suppose this had more appeal in the
Seventies which was not a period for much gender subtlety on the whole. I do
think though that the portrayal of the lonely wife is reasonably well written
even if it becomes rather melodramatic. It’s an otherwise emotional part of a
strangely emotionless drama.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">To be honest Nigel Davenport
looks a bit ill at ease in this part, perhaps reflecting the rigours of the
character’s job or maybe he felt it was a role with alot of dialogue little of
which was character based. He seems to wince at each setback. It is actually not clear why his senior character is in situ, surely he would remain back at the base? Though the actor
was in his forties he gives the impression of a much older man. An actor who’d
appeared in a variety of stage, film and tv roles I wonder if he recalled this
series as a highlight or a role soon forgotten?<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrVyPaAImQKbqY09PYIMOgcV-0Jlkvd4MDSZwxJHbOcSt4cDnRhmhUBw5My3xTLW_VbMW8JDaaNnCT1XB1Ix1qxdV7vrLNcAbeW2gwIj5WevCLOstoosHU4DN3-_1tg8lJu6zSMJAnjLLQ9wjMndbFIpE2-6qJBCs8yRtbRSperjTIwiE2gHbWx807lDo5/s1149/MV5BMzI4ZjYyMGEtYmZhNC00NTdkLThkNGItOGNkYzJmZWNjOGNmXkEyXkFqcGdeQXVyMTI3NTkxNw@@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="877" data-original-width="1149" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrVyPaAImQKbqY09PYIMOgcV-0Jlkvd4MDSZwxJHbOcSt4cDnRhmhUBw5My3xTLW_VbMW8JDaaNnCT1XB1Ix1qxdV7vrLNcAbeW2gwIj5WevCLOstoosHU4DN3-_1tg8lJu6zSMJAnjLLQ9wjMndbFIpE2-6qJBCs8yRtbRSperjTIwiE2gHbWx807lDo5/w400-h305/MV5BMzI4ZjYyMGEtYmZhNC00NTdkLThkNGItOGNkYzJmZWNjOGNmXkEyXkFqcGdeQXVyMTI3NTkxNw@@._V1_.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Across the board the
episode shows efforts made by actors and director Peter Cregeen to pump pace
along with oil but it’s a dry subject and thirteen episodes of this would be
likely see a fall off in viewing figures. In the end it looks like the
boardroom sparring was simply replaced by engineers arguing. Compared to the
varied locales and better weather of <i>Warship</i> or the more melodramatic
likes of <i>The Brothers</i> and <i>Sutherland’s Law</i>, spending a lot of
time in the company of gruff characters arguing over technical issues intercut
with bad weather and lots of machinery is not compelling viewing. Yet I did
quite enjoy this one episode for its laudable attempts at authenticity and
giving space to the debate over the benefits and otherwise of the North Sea oil
boom. Also some of the synopses for the other episodes look promising.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">To work better for an introductory episode I think
the series needed to start from a different place making the main characters
inhabitants of the village some of whom end up working for the oil company,
others who lose their livelihood because of it. Instead of being a show about
drills, moving rigs, tugboats and rough seas, it then becomes a drama about
radical change in traditional communities. Some younger cast would also make it
less of a staid drama. As it is I can’t imagine which section of the viewing
public the series was aimed at though perhaps it offered a window into the
North Sea oil boom which was a contemporary topic people were aware of but knew little detail about.
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">None of the other
twelve episodes appear to be available though a torrent site may have them.
There was someone advertising them on DVD but without any idea of quality and
in any case the link doesn’t work. I’m not sure I could sit through all of them
though.
There is no sense of this being a treasured archival show as many other
Seventies programmes are treated. You’d have thought it would have been a good
release for Network when they were going but as far as I can tell it was never
considered. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Despite (or perhaps
because of) all the effort that went into giving the series authenticity, it
was not renewed for a second season. It may be that ultimately the series was
just too realistic and hard bitten lacking a tv `glamour` aspect to
counterpoint all the metal, high waves, frowns and big coats. The location may just
have been too far removed from the cosiness of people’s living rooms- after all
who would look at the stormy North Sea and wish they could visit the location!
Another BBC series of the time set mostly at sea, <i style="mso-bidi-font-style: normal;">Warship,</i> enjoyed more success as the weather and conditions were
considerably more telegenic and probably far more aspirational. I’d doubt if
anyone watching <i style="mso-bidi-font-style: normal;">Oil Strike North</i>
would be inspired to sign up for a job in the North Sea… <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEeHVpJWKcw2DqLWrftv53-pBobhcV3iBNywrXhjegeyL3NbaOgaZBDYkw5YQNdEuiaUZ0NCEmQbXPrw5ibnw5DwgQXqCNibDIRS10xbk7xLCeOkwpmMC8vHU2uHGxFe8jHeHW6r0QWCJNig2f8fFHqgapkkc2O4UkZTmmDrbd0fCJKaY3xKha5z7O7h1i/s1138/MV5BMzQwYjZiNDctNWZkYi00NjliLWFhMzYtNmYzNTIyNDVkOWExXkEyXkFqcGdeQXVyMTI3NTkxNw@@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="880" data-original-width="1138" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEeHVpJWKcw2DqLWrftv53-pBobhcV3iBNywrXhjegeyL3NbaOgaZBDYkw5YQNdEuiaUZ0NCEmQbXPrw5ibnw5DwgQXqCNibDIRS10xbk7xLCeOkwpmMC8vHU2uHGxFe8jHeHW6r0QWCJNig2f8fFHqgapkkc2O4UkZTmmDrbd0fCJKaY3xKha5z7O7h1i/w400-h309/MV5BMzQwYjZiNDctNWZkYi00NjliLWFhMzYtNmYzNTIyNDVkOWExXkEyXkFqcGdeQXVyMTI3NTkxNw@@._V1_.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><b><span lang="EN-US" style="color: black;">Broadcast 26 August – 18 November 1975, Created by </span></b><span lang="EN-US" style="color: black;">Gerard Glaister, N.J. Crisp, Tom Veitch, Joan Veitch / <b>Producer:</b>
Gerard Glaister<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><b>Regular Cast:</b> <span lang="EN-US" style="color: black;">Nigel Davenport: Operations Area Manager Jim Fraser, Michael Whitney: Frank
Ward, Angela Douglas: Julie Ward, Andrew Robertson: Donald Cameron, Angela
Cheyne: Shona Cameron, Glyn Owen: Jack Mullery, Callum Mill: Angus Gallacher, Barbara
Shelley: Elaine Smythe, Richard Hurndall: Charles Wayman, Maurice Roeves: McGraw<o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><b><span lang="EN-US">Episodes (broadcast date)</span></b><span lang="EN-US"><br />
<i>Deadline (26 Aug 75) </i></span><span style="letter-spacing: 0.4pt;">Jim Fraser's company Triumph
Oil has just three months to find oil in the North Sea. Texan Frank Ward is
brought in as Operations Manager to make it happen..</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span lang="EN-US">
<i>Quiet Day (2 Sep 75) </i></span><span style="letter-spacing: 0.4pt;">A lorry carrying pipes for the
oil rig is involved in a fatal road crash which causes negative press from
local journalists. Ward attempts an emergency helicopter lift to get the pipes
to their destination.</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span lang="EN-US">
<i>Storm Clouds (9 Sep 75) </i></span><span style="letter-spacing: 0.4pt;">Triumph Oil start a PR
campaign to counter stories by local newspaper editor Angus Gallacher who stirs
up MP Calvert. Ward and McGraw's relationship reaches breaking point when they
disagree about policy.</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span lang="EN-US">
<i>First Lion (16 Sep 75) </i></span><span style="letter-spacing: 0.4pt;">A diver embellishes his
experience as a diver in order to earn big money on the oil rig. On his first
dive, loosening cables from a fallen pylon, he panics, causing serious injury
to a colleague.</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span lang="EN-US">
<i>The Decision (23 Sep 75) </i></span><span style="letter-spacing: 0.4pt;">With the three-month deadline
imminent, Triumph is running behind in the search for oil and gas and the
government is threatening to go to rivals President Oil. Frank Ward's past
comes back to haunt him.</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span lang="EN-US">
<i>The Floating Bomb (30 Sep 75) </i></span><span style="background: white; letter-spacing: 0.4pt;">A
Russian trawler is abandoned after an explosion and is now heading towards to
North Sea oil field. Triumph wants the ship sank because it is carries sodium
nitrate but there might be an injured sailor on board.</span><span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><i><span lang="EN-US">It Depends Where You Stand (7 Oct 75)</span></i><span style="letter-spacing: 0.4pt;">Newspaper editor Angus
Gallacher starts to campaign against local residents, who are selling their
property to the highest bidder. Frank Ward receives an offer from President
Oil.</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span lang="EN-US">
<i>Shore Leave (14 Oct 75)</i></span><span style="letter-spacing: 0.4pt;">The oil rig workers bad
reputation ashore is tarnished by the newspapers. Ward is sued over an injury
on the rig.</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span lang="EN-US">
<i>Workhorse (21 Oct 75) </i></span><span style="letter-spacing: 0.4pt;">A storm has damaged Triumph's
supply ship and Cameron pulls the crew from a wedding to get a replacement to
the rig as soon as possible.</span></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><i><span lang="EN-US">Time of Hazard (28 Oct 75) </span></i><span style="letter-spacing: 0.4pt;">Jim Fraser wants Frank Ward to
be less cautious while drilling and push on regardless of the risk. Julie Ward
goes missing while horse riding near cliffs</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span lang="EN-US">
<i>Headhunters (4 Nov 75) </i></span><span style="letter-spacing: 0.4pt;">With Triumph close to
production, Jim Fraser's stock has never been higher, so when a vacancy appears
on the board he should be favourite. Meanwhile, the French oil industry looks
to recruit Frank Ward.</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span lang="EN-US">
<i>The Fatal Hours Part 1 (11 Nov 75) </i></span><span style="letter-spacing: 0.4pt;">Frank Ward decides to remain
in Scotland but wants a better deal. With everybody waiting for the predicted
oil output, Shona uses her friendship with Donald to get an exclusive for the
Gazette.</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span lang="EN-US">
<i>The Fatal Hours Part 2 (18 Nov 75) </i></span><span style="background-color: transparent; letter-spacing: 0.35pt;">A heavy storm arrives, and a Met Buoy has come loose from its anchor and
is trapped between the legs of the rig. Frank Ward has to get seventy men to
safety in case the weather causes a collapse.</span></span></p><span face=""Arial",sans-serif" style="font-size: 12pt;"></span><p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-3866355823609984022024-02-14T19:17:00.001+00:002024-02-14T19:17:56.383+00:00Reviews - Declan McKenna, The Magic Flute (2021)<p> </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">If the first two Declan
McKenna albums were earnest and sometimes epic this third release. `What
Happened To The Beach?` sees him easing back a little. It is still ram packed
with ideas but they are contained in a far more laidback environment that gives
space for some strange sounds, odd moments and snatches of in studio mutterings.
Lyrically too he has eased back on message songs offering more reflective,
chilled thoughts. Nothing stops the songs from being catchy and memorable but
this is an artist maturing and he has produced his best work yet. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji6ZFPvQIg8eUM6bP8XXxTZBOkGPcP4lVGYhf7VsmbXub2b4ZdbavnUOTg_f-PH5ngu9BWMZY59tVSY-Go0SUGPdWev0d0S8Mr7c5q6ysr8awwkGBnei4IIgx9dmswiAGYXG2LQQ8TXMgKDH7sg_F1vkX7Qc34jGpZ3UYhPqOjysjtFkeE-afef2ly5ts-/s469/Declan-McKenna-What-Happened-To-The-Beach-cover.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="469" data-original-width="469" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji6ZFPvQIg8eUM6bP8XXxTZBOkGPcP4lVGYhf7VsmbXub2b4ZdbavnUOTg_f-PH5ngu9BWMZY59tVSY-Go0SUGPdWev0d0S8Mr7c5q6ysr8awwkGBnei4IIgx9dmswiAGYXG2LQQ8TXMgKDH7sg_F1vkX7Qc34jGpZ3UYhPqOjysjtFkeE-afef2ly5ts-/w400-h400/Declan-McKenna-What-Happened-To-The-Beach-cover.webp" width="400" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">How this will be taken
by his long term fans will be interesting as this is the first time he's challenged them a bit. In some ways you
can tell this record was made in the United States yet he doesn’t lose his Britishness
either so any West Coast tendencies are given character. He’s said it’s a
summer album and when asked why it was released in February, replied that
everyone would know it by the summer, “then it’s a summer album!” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">This relaxed tone is
evident in the music. The first two songs released last year,, `Sympathy` and
`Nothing Works` prove to be something of a mis direction being the closest to
his previous sound. However `Nothing Works` is a pop sized tune all about self
doubt and you will remember it after a few plays. </span><span style="font-family: inherit;">More representative of
the whole album are `Elevator Hum` and </span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">`Mulholland’s Dinner and Wine` the latter a medium paced hazy song that takes a while to familiarise yourself with. I’ve
grown fonder of this the more I hear it as the protagonist describes his drug fuelled life and “boring apartment”. Some of the songs recall the minimal
tunefulness of early Paul McCartney solo work while `Honest Test` has a similar
sound to recent Arctic Monkeys and there’s a whiff of `Suburbs` era Arcade Fire
to `Mezzanine`,</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">`Sympathy`, my
favourite song of last year has a hurdy gurdy rhythm and manages to sound a bit
like the Sixties and Seventies at once. Despite its catchiness the song doesn’t
really have a chorus instead being one long tune with the line “you don’t need
to be clever” emphasising the song’s message of easing off and not trying to be
someone you’re not, a theme that re-occurs elsewhere. `Elevator Hum` is a
perfect distillation of this record’s sounds while `I Write The News` playfully
changes arrangement from verse to verse as its social issues are laced with
fun- “Crimes high and so am I”. The stripped down `Wobble` matches its Macca
inspiration with contemporary beats and lyrics about change. `Breath of Light`
has an unexpected percussive opening.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Although much of this
record is not as instant as the previous two it does offer more with each
listen. I suspect that someone with his track record could easily pull a massive
banger out of the hat if his career needed it but for now he seems content to populate an individual place for himself and own it which is always a better
long term plan<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">(Btw, it is always
worth checking out Declan’ McKenna’s music videos on YouTube as they are always
inventive and quirky especially the one for `Nothing Works`)<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha4ejm98TE8uQK1Mmf6kzYt2LM8f-fyGvPRB7ecUD3bDVUI4wPf3JhDuxQUYlEy_ZxO_Lvt3XgD2qiHK309V-KtSbid57rXmvCxFcK9Y7x6kOCu9AKK_L6VR1MyrjDBOinoxDbJz03Tpta3c1fjQp9_0VQU7AFSztSZ7GZCO1H_NI4tunZoWcAPifYYib-/s960/p21663364_v_h10_ab.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="960" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha4ejm98TE8uQK1Mmf6kzYt2LM8f-fyGvPRB7ecUD3bDVUI4wPf3JhDuxQUYlEy_ZxO_Lvt3XgD2qiHK309V-KtSbid57rXmvCxFcK9Y7x6kOCu9AKK_L6VR1MyrjDBOinoxDbJz03Tpta3c1fjQp9_0VQU7AFSztSZ7GZCO1H_NI4tunZoWcAPifYYib-/w640-h360/p21663364_v_h10_ab.jpg" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">I’m not sure either
opera or drama fans would be entirely satisfied by this 2021 curio shot in
Germany. It is an awkward fit between the opera <i>The Magic Flute</i> and a scenario in which pupil Tim Walker who attends the prestigious Mozart academy is thrown into the story so he becomes
the prince. So we end up with some scenes taking place in the
present day with others occurring in the world of the opera.<span style="mso-spacerun: yes;"> </span>The results are intriguing if ultimately
erratic with no clear sense of what the story is trying to do, instead it feels
as if two films have been edited together each with a different pace. The real
world stuff articulates some of the pressures of living up to paternal
expectations and of being in a dedicated academy with high standards. It’s also
a love story that is played with enough conviction to convince. Yet quite how or if it relates to the opera part is hazy.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The movie’s strongest
aspect is its look. Cinematography, direction, sets and costumes are all
excellent especially in the real world evening scenes which capture the
wood panelling and open fires that are a feature of the remote school building. The
fantasy world is richly decorated with extensive use of cloth and filtered light
plus the entrance of the Queen of the Night is terrific emphasised by extending
flowing fabrics like some old Kate Bush video. An early giant snake proves to
be an effects highlight though later challenges seem somewhat small in
comparison. However director Florian Sigl does a good job imbuing these sequences with
some tension, especially a scene where Tim is not allowed to talk to Princess
Pamino something that could be dry but which he works into quite an emotional
moment. Perhaps because the producers wanted a family film any
peril is decidedly mild and you never really get a sense of danger in the fantasy scenes with the
villains played more for comedic effect than menace. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">I found out later that
the opera has supposedly Masonic influences in its text particularly the
repeated use of `three` things- the three trials, the three ladies, three doors. There is also a strong theme of heroism which
is supposed to show in the trials though Tim as Prince Tamino is positioned as
too much of a bystander for much of the action and even his actions in winning
the trials are not especially taxing. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">It feels like some
sharp edits have been made as it is unclear whether the fantasy action is
supposed to mirror or affect real life events, sometimes it seems to, other times not. Thus the opera’s themes of love and of <span style="mso-spacerun: yes;"> </span>overcoming trials to become a better person
are somewhat tepid in realisation here. If the intention is to create a
conflict for Tim between a real life romance with Sophie or a fantasy one with
Pamino it has gone astray in the final version. Besides there is a lot more
spark in the real life tentative romance between Tim and Sophie and also in the
stories of the bullying Anton.<span style="mso-spacerun: yes;"> </span></span><span style="font-family: inherit;">Tim’s
mode of transportation into the fantasy world is a tall clock whose workings or
origin is never explained in either world while the actual magic flute itself
plays a small though important role in this story. In the opera it signifies
how music has the power to transcend fear and hatred. </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Without any knowledge
of the opera its difficult for the viewer to know just what is going on. The
world we see is without context and its incongruous at first when characters
start singing because it feels as if we’re only getting snippets of the opera
whose running time is longer than this film. Opera is such a heightened milieu
it is hard to make it identifiable to real life so to hear a lovely rendition
of the Jackson 5 song `I’ll Be There` is my favourite musical moment, sorry
Mozart! The operatic singing is great though, it’s just not my cup of tea.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">If you untangled both
narratives either one would make a better film either set exclusively in the music
school or else having Tim in the fantasy world the whole time. As it is the action
switching back and forth jars and Tim doesn't even ask anyone why he is able to move between worlds. The cast were probably equally bewildered by
what tone to strike in a film like this which is probably why the reality sequences
come over better. When Tim is in the real world Jack Wolfe makes the most of the
dialogue and strikes up a real on screen rapport with Niamh McCormack who plays
the quirky Sophie. Their scene together in a piano room one evening is the best
of the film. Without either enough dialogue or action the actor is left
somewhat stranded in the opera world, his naturalistic style on a different plane
to the extravagant operatics happening around him. Iwan Rheon seems to have fun as Papageno,
a whimsical character who carries the more frivolous part of the plot but whose
function I couldn’t really work out here. To be enjoyed as a typically strict
head teacher is F Murray Abraham always good value even with limited screen
time.</span></p>
<p class="MsoNormal"><span style="line-height: 107%;"><o:p><span style="font-family: inherit;"> </span></o:p></span></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-21366999419578260012024-02-09T19:05:00.003+00:002024-02-09T19:05:56.346+00:00Reviews - Argylle, Big Boys S2, Merlin S1 (2008)<p> </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">If you like a film with
twists at every juncture then <b><i>Argylle</i>,</b> Matthew Vaughn’s latest,
is the one for you. It regularly pulls rugs from under your expectations so to
reveal much about the plot would spoil the fun. It is an espionage movie
focussing on a fictional spy Argylle and the woman who writes the books Elly
Conway. However, it doesn’t take long for fact and fiction to blur with an idea
that anyone who is a writer will watch thinking `I wish I’d thought of that`.
It’s a dazzling narrative though by sheer repetition eventually undermines
itself because the viewer will start to correctly guess what the next twist is.
<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMWhrVQmMH0-KbR491A4JDJh0Lrdo2zSMHODNMIuqDTbcOqA1nS29X5orF3WiaYjzA1_s4zMKuFXqXhmfHfVNI6eTYZkJ32kjzrjDRFo2He206Ptk0NsHjbTFkyD-NNEN-BknbHXw0MptTKCdB016bIsYKiwI11YFE99Ry2IDteJsE5KTGzvUU8jRCeyIX/s1899/argylle-movie-poster.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1899" data-original-width="1199" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMWhrVQmMH0-KbR491A4JDJh0Lrdo2zSMHODNMIuqDTbcOqA1nS29X5orF3WiaYjzA1_s4zMKuFXqXhmfHfVNI6eTYZkJ32kjzrjDRFo2He206Ptk0NsHjbTFkyD-NNEN-BknbHXw0MptTKCdB016bIsYKiwI11YFE99Ry2IDteJsE5KTGzvUU8jRCeyIX/w404-h640/argylle-movie-poster.webp" width="404" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span></span></p><a name='more'></a><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><i>Argylle </i>is<i> </i>not quite a
comedy yet has plenty of over-the-top moments that play out in Vaughn’s
trademark choregraphed anarchy. There are inevitable echoes of Bond and Vaughn’s
own <i>Kingsman</i> series with some pacy sequences including an impressive one
set on a mountainside village plus close quarters peril on a train, in a flat
and even an oil tanker. The signature virtuoso scene involves coloured smoke
and dance moves followed by a showdown in an oil filled boiler room. As with
the director’s previous work the athletic daring of these sequences is
impressive to see though can sometimes look just a bit too poised and pleased
with itself. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The cast have a lot of
fun, a highlight being Catherine O’Hara who rolls with the changes and really
suits this sort of material. Bryce Dallas Howard and Sam Rockwell make a good
team even if some of their dialogue seems forced. It is the case that the movie
makes its supposed real-life incidents even less likely than its fictional ones
and there are a few jarring inclusions not least the prominence on the
soundtrack of the `final` Beatles song `Now and Then`. It’s described as two
characters’ song from five years ago yet it only came out last autumn having
previously only been known as a scratchy demo. A mid credits sequence suggests
this film has some sort of direct link to the <i>Kingsman</i> series and that <i>Argylle
</i>will have sequels though I can’t see how they can pull off the same trick
twice. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji1lwQBDnfAkvJG0PU59tqYJS7h5DSEn2FBt4pYIvPcChfVyyZ9rl1SQx_aQ_Jul9YQmzS9k_Nmke0yVHVdpp7fnItmioARM0nGbSaarN0-Di4HS9gljm5laHwmGsiMD1b_vRDeOpWbDBeWStVQnvQyxFyzJdfcOFH0bWiRPhlDTAQf7pew7_gzDLKZGXJ/s1160/a0240bc8-f475-4a8e-b87d-d7d24f73084f.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="653" data-original-width="1160" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji1lwQBDnfAkvJG0PU59tqYJS7h5DSEn2FBt4pYIvPcChfVyyZ9rl1SQx_aQ_Jul9YQmzS9k_Nmke0yVHVdpp7fnItmioARM0nGbSaarN0-Di4HS9gljm5laHwmGsiMD1b_vRDeOpWbDBeWStVQnvQyxFyzJdfcOFH0bWiRPhlDTAQf7pew7_gzDLKZGXJ/w640-h360/a0240bc8-f475-4a8e-b87d-d7d24f73084f.jpg" width="640" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The first season of
Jack Rooke’s semi-autobiographical account of his struggles with university,
sexuality and the death of his father gifted a superb six episodes in 2022
filed with raucous humour yet also tinged with reflective melancholy. Though
often promoted and considered some kind of outrageous gay comedy it would be
more accurate to describe <b><i>Big Boys</i></b> as a comedy drama about
friendship, mental health, and grief. This second season leans into these more
serious topics more though not at the expense of the jokes. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">While there are LOL
moments all over the place (though fewer extreme ones this time) the most
memorable scenes are infused with different emotions. The incredible final
episode manages to combine flashbacks of Jack’s father’s final days with the
chaos of Shannon’s new baby being born in a sequence that will surely be
amongst the most memorable of the year. Also, anyone who has lived through the
slow decline of an elderly relative cannot fail to be moved by the short
moments we see Danny’s Gran disappearing into her dementia. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">This season gives more prominence
to the wider ensemble particularly Harriet Webb’s fabulous Shannon who brings
such mouthy life to every scene she’s in and Izuka Hoyle’s Corinne whose sarcasm
is filled out this time with a warmth and some challenging drama. The episodes also
tackle wider issues ranging from student housing, older people dating, abortion
and parental responsibility with a skill that respects the issues but is still
so watchable. At the centre of it all are Dylan Llewellyn’s sweet, confused yet
this time more confident Jack and Jon Pointing’s laddish but well meaning,
empathic Danny. I wasn’t sure there needed to be a second season but now I am
hoping for a third!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6IXsN3uW6devufwWZQq4d9woG0cMLQa7nP94MbskV6kj7P3PjWe3XRyX_5AWpKj6EQ-zPgVJ1mR1bIdDipVRGdnDCOyCarJ458fdAgZk3mTXHQLMOq9OG3Ni7JghKF21rfKnHM5lsMeCIl1Lk5yXtijmU82CpGFZAw4bhNFPoKUvpb-WLa6vIVNTACAE4/s1600/ae5a2fa86ee3b2fe781cef279eaf812b348cb3a8f389f2b24039268f014ff30e.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6IXsN3uW6devufwWZQq4d9woG0cMLQa7nP94MbskV6kj7P3PjWe3XRyX_5AWpKj6EQ-zPgVJ1mR1bIdDipVRGdnDCOyCarJ458fdAgZk3mTXHQLMOq9OG3Ni7JghKF21rfKnHM5lsMeCIl1Lk5yXtijmU82CpGFZAw4bhNFPoKUvpb-WLa6vIVNTACAE4/w640-h480/ae5a2fa86ee3b2fe781cef279eaf812b348cb3a8f389f2b24039268f014ff30e.jpg" width="640" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">One of a raft of shows
developed in the wake of the huge success of the revived <i>Doctor Who</i>, <b><i>Merlin</i></b>
presented a new look for one of the best-known mythical tales. Traditionally
interpreted as a mysterious sorcerer who controlled Camelot, perhaps best
realised by Nicol Williamson in the film <i>Excalibur</i>, Merlin is re cast
here as a young man. He comes to Camelot in the first episode and ends up as Arthur’s
servant while under the tutelage of physician Gaius. Merlin is already blessed
with powers but straight away learns that magic is banned by King Uther for reasons
we later learn are personal. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">It’s easy then to draw
a line between any covert hero struggling to hide a secret and while the series
could have allegorical intentions it works best as a straight forward adventure
show. The visual effects may seem a little less dazzling than they do on modern
series but they still impress especially the dragon kept chained underground to
whom Merlin frequently comes for somewhat elliptical advice. Catching an
episode when channel hopping made me decide to give the first season a watch
and sixteen years on, I still found it to be a well calibrated, escapist series
with enough ideas and jeopardy to keep you watching.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">In the lead role Colin Morgan
has the right mix of youthful enthusiasm tempered with a more thoughtful side
and gives a performance that leans into the personal and humorous aspects yet
able to turn serious when needed. He and Arthur played by Bradley James have
the banterish demeanour of flatmates rather than a prince and servant but it lightens
the mood playing well against Anthony Head’s stern Uther. He is the revelation
of the season as the actor gives the role a seriousness that makes him
sometimes seem like the antagonist, at least for Merlin. Kate McGrath is
terrific too, her Morgana a simmering kettle ready to boil. In a role that
differentiates him from grumpy old man Victor Meldrew, Richard Wilson layers
Gaius with practical knowledge and morality bonding well with Colin Morgan on
screen. Of the regulars only Angel Coulby is underserved save for a couple of
episodes in which she features prominently displaying huge potential for the
character of Gwen.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Visually there are
monsters aplenty though wisely the series doesn’t dwell on them too much and it’s
no coincidence that the more absorbing episodes are those in which the danger
comes from inside the court or from a visitor rather than a roaring creature. Several
episodes prove gripping especially one in which the younger Mordred is being
hidden and the last episode while the direction is crisp and makes the most of
the impressive French castle used as the main location. Magic may be banned but
this place always looks magical. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Of course the one
obvious thing is that somehow Arthur never seems to notice the source of much
of the magical happenings going on around him emanates from his own servant but
the scripts deflect this with humour and cleverly contrived diversions. Though <i>Merlin</i>
is a family show and will never match the visceral impact of something like <i>Stranger
Things</i> the season as a whole remains hugely watchable and entertaining plus
it has aged far better than its fantasy contemporaries.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><b>There's reviews of season three, four and five back in the early days of the blog, search for Merlin </b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><br /></span></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-26977189284753861262024-02-06T18:43:00.000+00:002024-02-06T18:43:14.818+00:00Top of the Pops 26 January 1989<p> </p><p class="MsoNormal"><span style="font-family: inherit;"><b>Words: Chris
Arnsby</b>.<br />
Gary Davies: “Hello. It's a new-look fast-moving Top of the Pops. Not only on
BBC1 but also in stereo on Radio 1FM. Tonight we have seven bands in the
studio.”<br /></span><span style="font-family: inherit;">Anthea Turner:
“And we've got a brilliant band to start off with. They're the highest new
entry at twenty one. They're here, they are, Then Jericho.”</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">[21] THEN
JERICO: big area</b><span style="font-family: inherit;">. Do
none of the hosts watch </span><i style="font-family: inherit;">Top of the Pops </i><span style="font-family: inherit;">when they're not on? Gary Davies
seems to think this is the week of the big relaunch, or does he just feel it
doesn't start until he says it does?</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">New caption
effect. The one for Then Jericho is drawn line by line a bit like the way
loading screens used to appear on the ZX Spectrum (sweet sweet nostalgia, où
sont les neiges d'antan? etc) but out of order rather than neatly. It looks
good.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqLB6YAUVKYrIx5lzP40qvupLN9J7lI3_kWv1FmL4iyyrmxC82NfpuN-6qysPPhTWJSB-G1SAGFaorBh4iutWTzfS1lQMju8aic-PKLELFyFPunYKzaxJ-Z0D7m6E5TP2xwO3SGK3LwXcXqFvZzS3tMHck0pZSKd51GzAHpLXH-8I_wNZ1ymj-BodeUbON/s600/R-1295078-1490645634-6761.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="600" height="349" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqLB6YAUVKYrIx5lzP40qvupLN9J7lI3_kWv1FmL4iyyrmxC82NfpuN-6qysPPhTWJSB-G1SAGFaorBh4iutWTzfS1lQMju8aic-PKLELFyFPunYKzaxJ-Z0D7m6E5TP2xwO3SGK3LwXcXqFvZzS3tMHck0pZSKd51GzAHpLXH-8I_wNZ1ymj-BodeUbON/w400-h349/R-1295078-1490645634-6761.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /><br /><o:p></o:p></span><p></p><p class="MsoNormal"><span></span></p><a name='more'></a><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;">Lead singer
Mark Shaw is a menace. He's going to hurt someone if he keeps waving that
microphone stand around. And what happens to his long coat? He's wearing it,
then the camera cuts to the drummer and we hear shrieks of approval from the
audience, and then in the next wide shot the coat is gone. I guess he threw it
into the audience. Did he have to go and ask for it back later?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Suddenly Gary
Davies pops up at the side of the stage. “Woo! What a great song.” He says
half-heartedly. If it's that great, why interrupt it? Then Jericho are clearly
still performing. Paul Ciani's war against the clock continues as he
desperately tries to fit 35 minutes of songs into a 30 minute slot.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[20] ADEVA:
respect. </b>Gary Davies
introduction. “Coming up now a lady who's twenty five years old. Last time she
appeared on TV. Her bra snapped. Hopefully it won't happen. Here's Adeva.” Nice
one Gary. Adeva is singing a song called Respect and you want to talk about her
underwear.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">This is a
pre-recorded performance. Can I work out when? I think so. Last week, based on
the idiot wearing the white shirt and red bow tie at the front of the stage,
“last week”<span style="mso-spacerun: yes;"> </span>he was part of the crowd in
the crow's nest for the start of the 19/01/1989 edition.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Ironically,
Adeva is cut off right in the middle of saying the word respect thanks to Paul
Ciani's<span style="mso-spacerun: yes;"> </span>quart/pint pot approach to
editing.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
40 TO 31</b>.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[14] ROB
BASE & D.J. E-Z ROCK: get on the dance floor. </b>“Or D.J. Easy Beat,” as Anthea Turner
thinks Rob Base's associate is named.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibVbAL5gK7hzzsq0Nn9LlwSr_PPEBn5JwaP9FR7782mV9Xgdf5tjNe-i1HQOwm-tLxhgJ44pNjF9BhNlLfqG-1ipYPadNM88Ao_4XfH-ydieT4BCSUZBEPasWysD8sN_NFoQT21eGmnOpEgbovqlLGdHEzHJzQTZ59kurIjnoMWifN5DFsefzlAXTM2jri/s914/914FfeGg+5L._UF894,1000_QL80_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="914" data-original-width="894" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibVbAL5gK7hzzsq0Nn9LlwSr_PPEBn5JwaP9FR7782mV9Xgdf5tjNe-i1HQOwm-tLxhgJ44pNjF9BhNlLfqG-1ipYPadNM88Ao_4XfH-ydieT4BCSUZBEPasWysD8sN_NFoQT21eGmnOpEgbovqlLGdHEzHJzQTZ59kurIjnoMWifN5DFsefzlAXTM2jri/w391-h400/914FfeGg+5L._UF894,1000_QL80_.jpg" width="391" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[19] MICA
PARIS & WILL DOWNING: where is the love</b>. The cutting short of songs is a bit less brutal this
week; only having three Breakers helps. Paul Ciani's still trying to make the
show look like a seamless whole, see the way the camera pans off Rob Base, et
al, then pans to find Gary Davis, and then pans on again to find Mica and Will.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">For some reason
the camera move at the end of Where is the Love is quite languid and Gary Davis
ends up speaking before he's on screen. I wonder if it's a more difficult shot
to pull off than it appears. The crane has to pull back from Will and Mica and then
I think it zooms in while also tracking left. Certainly Gary Davis looks more
blurry than usual when he comes into frame which suggests the camera operator
is having difficulty keeping focus.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">BREAKERS:<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">27 BOBBY
BROWN: my prerogative<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">28 LEVEL 42:
tracie<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">34 SHEENA
EASTON: the lover in me<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[17] TEN
CITY: that's the way love is.</b>
Anthea Turner has laboriously worked out a link, “it's great to see her back in
the city... anyway... here now at number seventeen is Ten City.” This would be
very clever if Sheena Easton's song had anything to do with cities.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">CHARTS FROM
30 TO 11.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[15] BROTHER
BEYOND: be my twin</b>.
This is Anthea Turner's third time hosting <i>Top of the Pops</i> so I'm inclined
to cut her some slack but I do need to mention her bizarre facial expressions
during Gary Davies' link. Granted, she doesn't have anything to say and
sometimes just standing there and pretending to be interested can be the most
difficult thing to do, but during Gary's 10 second link she does the following;
gaze directly into camera with eyes half closed in the classic
look-I'm-drunk-at-the-BBC-bar-at-closing-time; turn left profile to camera and
gaze adoringly at Gary Davies' ear; turn back to camera and grin vacantly down
the lens; turn into half-profile, open eyes and mouth wide; hold the previous
expression and turn to face the camera again; blink and then open eyes and
mouth even wider; clap and then punch the air in excitement. It's only Brother
Beyond, Anthea.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd6Ow1PiUTbvKJzQvLZp2UaNwiNwlCAzpOoObhcrrMxSTpQEr9kCMJa7TjuoBlbi9BvG7TLkGhiALIrCbs8eKlvi0RF3dW5_OGUFyTo0s_HgISSSP5EjPPXB74ckmJmGxPUcOZ4Fm9NC370pgRRxhM2mREPh8RciB1BHhIG7_hZulcGnOT7ww6aYSs-tMm/s600/R-801849-1160230457.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd6Ow1PiUTbvKJzQvLZp2UaNwiNwlCAzpOoObhcrrMxSTpQEr9kCMJa7TjuoBlbi9BvG7TLkGhiALIrCbs8eKlvi0RF3dW5_OGUFyTo0s_HgISSSP5EjPPXB74ckmJmGxPUcOZ4Fm9NC370pgRRxhM2mREPh8RciB1BHhIG7_hZulcGnOT7ww6aYSs-tMm/w400-h400/R-801849-1160230457.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;">Vision Mixer
Susan Brincat (a new name to <i>Top of the Pops) </i>does a split screen mirror
of, I don't know... Nathan?, for the bits about being his double.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">It's all pretty
bland. And then a bearded bloke wearing a nasty pair of high-waisted trousers
and a red jumper wanders on stage and pretends to play the saxophone.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 10:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[1] MARC
ALMOND & GENE PUTNEY: something's gotten hold of my heart. </b>A repeat performance from 19/01/1989.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[16] MILLI
VANILLI: baby don't forget my number.</b>
Steve Wright and Simon Mayo next week but first, here's Milli Vanilli on video.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK: Then Jerico, Big Area</b><span style="font-family: inherit;">.
I suppose.</span></p><p class="MsoNormal"><o:p></o:p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-44170302230913476832024-01-31T19:41:00.000+00:002024-01-31T19:41:00.762+00:00Top of the Pops 19 January 1989<p> </p><p class="MsoNormal"><span style="font-family: inherit;"><b>Words: Chris
Arnsby</b>. Bruno Brookes:
“Thursday night. It's that time of the week again,and welcome to Europe's
number one TV p”op show. This is Top of the Pops and we have six live acts on
the show tonight.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Richard
Skinner: “And don't forget we are live in stereo, on Radio 1 FM. Let's kick off
with Roachford, this week's number eleven here's Cuddly Toy.”<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">[11]
ROACHFORD: cuddly toy. </b><span style="font-family: inherit;">This
episode (downloaded, as always from Al Capone's vault at </span><a href="https://mega.nz/folder/h0snQACa#uiNNqosfbdrfzODHsE1clw/folder/g8EVjYrY" style="font-family: inherit;">https://mega.nz/folder/h0snQACa#uiNNqosfbdrfzODHsE1clw/folder/g8EVjYrY</a><span style="font-family: inherit;"> ) opens with a BBC VT Clock with an
enigmatic additional message that reads: “STEREO 0 LEVEL PPM4 FIRST 2 MINS THEN
-3”. How mysterious. What can it mean? It's obviously something to do with the
sound levels but the first two minutes only takes the programme into the middle
of Roachford's performance. Wikipedia tells me that PPM stands for Peak
Performance Meter that “indicates the level of an audio signal.”</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR_e2yfpws6HLgGw1kauGAPOhEYwr5-6B5CDBW5mIhPYK8sPZZR8JSH_7Vmd6diCCEAidNnFI-g5U9GXYrd2bmixyQlv8mSBBI_7roWDZx7SXXAyOalVLG7f9TgkfKx_wol8AsKFK8V3oUxdW8Tmbw9vTru0JwE5CgLhvkinOdfEPHHe0jAPwBeWN0lcoJ/s300/R-1014423-1476993306-2315.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="294" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR_e2yfpws6HLgGw1kauGAPOhEYwr5-6B5CDBW5mIhPYK8sPZZR8JSH_7Vmd6diCCEAidNnFI-g5U9GXYrd2bmixyQlv8mSBBI_7roWDZx7SXXAyOalVLG7f9TgkfKx_wol8AsKFK8V3oUxdW8Tmbw9vTru0JwE5CgLhvkinOdfEPHHe0jAPwBeWN0lcoJ/w392-h400/R-1014423-1476993306-2315.jpg" width="392" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p><p class="MsoNormal"><span></span></p><a name='more'></a><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;">Six people are
crammed in the crow's nest at the start of the show. Richard Skinner is third
in the line with Bruno Brookes fourth. This means the pair are numerically
centred but on screen Richard Skinner is less immediately obvious than the
glamorous blonde standing to the left of Bruno Brookes. Which is an odd
coincidence. This is Richard Skinner's last show as host.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Bruno Brookes
doesn't want to run up and down the stairs to the crow's nest, so Richard
Skinner has to dash down in order to pop up main stage left as Cuddly Toy comes
to an end.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[7] ROY
ORBISON: you got it.</b> On
video, nearly 90 seconds.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
40 TO 31</b>. Richard
Skinner has run back up the stairs to the crow's nest in order to help
introduce the charts, but he's not allowed to take part in the countdown. Did I
mention this is his last time hosting?<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[22] ROBERT
HOWARD & KYM MAZELLE: wait. </b>Richard
Skinner is knackered so Bruno Brookes has to risk the treacherous stairs.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Bruno Brookes
stands by the left of main stage and behind him a group of stage hands can be
seen carrying stuff onto the stage recently vacated by Roachford.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5S5dk1kQiyuzPIxtZd68n6RZtWRm8wsjh6icjEPfKKBfOfCQZ_IClLfzBR8sGyKwIDujfol4m90wIwUdDH4nliyr7IxcZ2ohNlIZCRuYImAhZvQnO8Nz20Pg3WbQ0rNxXRj_b1IeDHFsy5Ip9gavNYt2FvTRYIysQ0FvYY1oXWFqiqpKGso8GeJUB5oim/s300/R-67043-1362072848-4716.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="299" data-original-width="300" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5S5dk1kQiyuzPIxtZd68n6RZtWRm8wsjh6icjEPfKKBfOfCQZ_IClLfzBR8sGyKwIDujfol4m90wIwUdDH4nliyr7IxcZ2ohNlIZCRuYImAhZvQnO8Nz20Pg3WbQ0rNxXRj_b1IeDHFsy5Ip9gavNYt2FvTRYIysQ0FvYY1oXWFqiqpKGso8GeJUB5oim/w400-h399/R-67043-1362072848-4716.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[10] MARC
ALMOND FEATURING GENE PITNEY: something's gotten hold of my heart.</b> The new captions cope very well with
longer song titles, there's no need for tiny fonts any more.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Richard Skinner
is back down on the studio floor because Paul Ciani wants to repeat a swish
camera move he used in the <i>25 Years of Top of the Pops</i> special, when
Richard Skinner has finished the camera pans up and over his head to the main
stage; where the stage hands have finished dragging all Roachford's kit off and
replaced it with everything Marc Almond and Gene Pitney require. Behind Richard
Skinner you can see the the Floor Manager's team manhandling audience members
and herding them into position as Wait ends.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Rod Litherland,
Lighting, makes the audience stand out by colouring them a lurid red. It looks
great. He's also got a new toy, a row of motorised lights hung from the ceiling
which arc backwards and forwards; as they move to point backwards they glow red
and then when they move to point forwards they change colour to blue.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>BREAKERS: </b>Last week there were six Breakers. A
ludicrous number. How many this week?<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">33 TEN CITY:
that's the way love is<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">28 WILL
DOWNING & MICA PARIS: where is the love<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">31 NEW MODEL
ARMY: stupid question<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">29 BROTHER
BEYOND: be my twin<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">30 NATALIE
COLE: i love for your love<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[4] MIKE
& THE MECHANICS: the living years.</b>
On video. It gets 75 seconds of airtime. Bruno “Criswell” Brookes predicts the
song will be a future Number One.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
30 TO 11. </b>Once again,
Richard Skinner is not allowed to contribute to the chart countdown. I'm sure
it will all be made up for with the Top 10.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnpkpjIQcrYq3JCIGA-XytdmrtNhQ38Z4Dst4kEHTV6wfmOiuUP0A1nf7OnZM6BXi6_g7oMg92f0XLgGOIMa10hG7gY5IJHhTfAkWwhje51Pubui6BmHZ2nDT2Jr7VOCWgaw94zODxp7AV92sz9nrocGChU741zg1cvnCEF_wZTdreXuVQ_wvv5HNOCbF8/s600/R-4058662-1453139969-9975.jpeg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="600" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnpkpjIQcrYq3JCIGA-XytdmrtNhQ38Z4Dst4kEHTV6wfmOiuUP0A1nf7OnZM6BXi6_g7oMg92f0XLgGOIMa10hG7gY5IJHhTfAkWwhje51Pubui6BmHZ2nDT2Jr7VOCWgaw94zODxp7AV92sz9nrocGChU741zg1cvnCEF_wZTdreXuVQ_wvv5HNOCbF8/w400-h398/R-4058662-1453139969-9975.jpeg.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[21] HOLLY
JOHNSON: love train. </b>I'm
probably the last person to discover that Holly Johnson's absence from the
charts was down to an injunction against him by his record label which sited
breach of contract. The two year court case was finally found in his favour
when the judge ruled the original contracts were “an unreasonable restraint of
trade.” The best thing about the case, it was called ZTT and Perfect Songs v
Holly Johnson which sounds like the setup for a rap battle.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Enough time has
passed that I'd forgotten that Holly Johnson is a charismatic front man. He
makes an immediate impression dressed in green and making deliberately small
hand gestures (wearing lime green gloves) which show up well on camera and work
equally in wide shots and closeups.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[5] FINE
YOUNG CANNIBALS: she drives me crazy. </b>The
pacing of this show is noticeably rushed. I appreciate the programme is trying
to cram more and more music into a 30 minute slot but I think it needs to be
dialled back at bit.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">None of the
studio performances have come to a natural conclusion. Roachford's band was
still playing for a couple of seconds after the crowd started cheering. There's
a very sneaky edit at the end of Something's Gotten Hold Of My Heart, the end
of song applause is deliberately shifted back a few seconds to make the
performance seem less brutally edited. At the end of Love Train the camera
wanders off like its got bored, it settles briefly on Bruno Brookes and then
pans to the Fine Young Cannibals. By the end of She Drives Me Crazy the editor
has run out of creative ways to shave precious seconds off the running time and
so more crowd applause noise is plastered over a camera pull back and then
there's a straight cut to Richard Skinner and Bruno Brookes in the crow's nest.
Thanks for coming on <i>Top of the Pops, </i>the Fine Young Cannibals, you can
find your own way out.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPFzV3jZWnVSEeA4elikrtyT-BksmLpbjREnef9Cn1UbnZHEjsXl0rNnYF1MxbANgaL8iEHloi7DwOx-cKLRB19PGDpTXVdSuCKtFEmomorR4MEpcaQXeJOSBykx5HRUVpiDHyMHZ1PI8Zmfm-k_k2nBTM4pMG78ri9ERqrfSGDwUbCylqxLK_aujeHrKa/s1000/Fine-Young-Cannibals-She-Drives-Me-Crazy-1625589690.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="988" data-original-width="1000" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPFzV3jZWnVSEeA4elikrtyT-BksmLpbjREnef9Cn1UbnZHEjsXl0rNnYF1MxbANgaL8iEHloi7DwOx-cKLRB19PGDpTXVdSuCKtFEmomorR4MEpcaQXeJOSBykx5HRUVpiDHyMHZ1PI8Zmfm-k_k2nBTM4pMG78ri9ERqrfSGDwUbCylqxLK_aujeHrKa/w400-h395/Fine-Young-Cannibals-She-Drives-Me-Crazy-1625589690.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>TOP 10: </b>Bruno Brookes handles the Top 10.
Richard Skinner decides not to come back.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[1] KYLIE
MINOGUE & JASON DONOVAN: especially for you. </b>A repeat of the 22/12/1988 performance.
For the record, it's had about 70 seconds lopped off.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[17] ROB
BASE & D.K. E-Z ROCK: get on the dance floor. </b>Gary Davies and Anthea Turner next week.
<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK: </b><span style="font-family: inherit;">Holly
Johnson, Love Train.</span></p>
<p class="MsoNormal"><b><o:p><span style="font-family: inherit;"> </span></o:p></b></p>
<p class="MsoNormal"><b><o:p><span style="font-family: inherit;"> </span></o:p></b></p>
<p class="MsoNormal"><b><o:p><span style="font-family: inherit;"> </span></o:p></b></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-50897342407073774162024-01-28T19:17:00.000+00:002024-01-28T19:17:47.662+00:00The Mind of Mr JG Reeder season one<p> </p><p class="MsoNormal"><span style="font-family: inherit;"><i style="mso-bidi-font-style: normal;"><span style="color: #111111;">The Mind of Mr J. G. Reeder
</span></i><span style="color: #111111;">was made
by Thames Television based on Edgar Wallace’s books and set in the Twenties,
the character JG Reeder is a shabbily-dressed, somewhat unglamorous
investigator at the Public Prosecutor's office. He is the antithesis of the
usual 1920’s hard -nosed investigator and prefers a cup of tea and some cake to
anything stronger. His self-effacing exterior masks a sharp mind which allows
him an insight into criminal behaviour ahead of his time. In some respects, the
story and this adaptation are ahead of their time focussing on deduction based
on typical criminal behaviour rather than simply evidence. The role is played
by a familiar face in sixties and seventies television, Hugh Burden. It’s
unusual for an actor who was essentially a supporting player to be given the
lead role in a series, especially one that ran for two seasons but this was, as
one contemporary reviewer commented “the part of a lifetime” for him and
remains a highlight of the actor’s varied career and he even wrote an episode.
There are two seasons, each of seven episodes that last about forty-five
minutes each, as they would have been punctuated by adverts. Season one was
first broadcast during the Spring of 1969.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: #111111;"><span style="font-family: inherit;">Born in 1875, Edgar Wallace was a British writer whose output stretched across
several genres including the original script for the classic <i>King Kong</i>.
His output was vast and includes plays, short stories, and scripts as well as
novels including the sci fi story <i>Planetoid 127</i> which suggested the
concept of mirror Universes, the same idea as parallel worlds or multiverses
with which we are now familiar. He was often a controversial author whose vast
output and subject matter led to several controversies. A lot of his work has
been dramatized including in a tv film series <i>The Edgar Wallace Mysteries</i>
which ran from 1960-65.<span style="mso-spacerun: yes;"> </span>There are six JG
Reeder novels and this tv series wasn’t the first adaptation of the stories. A
1938 film <i>Mr Reeder in Room 13</i> is based on the first book in Edgar
Wallace’s series and starred Gibb McLaughlin in the role as Reeder is called in
to investigate forgers. The same novel was adapted in 1964 for a German film
simply called <i>Room 13</i>. However, JG Reeder himself isn’t in it which
seems a bit like making a version of a James Bond film without 007. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p><p class="MsoNormal"><span style="color: #111111;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD-1WLlwDQR_bmJ5JsY9VXme-UxbOPty8dLgPX5lvEE9qVR8D2J1AQkMviY9lR1a7-8hRXGJXfm_9zUj9pshxj927S-IJYMyOEeo-KCJ0RsUesxk-fLCi8htBKJqEYck-HwXQWqtPU1bxTgnHlDOXnwbmq2qnFH2RVYrslqFZrrTwff1iBnpkZNFYEry9s/s512/MV5BYTcxYTZmYjYtZjUxNC00NzNmLTg3ODQtNWFiMTU0YjVmMjAwXkEyXkFqcGdeQXVyMDIzNDc0MA@@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="368" data-original-width="512" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD-1WLlwDQR_bmJ5JsY9VXme-UxbOPty8dLgPX5lvEE9qVR8D2J1AQkMviY9lR1a7-8hRXGJXfm_9zUj9pshxj927S-IJYMyOEeo-KCJ0RsUesxk-fLCi8htBKJqEYck-HwXQWqtPU1bxTgnHlDOXnwbmq2qnFH2RVYrslqFZrrTwff1iBnpkZNFYEry9s/w640-h460/MV5BYTcxYTZmYjYtZjUxNC00NzNmLTg3ODQtNWFiMTU0YjVmMjAwXkEyXkFqcGdeQXVyMDIzNDc0MA@@._V1_.jpg" width="640" /></a></span></div><span style="font-family: inherit;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="color: #111111;"><span style="font-family: inherit;"><span></span></span></span></p><a name='more'></a><span style="font-family: inherit;"><span style="mso-spacerun: yes;"><br /></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><b><span style="color: #111111;">Season One (broadcast date</span></b><span style="color: #111111;">)<br />
<b>`Treasure Hunt` (23 Apr 1969) <br /></b>From the start
you are taken aback by the levity of the title music. With its banjo led
frivolous air and jazzy graphics it seems more like the theme for one of those
period dramas about people in large country houses but it is quite purposefully
setting the mood. While there are plenty of serous moments, the programme is no
dark, brooding detective show, far from it. indeed, the first scenes involving
Reeder himself are comedic in tone as he gently rebuffs the enormous breakfast
housekeeper Mrs Houchin is trying to get him to consume. The interplay between
them might come from a sitcom as he grimaces and winces with her every
suggestion and in the end wraps the meal up in a sheet of paper and puts it in
his briefcase to dispose of later. Mona Bruce is great fun as the dour Scottish
servant while the lightness of touch Hugh Burden brings to these early scenes
bodes well even if makes him seem anything but a sleuth. That’s the point
though; in fact, he has the appearance of a middle ranking civil servant;
there’s a funny scene later when his bosses discuss his appearance yet the
point is made that he does get results. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;"><span style="mso-spacerun: yes;"> </span>All this is a surprise after the very first
scene in which a woman is throttled at the hands of a be-gloved unseen killer
using her own pearls. The nub of the case stems from an anonymous letter that
suggests that the recently deceased wife of big cheese Lord Tithermite did not,
as is claimed die after falling off a boat but was murdered. We know of course
this is true but not the culprit though once we meet the somewhat slimy Lord
Tithermite it seems likely it was him. Whwat the episode does is mix this with
a former prisoner who aims to take revenge on Reeder for the evidence that got
him a three-year sentence. Another gem of a performance comes from John Bennett
who plays Lew Kohl with Cockney swagger even though he’s nowhere near as smart
as he makes out. The way that Reeder cons Lew into breaking into a cottage having
led him to believe he keeps a fortune there so that the body of Lady Tithermite
will be recovered allows some more comedic moments. There’s one scene where he
is watching Lew who is following him to the cottage, each furtively looking,
then hiding. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;">A big presence in the
episode too is Reeder’s boss Sir Jason Toovey played by Willoughby Goddard a
sizable actor with the personality to boot. There’s are several scenes where
Sir Jason takes the credit and Reeder has to accept it, which he does. You have
to admire the way though that in the midst of some big performances, Hugh
Burden does his thing with a nuance that the strong direction picks up.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVfzKcnPOH0DmUXbigXV1L61RqeEWNuIzVhRySlJ5iC4E4h1c2rxl_safpicZGIl1tqWsr_-Uy88F6_zZ8GjakJPV8ZZNlW62_25xsfDu5GE-hQIy1lbxy6besaWad7NoTdDI-I8mswyMmyMjtXR83gsUWO82v8KMieyvuXVN4_fHjsQtwZrQqx2aux-sM/s737/MindOfMrJGReeder1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="737" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVfzKcnPOH0DmUXbigXV1L61RqeEWNuIzVhRySlJ5iC4E4h1c2rxl_safpicZGIl1tqWsr_-Uy88F6_zZ8GjakJPV8ZZNlW62_25xsfDu5GE-hQIy1lbxy6besaWad7NoTdDI-I8mswyMmyMjtXR83gsUWO82v8KMieyvuXVN4_fHjsQtwZrQqx2aux-sM/w640-h496/MindOfMrJGReeder1.jpg" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;"><b>`The Stealer of Marble`
(30 Apr 1969)<br /></b></span></span><span style="color: #111111; font-family: inherit;">Though the episode opens
with a gruesome murder as a man is seen trapped in a telephone kiosk while some
sort of gas is pumped in, the series’ second story is a delightful tale of a
missing fortune, the young company boss who has lost it and the loyal employee
who stole it. At first the case that gives the episode its title seems somewhat
separate from the main story as a woman is found taking marble chippings from a
graveyard. Yet it is also tied in with a Poirot like web that is supported by
some inventive direction by Kim Mills including some shots from above and even
a sideways shot as a character comes down a flight of stairs and a script that
accentuates the characters it contains. The incidental music adds more
character especially when it is jauntily juxtaposed over a body being stuffed
in an oven and burned. Like Reeder himself there is a steel underneath the civil
exterior.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;">Sir Jason comments again
that what Reeder needs is the love of a good woman and we see his flustered
reaction to a lady he often sees on the train travelling to work. It turns out
she is the company secretary for Telfer and as the case twists and turns so
Reeder gently tries to help her. <span style="mso-spacerun: yes;"> </span>Hugh
Burden is excellent throughout, as Reeder deals patiently with Sir Jason,
questions suspects and at the end saves the day with a bit of action. The
interplay between the actor and others, especially with Willoughby Goddard, is
terrific and Burden’s every grimace, faint smile and knowledgeable look is
picked up. Its also impressive just how well the series is staged. In this
episode there’s a convincing train carriage and a wood panelled entrance hall
both of which are only used for a couple of short scenes each.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;">The script is wittily
penned and conveyed.<span style="mso-spacerun: yes;"> </span>I’m not sure how
much is Edgar Wallace and how much is this episode’s adapter Vincent Tilsley
but while some mostly studio-based drama of this period can be sluggish, this
series is light on its feet and sometimes deliberately humorous. It’s such a
welcome contrast to today’s dour detectives. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;"><b>`The Green Mamba` (7 May
1969)<br /></b></span></span><span style="color: #111111; font-family: inherit;">An episode that shows off
just how far ahead of the criminal fraternity Reeder can be plays out after the
opening sequence shows some rare jewels being stolen in an unconventional
manner. Yet the theft is not the main driver in a plot that sees Reeder tangle
with Mo Liski, a notoriously powerful gangster who has somehow managed to avoid
arrest. Sir Jason is disparaging of police efforts to puts Reeder to work to
try and obtain a conviction that will stick. In a narrative that spans several
weeks we see Reeder managing to avoid each of Liski’s attempts to either kill
or discredit him. The story weaves cleverly and though less humorous than the
first two episodes leans in on realism of a 1920s underworld.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;">Joe Melia gives a lot of energy
to the role of Liski eschewing the archetypal surly thug by playing him as a
chirpy Cockney in a smart suit, a real spiv. Hugh Burden is at his best again
here especially when Reeder has to pull back from being pleased with himself.
His performance is full of light and shade as he handles both the lighter and
heavier material with ease. It’s<span style="mso-spacerun: yes;"> </span>a shame
that Reeder and Liski only share a couple of scenes as they spark off each
other very well. The staging occasionally struggles with the reach of the plot
which shifts quickly from one scenario to another though there are some
excellent directorial choices with close ups and in depicting the violence. The
illegal party also manages to look realistic in a way that such scenes often
don’t. With stealthy trickery aplenty the viewer will not be able to guess till
the very end how this will play out.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlsSQhgu5yll9TaY3u6ZY0Yh0YLndyk4ySA4lgRk2lB0Orhu4UsTDrzKiPxLu0b5RBfBTU56hxXlUj3jxYHUXGFwi8QCA1J6v40-j0BrSqBTbtWvJP4gjD4BkDbhXZHu1qahiqgkc__3Oa2uiR7xacBtLbQ8vdgjhOfmHPkdN7D4oIxTR2XlatYxlK2_Bd/s925/reeder%20and%20mis%20belman%20series%201.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="786" data-original-width="925" height="544" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlsSQhgu5yll9TaY3u6ZY0Yh0YLndyk4ySA4lgRk2lB0Orhu4UsTDrzKiPxLu0b5RBfBTU56hxXlUj3jxYHUXGFwi8QCA1J6v40-j0BrSqBTbtWvJP4gjD4BkDbhXZHu1qahiqgkc__3Oa2uiR7xacBtLbQ8vdgjhOfmHPkdN7D4oIxTR2XlatYxlK2_Bd/w640-h544/reeder%20and%20mis%20belman%20series%201.JPG" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;"><b>Sheer Melodrama (14 May
1969)<br /></b></span></span><span style="color: #111111; font-family: inherit;">Some of Edgar Wallace’s
early books have subsequently been set aside and remain out of print due to
perceived racism within their pages which is interesting when it comes onto
this episode through which colonial themes run. In the Sixties the use of white
actors wearing face paint to become African or Indian characters was still
surprisingly widespread- indeed it continued into the Seventies (</span><i style="color: #111111; font-family: inherit;">It Ain’t
Half Hot, Mum</i><span style="color: #111111; font-family: inherit;">, </span><i style="color: #111111; font-family: inherit;">The Black and White Minstrel Show</i><span style="color: #111111; font-family: inherit;">). In this stale of
two Indians trying to avenge a harsh jail sentence both roles are played in
this fashion by white English actors putting on less than convincing accents.
The retrospective excuse for this has always been there were not many Indian
actors around though the truth is probably that it just didn’t occur to that
generation of producers or directors that there was anything wrong with it.
After all Othello was usually staged with a white actor in the title role.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;">So, anyone may choose to
skip over this episode which anyway lacks the wit and ingenuity of the first
three. In fact, the Indians’ presence does little to move the plot along as the
plot struggles to join its constituent parts. The best scenes see Reeder and
Margaret Belman nattering at the theatre in a meta conversation about things
that happen moments later. And to be enjoyed is Willoughby Goddard’s
consternation as he thinks the department will be blamed for a raid that went
wrong. Plus, you have unmistakeable nasal tones of a young Ken Campbell playing
a relatively regular part. While Reeder’s skills are easy to appreciate the setup
of this episode is perhaps too unlikely and as such lives up to its title.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;"><b>The Strange Case (21 May
1969)<br /></b></span></span><span style="color: #111111; font-family: inherit;">When a considerable sum of
money goes missing from the fortune of philanthropist Lord Sellington, his
wayward son is seemingly to blame but is he the culprit? It’s an episode that
takes a while to rev up with some standard father / son falling out while the
son’s estranged wife ends up as Reeder’s secretary. By any standard of
storytelling, the coincidence is high yet it does allow the narrative to take
some interesting turns. Particularly fun is Sir James’ flustered response to
the idea that a high-class woman is working in his office- normally an actor
who uses his loud voice to make an impact, Willoughby Goddard pulls some
amusing expressions as he tries to talk to her.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;">The story perhaps betrays
the speed with which Edgar Wallace peened these leaving the adaptor Vincent
Tilsley to deal with lengthy explanations that don’t always suit a tv show as
well as they might a novel. The characters are not as convincing as earlier
episodes either; a young Edward Fox rather over eggs the drug addled Harry
Carlin while the villain of the piece (no, it’s not the son who took the money)
Arthur Lassard is obviously going to be the criminal. When we see him sporting
the false beard and hat that he wore to con Sellington’s butler out of the
money is so obviously a disguise that would fool nobody. Unfortunately, it also
let us know he is the villain slightly too soon.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;">Visually the series
remains rich in period detail with the fog drenched Limehouse contrasting with
the Twenties suburban dwelling and Sellington’s wood panelled house. It’s an
episode though that needed a bit of livening up to match its look though the
final confrontation works well and shows that for all his seeming timidity
Reeder can be a man of action too. <o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8sxfBWrQLLeSHuk06AdDH-BucEunREOgdftDPJBtlZ4CEIrEHpHRgoofcLNsR3HwVAWksXI7OVEt8nZRdA1-Bp6lxD7ol6OoTNBqnYK92uFRmwYgl7A_vLDk4RZXt79Dbr0RxsvaqqB1kuNGxWl5hFgknMzFTgu7DM8et4tkGZWV8LI8yyz_CZy-g_Yvm/s613/pp.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="459" data-original-width="613" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8sxfBWrQLLeSHuk06AdDH-BucEunREOgdftDPJBtlZ4CEIrEHpHRgoofcLNsR3HwVAWksXI7OVEt8nZRdA1-Bp6lxD7ol6OoTNBqnYK92uFRmwYgl7A_vLDk4RZXt79Dbr0RxsvaqqB1kuNGxWl5hFgknMzFTgu7DM8et4tkGZWV8LI8yyz_CZy-g_Yvm/w400-h300/pp.JPG" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;"><b>The Poetical Policeman (28
May 1969)<br /></b></span></span><span style="color: #111111; font-family: inherit;">Hugh Burden himself takes
the helm to dramatize what turns out to be a superbly calibrated episode that
plays to all of the series’ strengths. An apparently open and shut case in
which a bank manager with a previous conviction appears to have killed a
nightwatchman and made to disappear with a large sum becomes a much knottier
case when Reeder gets hold of it. Keeping the viewer guessing it relishes the
detail so items like a poem or a flower bed become more important than they at
first seem. The earlier part sees Burden’s adaptation lean into the levity of
the interplay at the office as a new rather carefree secretary Fiona Wentworth-
Brown infuriated Reeder and delights Sir James. Reeder’s expressions as he responds
to her attitude are priceless as is his reaction to one of the fearsome Miss
Houchin’s meals as he lifts the lid and quickly puts it back!</span><span style="color: #111111; font-family: inherit;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;"><span style="mso-spacerun: yes;"> </span>Even when the investigation goes deeper the
tone is akin to a Sherlock Holmes caper with Burden himself delivering a
performance the measure of any well-known Holmes as the case hinges on an
ironic delay that means things go badly for everyone. Mike Vardy’s direction
too is inventive, making the most of the scenario especially when it comes to a
significant conversation between Reeder and Jill Cary’s reserved but simmering
Magda. Production values remain high – there are detailed sets for the police
cells and canteen which are used for only a couple of scenes. <span style="mso-spacerun: yes;"> </span>And it’s rare to watch an investigation series
where the crime’s perpetrator turns out to actually have been dead since the
start of the episode!<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;"><b>The Troupe (4 June 1969)<br /></b></span></span><span style="color: #111111; font-family: inherit;">Believing renowned Canadian
conman Art Lomer and his gang or `troupe` are about to pull off a heist at a
rented country cottage, Reeder stakes the place out based mostly on his
instinct. This does not sit well with Sir Jason who is annoyed though also somewhat
distracted by the latest secretary. Even Reeder’s housekeeper Mrs Houchin warns
him that he’ll end up with influenza and he does indeed catch a cold. Though
the overall episode is very talky, somewhat slow and rather obviously headed in
a particular direction there are some great moments. The attempt by Reeder to
start a car is almost slapstick and the office shenanigans involving Sir James
trying to avoid staring at the secretary amusing if dated.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;">The con itself involves
some emeralds but it doesn’t really hold your attention though what does again
impress is the staging. There’s part of a hotel lobby and also the cottage, all
looking very well presented. Though he’s not onscreen for a large portion of
the episode as matters occur inside, this episode includes some of Hugh
Burden’s most intricate comedic moments that are worth watching for. Guesting
Patrick Bedford as Lomer doesn’t make his trickery too obvious though unfortunately
the script does- I’d guessed right away that everyone at the cottage was part
of the gang. <o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy_SjcfuaK1YjfJoS9GbXwPnaQwZCyZxM-QXF8tGV39-DjCELT_n2qsMngyE9-5h9hEg4cY0RIITnqZm1nEFwjEWoRS8NjPXyhNJ89wv8PRNu6_t1vkNO0NRjbU8WVtni6cSC7wstK_CpjLZBv3h5hMQur_JJkT6U6nyjqCIv_Zp0DbqbrXE1s0DFHerej/s1408/MV5BMTc5MTc4MTg2NF5BMl5BanBnXkFtZTcwMDM0Njc1Mw@@._V1_FMjpg_UX1000_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1408" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy_SjcfuaK1YjfJoS9GbXwPnaQwZCyZxM-QXF8tGV39-DjCELT_n2qsMngyE9-5h9hEg4cY0RIITnqZm1nEFwjEWoRS8NjPXyhNJ89wv8PRNu6_t1vkNO0NRjbU8WVtni6cSC7wstK_CpjLZBv3h5hMQur_JJkT6U6nyjqCIv_Zp0DbqbrXE1s0DFHerej/w284-h400/MV5BMTc5MTc4MTg2NF5BMl5BanBnXkFtZTcwMDM0Njc1Mw@@._V1_FMjpg_UX1000_.jpg" width="284" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;"><b>The Investors (11 June
1969)<br /></b></span></span><span style="color: #111111; font-family: inherit;">The first season ends on a
high with this tale of a deadly fraud in which private investors receive a
monthly income- but also keep vanishing. The fact the opening scene shows someone
buying a coffin for as cheaply as possible suggests hat happens to them. Reeder
has already been investigating this as a missing persons case but when Miss
Belman reveals she is signed up for it, alarm bells start to ring. Soon
afterward she, too, disappears. The episode thus has an urgency to it and
suitably suave villain in the form of none other than John Le Mesurier who uses
his nonchalance to more chilling effect than usual. The episode has a whiff of </span><i style="color: #111111; font-family: inherit;">The
Avengers</i><span style="color: #111111; font-family: inherit;"> about especially when Reeder finds Miss Belman imprisoned in a
room whose ceiling starts to lower itself to crush them. If the circumstances
of their rescue hinges on incredulous coincidence, the sequence is well judge nonetheless
with a real attempt to make it dramatic. You do guess that the elusive Mr De
Silva doesn’t really exist long before the reveal but the episode builds up the
mystery at the right pace.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111;"><span style="font-family: inherit;">As ever Hugh Burden is
superb and his agitated concern for Margaret played to a tee. Virginia Stride,
who’s been recurring through several episodes is a good foil too though the
character seems to forgotten the dangers they were in a few weeks earlier! The antagonists
are a creepy duo and that opening scene sets the tone for the episode. That said
there’s still time for some of Mrs Houchin’s attempts to get Reeder to eat her
food and Mona Bruce makes every line she has memorable. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #111111; font-family: inherit;">The critical response to the series back
in 1969 was reportedly not too good with one article quoting an </span><span style="color: #111111; font-family: inherit;"> </span><span style="color: #111111; font-family: inherit;">assessment of the show being “leaden”,
“mindless”, “abject”. It makes one almost reach for that old music paper reader
response “Where you watching the same show?”</span><span style="color: #111111; font-family: inherit;">
</span><span style="color: #111111; font-family: inherit;">I found an old review that had been posted online from a publication
called the Evening Express which is more complimentary and says the programme has
started well and was not so much a whodunnit as a howhedunnit. Hugh Burden
himself stood up for the show and also suggested, accurately, that detective
fiction as a genre would never die. Whatever the press response a second season
was indeed made and would be shown in 1971 (to be reviewed later this year on
this blog!)</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><span style="color: #111111;"><i>I
also found the text below taken from an a</i></span><span lang="EN"><i>rticle about Hugh Burden published in
a 1948 issue of `Picturegoer` magazine.</i><o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;">No Burden to British Films</b> <br />
<i style="mso-bidi-font-style: normal;">By George Bartram</i></span><span style="font-family: inherit;">Hugh Burden is a definite asset
to British films. When Howard Spring wrote </span><i style="font-family: inherit;">Fame is the Spur</i><span style="font-family: inherit;">, he created
a lifelike role for a likeable actor in the part of Arnold Ryerson, the friend
of Hamer Radshaw. Ryerson is a sincere and humble fellow compared to the
power-infatuated Hamer, content with political ambition only. Michael Redgrave
played Radshaw in the film and Hugh Burden was his friend Ryerson.</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">In this shy and sypathetic role, Burden has
stolen the kudos from supporting players like Carla Lehmann, Bernard Miles,
Marjorie Fielding and Sir Seymour Hicks.</span><span style="font-family: inherit;">
</span><span style="font-family: inherit;">Yet, unless you have followed his career closely, you are tempted to
ask, "Who is this sensitive actor with such a great gift of
expression?"</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">There are large gaps in the
screen career of Hugh Burden, for in six years he has appeared in only four
films, and <i>Fame is the Spur</i> is his first for three years! The three most
important years in the career of Hugh Burden were 1913, 1939 and 1941. He was
born in 1913 ; he joined up in 1939, and he entered films in 1941. Strangely
enough, it was the director of his first film, Sergei Nolbandov, who contacted
Burden immediately he was released from the Forces. The director had always
admired the actor's stage work and on hearing of his return to the stage, he
offered him a part in the film <i>Ships with Wings</i>. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Overwhelmed in a cast which
included John Clements, Jane Baxter and Leslie Banks, not to mention the up and
coming Michaels, Wilding and Rennie, Hugh Burden managed to hold his own but
left no vital impression. It was ironic that although he had been invalided out
of the Army - he was an officer in the Indian Army - his first film was a story
of the navy, his second a film of the Royal Air Force and his third a memorable
Army film. Following <i>Ships with Wings</i>, he made <i>One of Our Aircraft is
Missing </i>with Eric Portman and Godfrey Tearle. As a member of the ill-fated
aircraft's crew, he turned in a sound performance. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">It was in that memorable film, <i>The
Way Ahead</i>, however, that Hugh Burden really shone. Remember the tough
sergeant of William Hartnell and his band of "rookies", including
Jimmy Hanley, Raymond Huntley and Hugh Burden? That frightened rabbit of a man,
long suffering clerk to the overbearing Raymond Huntley who blossomed into a
courageous soldier, was brilliantly played by Burden. Plaudits for this film
were naturally showered on William Hartnell, and the individual performances of
the rest of the cast were subdued into the magnificence of the film. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">It is a great pity that almost
three years were to elapse before Hugh Burden was to make another film. His
sympathetic, if somewhat nervous character admirably fits him into a permanent
niche in British films. A typical son of the Empire, Hugh Burden was born in
Colombo, Ceylon, but he was sent to England at the age of ten to further his
education. No mean athlete, he also gained honours in history and French, apart
from gaining the L.D.R.A.M. Music is still one of his passions, and he spends
much of his leisure time at the piano. After training at the R.A.D.A., it was
Ian Hoy who first spotted him and got him his first stage part in <i>The Frog</i>.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Some of his more recent stage
appearances have proved him to be one of our most prominent actors. They were
in such hits as <i>The Duke in Darkness </i>, <i>The Banbury Nose</i>, <i>While
the Sun Shines</i>, and <i>The Years Between</i>. Now, appearing for the first
time in a film without uniform, Hugh Burden has given us a performance that
abounds in deep-seated sincerity, a quality which is part of his true make-up.
Apart from the stage and occasional films, the star is also actively engaged in
radio drama. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">The marathon plays of the Third
Programme particularly claim his attention, but he appears in lighter
productions on the Home and Light wavelengths. One of his most brilliant
performances in recent months was that of an actor in a <i>Mystery Playhouse</i>
production entitled <i>The End of the Play </i>. But while we appreciate Hugh
Burden in these mediums of art, it is the film world with which we are
concerned. His lapses from the screen, between films, have been too long. </span><span style="font-family: inherit;">With </span><i style="font-family: inherit;">Fame is the Spur</i><span style="font-family: inherit;"> he
has proved that here is an actor who should not be found wanting in British
films.</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-83652026719418402102024-01-26T18:39:00.000+00:002024-01-26T18:39:06.660+00:00Canary Wharf Winter Lights 2024<p> <span style="font-family: inherit;"><b>Some photos and videos I took at the Canary Wharf Winter Light event this week in London!</b></span></p><p><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg76AfofCgr4t7R9mpE72tQj338lYvxl-aYFr25NjPqo7axfZunlKF6a23aqTd_7Mbre_9CTp9-HCclaE1HPNh1P2xAa6aSSpTGl-9uS8Tj7u-lyxmd0OqF53uNDSpx4QDeASH6aMLRx5M52kC-nZx8EDoWeMABKI2SDkoaSLtQB7Orq56-jSoPC2GsEYu9/s4000/20240124_195444.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg76AfofCgr4t7R9mpE72tQj338lYvxl-aYFr25NjPqo7axfZunlKF6a23aqTd_7Mbre_9CTp9-HCclaE1HPNh1P2xAa6aSSpTGl-9uS8Tj7u-lyxmd0OqF53uNDSpx4QDeASH6aMLRx5M52kC-nZx8EDoWeMABKI2SDkoaSLtQB7Orq56-jSoPC2GsEYu9/w480-h640/20240124_195444.jpg" width="480" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span><div class="separator" style="clear: both; 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text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwKk5JVNr5NrBGbhYMo1FoQGCXAFY86ML-wSBbrvSRQdBnj-pYs-BHmivZifeXwM_3G1Rd4rwRwhKbbRLsaEw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /><b><br /></b></span><p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-59774163786851294442024-01-21T18:47:00.000+00:002024-01-21T18:47:49.303+00:00 Top of the Pops 12 January 1989<p> </p><p class="MsoNormal"><span style="font-family: inherit;"><b>Words: Chris
Arnsby<br />
</b>Simon Mayo: “Hi welcome
to Top of the Pops, featuring for the first time in FM stereo on Radio One and
BBC One, colour pictures... the brek... breakfast crew live in the flesh.<br /></span><span style="font-family: inherit;">Sybil Ruscoe:
“Including the nation's favourite newsreader Rod McKenzie.”<br /></span><span style="font-family: inherit;">Simon Mayo:
“Yes.”<br /></span><span style="font-family: inherit;">Rod McKenzie:
“We start tonight with the Darling Buds, Hit The Ground.”<br /></span><span style="font-family: inherit;">Simon Mayo:
“Yes sir.”</span></p>
<p class="MsoNormal"><b style="font-family: inherit;">[33] DARLING
BUDS: hit the ground. </b><span style="font-family: inherit;">Rod
McKenzie doesn't get a credit on screen or in the </span><i style="font-family: inherit;">Radio </i><span style="font-family: inherit;">Times. Is he not
being paid?</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Can you spot
the point midway through Simon Mayo's opening sentence when he starts to regret
not pausing and taking a breath. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Someone, either
Graphic Designer Margaret Horrocks or Vision Mixer Kathryn Randall, has been
experimenting with the captions. Last week they just faded on and off screen.
This week they're doing all fancy transitions; Simon Mayo and Sybil Ruscoe's
caption rises up from the bottom of the screen and disappears the same way; the
caption for the Darling Buds folds up and back off the screen as if it was
attached to a piece of card.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">It's January
and as is traditional it's time to use all the thunderflashes which are just
about to expire. They've been sitting on a shelf at the back of the Visual
Effects workshop and now it's time to set them off. The Visual Effects Designer
responsible used to get a credit but that seems to have been dropped. The
nameless effects minion has fun detonating the thunderflashes throughout the
song.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEwrcyXzcyV84z9zEaV2Zx8U3Z0hkLc53Cu8pNZ2Y2G6xFU4KaDAdhyEcG4dWJ0wfjbgb2_7klqkPh9T0EButaHFod9wG8y7tXLJo01wzfW2vcH1ZpriFOqLYjhpHJLpPHYjUhGJ2dipS2JE6XTX-SmpJZ_e-DJjBSUPL4su2dI28B1ZHl3UZfrdFozDsJ/s599/R-1421870-1488028984-8180.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="597" data-original-width="599" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEwrcyXzcyV84z9zEaV2Zx8U3Z0hkLc53Cu8pNZ2Y2G6xFU4KaDAdhyEcG4dWJ0wfjbgb2_7klqkPh9T0EButaHFod9wG8y7tXLJo01wzfW2vcH1ZpriFOqLYjhpHJLpPHYjUhGJ2dipS2JE6XTX-SmpJZ_e-DJjBSUPL4su2dI28B1ZHl3UZfrdFozDsJ/w400-h399/R-1421870-1488028984-8180.jpg" width="400" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;">One of the
perils of the new crow's nest is that the hosts are much more visible.
Previously it was easy for them to sneak away from the side of the main stage
but now they often appear in the background of wide shots. Simon Mayo creeps
away early but Sybil Ruscoe and Rod McKenzie remain and can be spotted dancing
away.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Meanwhile, it
looks like the captions at the end of each performance have gone for good.
Still, removing the need for a static long shot at the end of each song allows
for moves like the one as the Darling Buds wrap up. The camera pulls back from
their stage -with Sybil and Rod still up in the crow's nest- to reveal, in a
single fluid camera move, Simon Mayo who introduces the next song.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[10] WILL TO
POWER: baby i love your way. </b>On
video. Cut very short at around 75 seconds.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
40 TO 31</b>. Simon Mayo
has jogged back across the studio to join Sybil Ruscoe in the crow's nest. But
where's Rod? The appeal of the crow's nest is that it simplifies recording
links. It removes the worry about wrangling the audience and fretting about
them misbehaving.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[32] MILLI
VANILLI: baby don't forget my number. </b>What
are Milli Vanilli wearing? I think it's a complicated black lycra leotard with
the top half split at the waist and styled to look like a single-breasted
dinner jacket; it's hard to be precise there's some sort of lycra cummerbund
wrapped around the middle and it obscures the fine details. Not obscured, the
(hem-hem) groinal bulge which gives me the Raston Warrior Robot fear. Simon
Mayo's enigmatic post-Milli Vanilli comment that the pair are “available now in
a box set,” is I think related to the pair's beneath-the-Plimsoll-line
tittivation.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">At the front of
the stage is a thing; stop me when this gets too technical. It could be a stage
light or some sort of speaker. Anyway, whatever it is, a couple of times one of
Milli Vanilli keeps trying to stand on it which doesn't seem safe.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNnCq6oWh0xDxsioMQqnkD4x9swtQBDVFxZGYCSDzJGYveAjIYD8wFLO3Zkxr3vkxdJRWfQAJ7kolDRcntxAaX1BB3Rwxu5hiF3ruGt0yJiiM4Dh-eNo7jIF1Op5XnAPXoTrYitoHq_4kV4B93Km7c5E0pdH1NvaJ9Fa5_3Ny9LEbIxIq26ZH5zfEVL3oH/s1053/Milli-Vanilli-Baby-Dont-Forget-My-Number-1626972733.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="988" data-original-width="1053" height="375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNnCq6oWh0xDxsioMQqnkD4x9swtQBDVFxZGYCSDzJGYveAjIYD8wFLO3Zkxr3vkxdJRWfQAJ7kolDRcntxAaX1BB3Rwxu5hiF3ruGt0yJiiM4Dh-eNo7jIF1Op5XnAPXoTrYitoHq_4kV4B93Km7c5E0pdH1NvaJ9Fa5_3Ny9LEbIxIq26ZH5zfEVL3oH/w400-h375/Milli-Vanilli-Baby-Dont-Forget-My-Number-1626972733.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[9] DURAN
DURAN: all she wants is. </b>All
she wants is 90 seconds of the video to be played on <i>Top of the Pops</i>.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[12] BOY
MEETS GIRL: waiting for a star to fall. </b>Sybil Rusco goes solo in the crow's nest for this
introduction. And check out Paul Ciani's swish camera move. The camera starts
level with her at the top of the left side of the stage before tracking in
along the top of the main stage wall. The camera moves right, past Sybil, and
heads for the far right corner of the stage. When it gets there it pans round
and pinballs away from the main stage towards the Needle stage where Boy Meets
Girl are waiting patiently.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">But where is
Rod McKenzie?<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">BREAKERS:<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">19 MARC
ALMOND featuring GENE PITNEY: something's gotten hold of my heart<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">30 ROB BASE
& D.J. E-Z ROCK: get on the dance floor<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">17 MIKE
& THE MECHANICS: the living years<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">31
ROACHFORD: cuddly toy<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">8 FINE YOUNG
CANNIBALS: she drives me crazy<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">24 ROY
ORBISON: you got it<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[14]
FREIHEIT: keeping the dream alive</b>.
A nice song but Freiheit look too much like the Flying Pickets for comfort, I
expect them to burst out in acapella.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
30 TO 11. </b>Mayo and
Rusco are again in the crow's nest. Rod McKenzie has become the Poochie of this
trio. Every time he's not on screen I keep asking “where's Rod McKenzie?”<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[29] COOKIE
CREW: born this way</b>. A
terrific performance captured mainly with handheld cameras. Those wide sweeping
camera crane shots just don't work for some songs and this is one of them. This
single has bombastic self-aggrandizing lyrics and it needs the handheld
camera-up-yer-nose view to properly feel like Cookie Crew are as dominant as
they claim.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Good use of
cutaways during the performance. One of the camera operators has been stationed
on the stairs to the left of the stage to capture some nice pictures of Cookie
Crew framed by the scenery. Excitement. One of the cutaway shots looks past a
bloke wearing the same nasty yellow long-sleeved shirt as Rod McKenzie, could
this be a sighting? Best bit of direction, during one of the musical breaks the
handheld camera pans away from the stage and goes for a brief wander up the
stairs past several dancing audience members.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJVH0cSycXpETEHn02n6Q4gfJnNXEly0MEEerNKRtN3q3mS_qIJs_B-M5XHAJc9jpAEHESNhMyhLL5SddSuMJst8KQAvTWDSBBaFws9uHky8fXTuxpTao_rREsNZaVsrmEZYPVpitv3snzTFFuTW3tOcIOg2dtNNMvpErF1vxuAA3oII0IzBpZPaLOWkVU/s500/R-213311-1139431400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJVH0cSycXpETEHn02n6Q4gfJnNXEly0MEEerNKRtN3q3mS_qIJs_B-M5XHAJc9jpAEHESNhMyhLL5SddSuMJst8KQAvTWDSBBaFws9uHky8fXTuxpTao_rREsNZaVsrmEZYPVpitv3snzTFFuTW3tOcIOg2dtNNMvpErF1vxuAA3oII0IzBpZPaLOWkVU/w400-h400/R-213311-1139431400.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 10.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[1] KYLIE
MINOGUE & JASON DONOVAN: especially for you. </b>On video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[16] GLORIA
ESTEFAN & MIAMI SOUND MACHINE: rhythm is gonna get </b>you. Rod's back! Oh and Jason Donovan is
here as well. Especially for you. (Yes. You!). “What are you doing here?”
demands Sybil. He's recording an album. That's 10 seconds of screen time
filled. Rod fills us in on the really important details, “next week's Top of
the Pops with Bruno Brookes and Richard Skinner.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Here's Gloria
Estefan on video. The Miami Sound Machine are there as well.<o:p></o:p></span></p>
<p class="MsoNormal"><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK: </b><span style="font-family: inherit;">Cookie
Crew, Born This Way with Milli Vanilli a close second.</span></p><p class="MsoNormal"><o:p></o:p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-75819458245580028332024-01-20T19:33:00.000+00:002024-01-20T19:33:05.482+00:00Film Review: Poor Things<p> <span style="font-family: inherit;">The latest offering
from director Yorgos Lanthimos, <i>Poor Things</i> riffs on the <i>Frankenstein</i>
myth and is unflinching in its depiction of everything and that is the point. It
concerns a woman called Bella Baxter who, though fully grown, appears as a
blank slate when we first see her behaving like a baby. We accompany her as she
develops, learns and eventually matures taking a journey through all the stages
of life in a relatively short time. Her gauche behaviour evolves over time
though she never loses her directness. It’s a story whose style takes some
getting used to with a nagging sense that behind the impressive window dressing
there is less substance to the fantasy than its creators would suggest but it
is definitely a unique film to watch.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSvsw_nslyqtGTp0e20DQHv6oLZdk0sOTgBaA5ZvMsT88E9AyBha7ltYTMP641WngDddvXxCJZ1Dw4zvTJZ6jYk-090RV19gF2xnRy4modA0GeV9BLrQiWHKUHmKzwYtWFYPLPcAwvmS9ojFbfnRVfpyj3fAUBlwGW-954kNyvk1YxUdw7mZYfLUufZrox/s685/Poor-Things.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="415" data-original-width="685" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSvsw_nslyqtGTp0e20DQHv6oLZdk0sOTgBaA5ZvMsT88E9AyBha7ltYTMP641WngDddvXxCJZ1Dw4zvTJZ6jYk-090RV19gF2xnRy4modA0GeV9BLrQiWHKUHmKzwYtWFYPLPcAwvmS9ojFbfnRVfpyj3fAUBlwGW-954kNyvk1YxUdw7mZYfLUufZrox/w640-h388/Poor-Things.webp" width="640" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Bella’s creator Godwin
Baxter (see what they did with the name?) is a renowned and somewhat unorthodox
surgeon whose face bears the bizarre results of his own father’s own experiments.
The origins of Bella’s story and how she was transformed mark one of several
moments when the film will make you grimace. Godwin’s aim is to study human development
at the accelerated rate it will happen in this instance but Bella is hard work.
When we meet her, she is basically an adult sized baby causing chaos within the
confines of their ornate home. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">To attempt to help
educate and control Bella, he introduces a promising student Max McCandles who
falls for her despite his awareness of her odd history. In fact he proves to be
the weak link in this story- a character so wet and submissive he will put up with
Bella leaving in the arms of lothario lawyer Duncan Wedderbern. The latter promises
to fulfil her hunger for sensual (and sexual) experience as he whisks her round
the world. Along the way she gradually develops, learns and matures to an
extent though though she never loses her directness.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">It’s a bizarre story
delivered with singular vision showing a world a few steps removed from reality
in which airships roam the skies, ships are adorned with castle ramparts and
cars are shaped like carriages with horse’s heads at the front. Partly shot in
monochrome, some moments employ a fisheye lens for close ups, other are broad
and vividly coloured like paintings brought to life. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqnlLSBvsKntBKy_yNfeV7Rl_fUlRt8LeCsG9aPwj1QxXJydoGYtNZZ0AVyqBFt89agdPv0bvCePOKQkU8so5LN_wX4-OSoy75yaraNcZ17wt7Mkq0HHz6lNJc-e-axNhyphenhyphenhirvYUFBSNFOUwNL6yStply4fL_6zbDnOYvLetHXRmFawsbd9Ke_S6e22FMX/s1024/Poor-Things-Emma-Stone-1024x576.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqnlLSBvsKntBKy_yNfeV7Rl_fUlRt8LeCsG9aPwj1QxXJydoGYtNZZ0AVyqBFt89agdPv0bvCePOKQkU8so5LN_wX4-OSoy75yaraNcZ17wt7Mkq0HHz6lNJc-e-axNhyphenhyphenhirvYUFBSNFOUwNL6yStply4fL_6zbDnOYvLetHXRmFawsbd9Ke_S6e22FMX/w640-h360/Poor-Things-Emma-Stone-1024x576.webp" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">This bold aesthetic is
matched by broad performances in which the actors are unleashed to be as
extreme as the text demands. Emma Stone delivers a complex and often funny
performance as Bella, a tour de force which must surely be up for a lot of
awards. Her subtle development in both speech and movement is impressive. Mark
Ruffalo is excellent too as Duncan’s proximity to Bella seems to send him into
a regressive spiral while as Godwin Willem Defoe allows humanity to seep
through a frightening visage. <br /><br /><o:p></o:p></span></p>
<i><span style="line-height: 107%;"><span style="font-family: inherit;">Poor Things</span></span></i><span style="line-height: 107%;"><span style="font-family: inherit;"> would be a
masterpiece if, unlike Bella, it was able to curb its extremes. Sometimes the
visual motifs are distracting and feel consciously eccentric taking the focus from the
story. While the narrative purports to show the stages of life it is unclear
what message it is providing and the means by which it does so seem designed to
irritate some viewers. Also, for me, the run time is overlong with what seems to be an extra story stitched on when the film had already reached a conclusion. This late period sag causes the behavioural tics outstay their welcome and the eccentricities curdle. Nonetheless it is
an admirable achievement to create such a distinctive film.<br /></span>
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--></span>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-4117757857244997182024-01-12T18:55:00.001+00:002024-01-12T18:55:40.589+00:00Top of the Pops 5 January 1989<p> </p><p class="MsoNormal"><span style="font-family: inherit;"><b>Words: Chris
Arnsby<br /></b></span><span style="font-family: inherit;">Mark Goodier:
“Hi and happy new year. This is Top of the Pops, now into its twenty sixth
year.”<br /></span><span style="font-family: inherit;">Andy Crane:
“And in its twenty sixth year this is edition one thousand three hundred.<br /></span><span style="font-family: inherit;">Mark Goodier:
“My goodness. On tonight's show, Climie Fisher plus a-Ha and also Neneh Cherry.”<br /></span><span style="font-family: inherit;">Andy Crane:
“But we start with Erasure and Stop, number two.”<br /></span><span style="font-family: inherit;">Mark
Goodier:”Oooh.”</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">[2] ERASURE:
crackers international. </b><span style="font-family: inherit;">Episode
one thousand three hundred starts with a new title sequence. It's all right. It
reminds me, weirdly, of the titles to </span><i style="font-family: inherit;">Blake's 7 </i><span style="font-family: inherit;">series D which replaced
shots of the Liberator being chased through space with a pilot's eye view of a
spaceship taking off.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">The new <i>Top
of the Pops</i> titles are a first person view as the camera zooms through a
series of ducts. A few graphics are overlaid on the ducts, head-up-display
style; a test cardesque pattern; a circle within a square with the numbers 40,
30, 20, and 10 at the north, east, south, and west of the circle; a soundwave;
circles, like singles, with chart positions on them; and then the camera flies
backwards out of the duct which is revealed to be the O of the new <i>Top of
the Pops </i>logo attached to a textured backgroud which looks a bit like the
hull of Red Dwarf (but blue).<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_cGoc5eB6DRpNyJy3WyhliUxqo4Z1PKzxYCGh5wvJN1S9Wcv6kAIH0ZsoXq_fUDPcAlvx10JJXJEKlXYGmYNSjmZjgECA9VWr1JZFynn9MmMso7coVMy3r-qyhmlI_YaqzUsZt55DUh_6eP9RrxZCS0a4_NfyRU4kHhXAOlUMelLwRzJPfQRsjlChrUsQ/s1000/71EkQOAMLGL._UF1000,1000_QL80_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="996" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_cGoc5eB6DRpNyJy3WyhliUxqo4Z1PKzxYCGh5wvJN1S9Wcv6kAIH0ZsoXq_fUDPcAlvx10JJXJEKlXYGmYNSjmZjgECA9VWr1JZFynn9MmMso7coVMy3r-qyhmlI_YaqzUsZt55DUh_6eP9RrxZCS0a4_NfyRU4kHhXAOlUMelLwRzJPfQRsjlChrUsQ/w399-h400/71EkQOAMLGL._UF1000,1000_QL80_.jpg" width="399" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p><p class="MsoNormal"><span></span></p><a name='more'></a><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;">The new titles
are quite generic. With a few minor changes they'd work for <i>Going Live</i>, <i>The
Krypton Factor, </i>or<i> Tomorrow's World</i>. They'd work for <i>Points of </i>View
if you replaced the music with When I'm Sixty-Four, and the circles with
letters, and the final pull back revealed the camera was flying around Barry
Took's bin.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">It's a shame.
The last few sets of titles contained images that did a good job of echoing the
feel, concept, and excitement of the programme; the singles zooming out of the
fog; the exploding television screen; singles, CDs, and instruments being
disassembled and recombined as the <i>Top of the Pops</i> logo. It's also a
shame because <i>25 Years of Top of the Pops</i> had a brilliant title sequence
which looked like a lot of time and thought had been expended on it. Can we
have that one back please Mr Ciani?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Oh, and now
you've changed the titles you really need to change the music.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Stop is still
brilliant. Priscilla Hoadley, vision mixer, is in charge of freezing the screen
whenever Andy Bell goes “stop!” She doesn't manage to do as good a job as <span style="color: black;">Carol Abbott</span> on
the 15/12/1988 edition. Priscilla's timing is off. New year's hangover? No
thanks, I've already got one.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">One of the
camera cranes pulls off a terrific shot. The colour screen which used to stand
by the main stage has been relocated. It now hangs over the gap between the
Needle stage and the Main Stage (update your <i>Top of the Pops</i> studio maps
now!). The camera is positioned behind the screen, onto which is projected the
output from the camera (still with me?) Essentially what the viewer ends up
seeing is Erasure on the Needle stage in the distance, with the same shot inset
on the colour projector screen. It's a sort of live action inset shot. Very
clever. More please.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2fD7az2A-WNP_7xzsxKqQ5S2jBUmr274goL2kNcdhgDrxJ-0FNWCnFecCyFGH0be2xIDUePRmrJ4ghwyMKGRxGU3HRaXV3eVL7w9K-iDdsRatrJKwAuS4ym0mjT0PNtiCIsado3mFihHAMkg9lzmTYHef3Ri0Y5vpzlf87dkSqzzwNkIr9iwNboL3XbTW/s960/vlcsnap-2024-01-10-21h53m36s014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="723" data-original-width="960" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2fD7az2A-WNP_7xzsxKqQ5S2jBUmr274goL2kNcdhgDrxJ-0FNWCnFecCyFGH0be2xIDUePRmrJ4ghwyMKGRxGU3HRaXV3eVL7w9K-iDdsRatrJKwAuS4ym0mjT0PNtiCIsado3mFihHAMkg9lzmTYHef3Ri0Y5vpzlf87dkSqzzwNkIr9iwNboL3XbTW/w400-h301/vlcsnap-2024-01-10-21h53m36s014.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[9] KIM
WILDE: four letter word. </b>A
repeat of the performance from 22/12/1988.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Quick, let's
talk about captions. New ones debuted on <i>25 Years of Top of the Pops. </i>I
didn't like them last week, I've changed my mind. They're very plain, a lot
more stark and minimalist than the old ones, but they look good. The font is a
sort of distressed Arial, which makes the captions look like a bit like printed
ticker-tape. It will be interesting to see how they cope with longer band names
or song titles. Paul Ciani has also decided to do away with the more animated
caption at the end of the song. This might be for ease of editing as <i>Top of
the Pops </i>has gradually increased the number of repeat performances
following their fall from favour around 1985/86. 11 repeats in 1984; 8 in 1985;
only 6 in 1986; 16 in 1987; and then a big increase to 46 repeat performances
in 1988. Alternatively, if losing the animated end caption doesn't make editing
easier, maybe Paul Ciani just didn't like them very much.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>CHARTS FROM
40 TO 31:</b> Mark and Andy
are up in the new crow's nest to introduce the charts. They've also been
redesigned in line with the new look. A picture to represent the single in the
top middle of the screen, with the same picture stretched and replicated three
times to make a background, and then the chart position, icon to indicate chart
movement, singer/band, and title. The chart captions are centre justified while
the ones at the start of each song are left justified.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[15] A-HA:
you are the one.</b> A
second outing for the video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>BREAKERS: </b>The captions for the Breakers are done
in a slightly differently style. Same font, but white text and no background.
The caption still scrolls like the old-style Breakers. <b>25 DURAN DURAN: all
she wants is</b>; <b>31 BOY MEETS GIRL: waiting for a star to fall</b>; <b>28
GLORIA<span style="mso-spacerun: yes;"> </span>ESTEFAN & MIAMI SOUND
MACHINE: rhythm is gonna get you</b>.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0VhJqPc0X0hidcXD7uy3eIa5-X34g3p7Ok0IAbcoidjNlWsfR9VrvMaNcuNjQkORNJ4-tUc5q-A5Zejp8DuGf6sd-KpbCUEGoFkIW952CmOyY1zEW9n_ZwtB6L01wagN4BU7vEqxvzZFitG39YGqawmbHar7X01HULuJQc5NQVWaQRzUSEBirPcSPrvyq/s600/s-l1200.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0VhJqPc0X0hidcXD7uy3eIa5-X34g3p7Ok0IAbcoidjNlWsfR9VrvMaNcuNjQkORNJ4-tUc5q-A5Zejp8DuGf6sd-KpbCUEGoFkIW952CmOyY1zEW9n_ZwtB6L01wagN4BU7vEqxvzZFitG39YGqawmbHar7X01HULuJQc5NQVWaQRzUSEBirPcSPrvyq/w400-h400/s-l1200.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[37] CLIMIE
FISHER: love like a river.</b>
Climie Fisher are on the new main stage. I was a bit lukewarm about this set
previously but here it looks great. Rod Litherland lights it differently second
time around and that makes a big difference. Last week Rod threw every light in
the studio at the new set, this week he keeps it dark but highlights the matt
geometric shapes, which turn out to be mirrored. As the camera pans round you
see reflections of the band, the studio, lights, it keeps changing.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">CHARTS FROM
30 TO 11.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[4] INNER
CITY: good life. </b>A
repeat from 15/12/1988.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[6] NENEH
CHERRY: buffalo stance. </b>Neneh
is back with her two dancers. This week they're dressed in multicoloured
ponchos over silver lamé dresses and elaborate hats. It's quite an ensemble. <b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig89W8nP1LYjqnk7vuBXSG_F7ymPYOE-A-vLVYEknXqYZG93ycU83Tcmd9zb8CAdXI3rWY69zNDPnBl966UcEtpq5YliDaKYtPoUlGFnIZNA3sbReUimZjQWJAqLl1CiFsFPKGo4hjlB4-Zu0ySOkwwFsC8iqRO4vxG19IU0f-LOMuiZP6KZkLj0YQ9AtS/s600/R-307491-1531058530-7094.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="525" data-original-width="600" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig89W8nP1LYjqnk7vuBXSG_F7ymPYOE-A-vLVYEknXqYZG93ycU83Tcmd9zb8CAdXI3rWY69zNDPnBl966UcEtpq5YliDaKYtPoUlGFnIZNA3sbReUimZjQWJAqLl1CiFsFPKGo4hjlB4-Zu0ySOkwwFsC8iqRO4vxG19IU0f-LOMuiZP6KZkLj0YQ9AtS/w400-h350/R-307491-1531058530-7094.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 10.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[1] KYLIE
MINOGUE & JASON DONOVAN: especially for you. </b>A repeat from 22/12/1988.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Mark Goodier
gives a quick chart summary, that Cliff Richard was at <b>[1] </b>for four
weeks. It's a reminder the last two weeks of <i>Top of the Pops</i> haven't had
any chart information. The 25/12/1988 edition was the Christmas Special which
fudged what song was at <b>[1] </b>because Christmas Day was also Sunday, new
chart day, and then <i>25 Years of Top of the Pops </i>which was a nostalgic
look back.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[7] FOUR
TOPS: loco in acapulco.</b>
On video.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">A new caption
has been added; “producer for radio 1” this week that's Mick Wilkojc. He got a
credit in the <i>Radio Times</i> listing for the 25/12/1988 show but not an on
screen one.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK: </b><span style="font-family: inherit;">Erasure</span><i style="font-family: inherit;">
</i><span style="font-family: inherit;">again, and Neneh Cherry again. Clime Fisher leave disappointed.</span></p><p class="MsoNormal"><o:p></o:p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com1tag:blogger.com,1999:blog-6170682027322091019.post-56882400753776371382024-01-08T19:52:00.000+00:002024-01-08T19:52:13.815+00:00Film Review: The Great Escaper<p> </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span lang="EN" style="color: #1e1e1c;"><span style="font-family: inherit;">Two acting icons take their final bow<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: #1e1e1c; font-family: inherit;">In 2014 a pensioner sneaked out of the care home where he
resided and took himself to France to attend the seventieth anniversary of the
D- Day landings.</span><span style="color: #1e1e1c; font-family: inherit;"> </span><span style="color: #1e1e1c; font-family: inherit;">Bernard Jordan’s story
soon attracted international media attention and he was dubbed `the Great
Escaper` but as this film shows he also had a more personal reason to make the pilgrimage.
Penned by William Ivory and directed by Oliver Parker this film tells the side of
the story that a lot of the media missed highlighting the lingering effects of
being in a conflict and the ultimate senselessness of war. In a scene at the French
cemetery Bernard casts his eyes over the site and declares “What a waste”
whereupon the camera pulls away to reveal just how many graves surround him.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN" style="color: #1e1e1c;"><o:p><span style="font-family: inherit;"> </span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfb9lbukVrQDUWc4c0UjE8w7nWHjt48PPB95IiSBEUmSNceZdYncmwiUD8k_xzs0Gxh0D3H-BHG5nltfJ_Dq4fZrUFgeAcDrNQ8iwtkgne1C3Yawo5VSaU4GfRpuzGTbJ8xfrERu1XGNN-1x05uNTyzuHXET6clf5hbgMjJC9GT-r0l-E_7wRgXbVtKMTE/s1024/EN-GB_GE_Quad_Main_40x30_RGB_LR-1024x768.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfb9lbukVrQDUWc4c0UjE8w7nWHjt48PPB95IiSBEUmSNceZdYncmwiUD8k_xzs0Gxh0D3H-BHG5nltfJ_Dq4fZrUFgeAcDrNQ8iwtkgne1C3Yawo5VSaU4GfRpuzGTbJ8xfrERu1XGNN-1x05uNTyzuHXET6clf5hbgMjJC9GT-r0l-E_7wRgXbVtKMTE/w640-h480/EN-GB_GE_Quad_Main_40x30_RGB_LR-1024x768.jpg" width="640" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN" style="color: #1e1e1c;"><span style="font-family: inherit;">Not that this is an overly melodramatic film, rather it
sets out to place Bernard’s story in a wider context. He lives in a care home
with his wife Rene though it is she who is terminally ill though she has kept
the severity of her condition from him. The two dawdle through their daily
lives of aches, pains, and pills but due to a hitch Bernard’s application to
attend the centenary celebrations is too late to qualify. Yet encouraged by his
wife he goes anyway, slipping out at six am and making his own way to the ferry
where he becomes acquainted with another veteran, Arthur, who has ghosts of his
own. As they make their journey and arrive at their destination it transpires
that both have other reasons for coming here, darker memories of wartime experiences
they need to confront one last time.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN" style="color: #1e1e1c;"><span style="font-family: inherit;">This is a film about strength of character and how that
generation, more than any since, carried things with them that you and I cannot
imagine. Perfect casting ensures how this comes across on the screen, Michael Caine
was always good of course but it has been remarkable that the older he’s become
the more nuanced an actor he has become. His demeanour here retains a little of
that cheeky Cockney who was such a presence in the Sixties but it is born of experience
now. You can absolutely see the younger Bernard, that vigour and determination played in flashbacks very convincingly by Will Fletcher and Laura Marcus. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN" style="color: #1e1e1c;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdzVcLUXTEXPuqkHwnbnRkQ9dlVMN2bE3sp8Qsh8QfkwQiGRGijKI_B2plphpI8XpP-cy2QolXrmO8y1_fEaKTKPlGsYeFZpwJhBhJdDKASZI01x8mfkfdekiy9691ZS_DL4jO4q3C9RYMbiAEArn3kKG38_9dX9mYugvNzUnt-uNzT4kgQGFNWv1NvvnO/s680/TELEMMGLPICT000351942568_16965029268450_trans_NvBQzQNjv4BqRo0U4xU-30oDveS4pXV-Vv4Xpit_DMGvdp2n7FDd82k.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="680" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdzVcLUXTEXPuqkHwnbnRkQ9dlVMN2bE3sp8Qsh8QfkwQiGRGijKI_B2plphpI8XpP-cy2QolXrmO8y1_fEaKTKPlGsYeFZpwJhBhJdDKASZI01x8mfkfdekiy9691ZS_DL4jO4q3C9RYMbiAEArn3kKG38_9dX9mYugvNzUnt-uNzT4kgQGFNWv1NvvnO/w640-h400/TELEMMGLPICT000351942568_16965029268450_trans_NvBQzQNjv4BqRo0U4xU-30oDveS4pXV-Vv4Xpit_DMGvdp2n7FDd82k.jpeg" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN" style="color: #1e1e1c;"><span style="font-family: inherit;">As his wife Glenda Jackson
embodies her sharpest attributes, her character’s sardonic approach stops the
film ever falling into over sentimentality and her flinty cheek is deployed to
fool the staff as to her husband’s whereabouts for quite a while. One scene where
she dances by herself would in any other hands, seem sad as she clearly had trouble
moving yet she makes it a defiant sort of dance. And we do have one scene-
which probably Glenda Jackson did not like given her reported dislike of sugary
material- in which her love for Bernard is displayed as she stares at a sunrise
reliving an early memory. Still, I’m glad it’s there because it is a vital
moment in the story and evidence of her acting skills.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN" style="color: #1e1e1c;"><span style="font-family: inherit;"><span style="mso-spacerun: yes;"> </span>Bernard and Rene clearly
adore each other and you can absolutely believe in that romance whether in the flashbacks
or the present day. Because the two are apart for a large portion of the film
we also have a marvelous chemistry between Rene and her carer Adele player by a
terrific Danielle Vitalis. John Standing as Arthur has a sizeable role in the
film and both he and Victor Oshin’s Iraq war veteran Scott benefit from
Bernard’s matter of fact wisdom, the same quality he tried to embody during the
war itself. I’m not entirely sure the flashbacks to the war itself add much
because an actor of the calibre of Michael Caine can convey all that is needed,
the audience does not really need to literally see it. There are movies like <i>Dunkirk</i>
for that sort of thing. Lovely though it is I’m also a little sceptical about
the care home Bernard and Rene inhabit which seems rather lavishly supplied
with staff and attention something that I know for a fact even the best care
homes struggle to afford. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="EN" style="color: #1e1e1c;"><span style="font-family: inherit;">A decade in from when this film is set and eighty years
now since D Day, I suppose we will never learn the lesson that ultimately war
takes more than it gives. Its an oft repeated message of course and yet always
worth being said. The film neither sugar coats nor over plays the effects of
war and shows that in the end life goes on for those who survive. <span style="mso-spacerun: yes;"> </span>It’s more a film about the after effects of
war than war itself. I don’t know if it happened in real life but we see Bernard
and Arthur give their tickets over to two German veterans who are there. Not a
lot is said but is an appropriate acknowledgment of how there can be some
healing through what was ultimately a horrific shared experience for that generation.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><i><span lang="EN" style="color: #1e1e1c;">The Great Escaper</span></i><span lang="EN" style="color: #1e1e1c;"> is the las bow for both these acting icons; Michael
Caine has said he is now retired while Glenda Jackson passed away nine months after
filming. They both leave a tremendous body of work that ends on a significant
high.</span></span><span style="font-family: "Arial",sans-serif;"><o:p></o:p></span></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-19724762621607687412024-01-05T18:29:00.000+00:002024-01-05T18:29:18.403+00:00Top of the Pops 31 December 1988 25 Years of TOTP!<p> <b>2<span style="font-family: inherit;">5 Years of Top of the Pops</span></b></p><p class="MsoNormal"><b><span style="font-family: inherit;">Words: Chris Arnsby</span></b></p>
<p class="MsoNormal"><b><o:p><span style="font-family: inherit;"> </span></o:p></b><span style="font-family: inherit;">Mike Read:
“This is where Top of the Pops started life on the first of January 1964. A
converted church in Dickenson Road, Manchester.”<br /></span><span style="font-family: inherit;">Paul
Gambaccini: And this is was the very first disc jockey. He's still going strong
as well. Despite groups leaning on them these cameras as still working.”<br /></span><span style="font-family: inherit;">Mike Read: “And
they are still rolling the cameras 25 years later as we head into twenty five
years of Top of the Pops.”<br /></span><span style="font-family: inherit;">Jim Moir: “Yes
it's number one! It's Top of the Pops.”</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">[Roll credits].<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><span style="font-family: inherit;">Welcome to </span><i style="font-family: inherit;">25
Years of <s>these writeups</s> Top of the Pops.</i><span style="font-family: inherit;"> Extensive research (I used
Google for nearly five minutes) has told me Jim Moir was the voice of the
introduction. That's Jim Moir, director of a couple of episodes of </span><i style="font-family: inherit;">Top of
the Pops</i><span style="font-family: inherit;">, and producer of </span><i style="font-family: inherit;">Juke Box Jury</i><span style="font-family: inherit;"> and assorted other Light
Entertainment programmes. Not the Jim Moir latterly known as Vic Reeves.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNs1gN9FMQUP-sv3U4FgaaPVAIzKFE2KmcYeqce9sm_7NRpaVe8v7m4prgKBtbGzqnFDzHSgbtPcMtqvNvUXfT8IhzQozPYEKg5OCg0vxael1JpnZS67yEq_RQgQy7pwATkQKGxlyYUerWdUA6WGF3kTfAUPNqzJQ8-7s74pkrMLqJ7O6hFWA-EfZNYYTt/s960/MANCHESTER%20SIGN.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNs1gN9FMQUP-sv3U4FgaaPVAIzKFE2KmcYeqce9sm_7NRpaVe8v7m4prgKBtbGzqnFDzHSgbtPcMtqvNvUXfT8IhzQozPYEKg5OCg0vxael1JpnZS67yEq_RQgQy7pwATkQKGxlyYUerWdUA6WGF3kTfAUPNqzJQ8-7s74pkrMLqJ7O6hFWA-EfZNYYTt/w400-h300/MANCHESTER%20SIGN.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><span style="font-family: inherit;">Let's start as
I mean to go on, with a conspiracy theory. Look at that picture of the
Manchester studio. Does the sign over the door look odd to you? I can't find a
comparable picture of the building but others show the BBC using a much simpler
sign, black background with white BBC letters. And, wouldn't it</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">read BBC North rather than BBC Television
Service Manchester Studios?</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">The sign is
very bright with an overexposed look to the white background compared to the
rest of the photo and there's an odd stepped black line at the bottom. Let's
stop beating around the (Shepherds) bush. The picture looks doctored. I could
believe the sign was an electronic overlay but if it is, it's a stunningly good
one. The photo is clearly mounted on a caption stand, look at the way it
wobbles, and the sign moves with the wobble and matches the zoom out perfectly.
Maybe I'm overthinking it. The picture could be genuine but printed with
boosted contrast on the sign to make it stand out.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> <span></span></span></o:p></p><a name='more'></a><p></p>
<p class="MsoNormal"><span style="font-family: inherit;">The programme
starts with a really well designed title sequence. A background of clips and
photographs electronically edited into a single right to left panning image in
faux-widescreen. A few objects are allowed to break the widescreen effect. A
couple of dancers are cut from their original footage and overlaid on the
widescreen in the 4:3 picture area. The blue bars of the current title sequence
get the same treatment and appear to zoom out from the picture towards the
viewer. It looks really good. It's technically sophisticated and nods to the
past while looking contemporary. Shorn of its 25 Years logo this would work as
a new title sequence (although its use of images of J*mmy S*v*l* would not be
acceptable now). It's almost a shame the programme still uses The Wizard as the
theme. Sorry Paul Hardcastle, as much as I love the song and associate it with <i>Top
of the Pops</i>, it's time for a change.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><span style="font-family: inherit;">There's a
studio recreation of the original DJ desk with the picture treated to look
black and white. Then, after a Quantel transition, the picture jumps to the
studio in living colour and a whole bunch of old DJs and </span><i style="font-family: inherit;">Top of the Pops</i><span style="font-family: inherit;">
hosts lined up on the main stage (which looks different but we'll get to that
later). David Jacobs says a few words, as does Pete Murray, and Alan Freeman.
In the background are Mike Read, Andy Crane, Mark Goodier, Tony Blackburn,
Kenny Everett, Mike Smith, Bruno Brookes. Weatherman John Kettley is also there
for some reason, holding an umbrella. I guess it seemed cute.</span></p>
<p class="MsoNormal"><b style="font-family: inherit;">SWINGING
BLUE JEANS: “Hippy Hippy Shake”.</b><span style="font-family: inherit;">
Different captions for the special. I don't like them. They're very basic, just
white Times New Roman letters. The Swinging Blue Jeans performed Hippy Hippy
Shake on the first edition. It's a nice idea to get them back. I guess Dusty
Springfield, the first singer, and The Rolling Stones, the second act, and the
Dave Clark Five, third, and The Hollies, fourth, were all busy. Still, you know
what they say. Fifth act's the charm.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0MmRZ0hNOgqmRUL7EUV_yzoyT1EQBCNZTiMR1tLBRGOFtFKcjmHBx0cgLALT78ga73izPnKsSDFRtbaKUvD_Y_y6yfqED0wJiXpur1S7ynhK7ckAvkiPN_a4Qur15cBDDYnlF0TYqsKmyB2tV8D_EUzECT4iRIgOkaWKuAliXsV5TO4NF6Prur0CXIcPB/s666/The_Swinging_Blue_Jeans.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="452" data-original-width="666" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0MmRZ0hNOgqmRUL7EUV_yzoyT1EQBCNZTiMR1tLBRGOFtFKcjmHBx0cgLALT78ga73izPnKsSDFRtbaKUvD_Y_y6yfqED0wJiXpur1S7ynhK7ckAvkiPN_a4Qur15cBDDYnlF0TYqsKmyB2tV8D_EUzECT4iRIgOkaWKuAliXsV5TO4NF6Prur0CXIcPB/w400-h271/The_Swinging_Blue_Jeans.png" width="400" /></a></div><br /><p></p>
<p class="MsoNormal"><b style="font-family: inherit;">TOP SIXTIES
GROUPS</b><span style="font-family: inherit;">: A montage
introduced by Alan Freeman, David Jacobs and Pete Murray. I've taken all the
montage names from the compilation of VT inserts which can be downloaded from
ye olde </span><i style="font-family: inherit;">Top of the Pops</i><span style="font-family: inherit;"> archive (</span><a href="https://mega.nz/folder/h0snQACa#uiNNqosfbdrfzODHsE1clw/folder/QgVgAShZ" style="font-family: inherit;">https://mega.nz/folder/h0snQACa#uiNNqosfbdrfzODHsE1clw/folder/QgVgAShZ</a><span style="font-family: inherit;">).</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>MANFRED
MANN, Mighty Quinn.</b>
(15/02/1968)<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>PROCUL
HARUN, A Whiter Shade of Pale.</b>
(26/12/1967)<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>DAVE CLARK
FIVE, Bits and Pieces.</b>
(19/02/1964) A ropey looking telerecording of their 19/02/1964 performance. It
might be the oldest surviving <i>Top of the Pops </i>moment. It, presumably,
exists because it was transferred to film and reused the following week. The
footage is damaged, covered in dirt, and the contrast is shot which gives the
picture a blasted white radioactive look.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>THE KINKS,
Lola.</b> (18/06/1970) This
colour clip is captioned as 1969.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>ANIMALS,
House of the Rising Sun. </b>Official
promo film.<br />
<b>THE HOLLIES, I Can't Let Go. </b>I'll discuss the Swiss cheese nature of the
<i>Top of the Pops </i>archives later. Much later. Suffice to say there's a lot
of slight of hand to present archive footage as originating from <i>Top of the
Pops</i>. This clip comes from <i>Beat Club </i>(05/28/1966), a West German
music programme.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>THE BEACH
BOYS, Good Vibrations.</b>
Captioned as 1966. The colour clip comes from <i>The Ed Sullivan Show</i>,
13/10/1968. It looks like absolute slop because it combines the worst CSO
imaginable with video conversion from NTSC, and generational loss from being
transferred across tapes for the final edit. Interestingly (no stop come back)
the Top Sixties Groups insert ends with The Hollies. Was this clip was played
into the recording from somewhere else -direct from VT?<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><span style="font-family: inherit;">The montage
ends with Alan Freeman, David Jacobs and a bored-looking Pete Murray in a new
set. Or rather a restored one. The </span><i style="font-family: inherit;">Top of the Pops</i><span style="font-family: inherit;"> crow's nest is back.
Not seen since one of the eighties set designs (let's say the one for the 1000</span><sup style="font-family: inherit;">th</sup><span style="font-family: inherit;">
edition 12/05/1983 -is this right? I don't know!). I'd love to see the raw
footage of Freeman, Jacobs and Murray getting into the crow's nest and down
again. Mike Love is here as well and what follows is a poor interview even by </span><i style="font-family: inherit;">Top
of the Pops</i><span style="font-family: inherit;"> standards.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Alan Freeman:
“Mike Love welcome back to Top of the Pops.” <br /></span><span style="font-family: inherit;">Mike Love:
“It's wunnerful to be here. It's wunnerfulwith everybody celebrating…. Twenty
five years...<br /></span><span style="font-family: inherit;">Alan Freeman:
[interrupting] Uh, Mike...<br /></span><span style="font-family: inherit;">Mike Love: “...
of Good Vibrations by the way! Uh! Huh!”<br /></span><span style="font-family: inherit;">Alan Freeman:
“And you've just had another number one in America haven't you.”<br /></span><span style="font-family: inherit;">Mike Love: “We
did we had the longest span of time between number one records...<br /></span><span style="font-family: inherit;">Alan Freeman:
[interrupting] “Unbelievable! Stick around!”<br /></span><span style="font-family: inherit;">Mike Love: “...
from 1966 to 88.”<br /></span><span style="font-family: inherit;">Alan Freeman:
[talking over Mike Love] Hold on.”</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbe5dOuDtiQ7cm8M01gpd1T0c4Pay2BIE1GsGn5kPTZ6QOJ5v3dL5HLb1AiEsyI_esPYPe_GR6ey0ujUo1FKXqxmia-SoF7IuITl0hRUEb_IH6_fle47ZsTCAruH0DeC9u4Dt6U7u3u8HzEprW3dSvgeH70FAr6N3fLwsV8_Lmz6DNB2ewM6td1EoUDjgs/s1500/beach-boys-1-ac85df6fc01644bfb2be6890c20671d5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbe5dOuDtiQ7cm8M01gpd1T0c4Pay2BIE1GsGn5kPTZ6QOJ5v3dL5HLb1AiEsyI_esPYPe_GR6ey0ujUo1FKXqxmia-SoF7IuITl0hRUEb_IH6_fle47ZsTCAruH0DeC9u4Dt6U7u3u8HzEprW3dSvgeH70FAr6N3fLwsV8_Lmz6DNB2ewM6td1EoUDjgs/w400-h300/beach-boys-1-ac85df6fc01644bfb2be6890c20671d5.jpg" width="400" /></a></div><br /><div style="text-align: center;"><br /></div><p></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">THE
TREMELOES: “Silence Is Golden</b><span style="font-family: inherit;">”.
The new crow's nest is just above the redesigned main stage. By the magic of
television Fluff, David Jacobs, bored-looking Pete Murray, and Mike Love, have
all vanished in the space of a cut from the crow's nest to the stage.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><span style="color: black;">Time
to discuss the new main stage set. The neon tubes and the colour screen have
been swept away and replaced with flat perspex walls. The walls have flat
semi-transparent surfaces with texture added by matt geometric shapes. There's
a tall four-sided box in the corner where the stage walls meet and above that
is the crow's nest. The neon <i>Top of the Pops</i> logo is gone. Is it missing
just for this week or has it been taken away forever? I find myself a bit
lukewarm about the new set but it might just be the shock of the new. It looks
very plain compared to what was there before, but what it does do -which I
like- is pick up the colours of the studio lights. Right now they are purple.
Maybe I just don't like the colour. A</span></span><span style="font-family: inherit;">t
the end of the song, as the camera pulls back, it's just possible to see the
recreation of the original DJ desk used at the start of the show. It's back and
to the right of the main stage. Tucked away in the corner of the studio.</span></p><p class="MsoNormal"><span style="font-family: inherit;"><br /></span></p>
<p class="MsoNormal"><b style="font-family: inherit;">STRAIGHT
IN AT NO 1: </b><span style="font-family: inherit;">Introduced
by Paul Gambaccini and Mike Read.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">SLADE:
Merry Christmas Everybody</span></b><span style="color: black;">. (25/12/1974). The caption dates the clip to 1980, I'm pretty
sure that's not right.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">G**y
G*****R: I Love You Love Me Love. </span></b><span style="color: black;">(15/12/1973)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE
JAM: Going Underground.</span></b><span style="color: black;"> (27/03/1980) Captioned as 1983, who's researching this?<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">POLICE:
Don't Stand So Close To Me</span></b><span style="color: black;">. (video) Captioned as 1980, but they've used the video from the
1986 re-release. <b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">ADAM
& THE ANTS: Stand and Deliver. </span></b><span style="color: black;">(video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">FRANKIE
GOES TO HOLLYWOOD: Two Tribes. </span></b><span style="color: black;">(25/12/1984)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">DURAN
DURAN: Is There Something I Should Know? </span></b><span style="color: black;">(23/03/1983)</span><o:p></o:p></span></p>
<p class="MsoNormal"><b style="font-family: inherit;">OFF
THE WALL/PARTY HITS. </b><span style="font-family: inherit;">This next montage is introduced by Kenny Everett.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE
VILLAGE PEOPLE: Y.M.C.A</span></b><span style="color: black;"> (promo film)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">SHOWADDYWADDY:
Under The Moon of Love.</span></b><span style="color: black;"> (04/11/1976)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">FREE:
All Right Now.</span></b><span style="color: black;"> (04/06/1970)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE
CRAZY WORLD OF ARTHUR BROWN: Fire.</span></b><span style="color: black;"> (18/07/1968)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">BENNY
HILL: Ernie. </span></b><span style="color: black;">(promo
film)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">RAY
STEVENS: The Streak.</span></b><span style="color: black;"> (27/12/1974)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">SYLVIA:
Y Viva Espana. </span></b><span style="color: black;">(15/08/1974)</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">MUD:
“Tiger Feet”. </b><span style="font-family: inherit;">Introduced by Kenny Everett with a nice camera move from Paul
Ciani. Kenny is on the studio floor, looking up at a crane camera. When he's
done with his introduction the camera moves over his head and pans on to Mud.</span></p><p class="MsoNormal"><span style="font-family: inherit;"><br /></span></p>
<p class="MsoNormal"><b style="font-family: inherit;">TOP
FEMALE SINGERS: </b><span style="font-family: inherit;"> Paul Gambaccini and Mike
Read are back in the crow's nest and they are joined by, Moira Stewart? Does
she have a favourite recording artist. “At the moment, Anita Baker.” Thanks for
joining us Moira. Be careful going down the ladder.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">SANDY
SHAW: Long Live Love. (25/12/1965)</span></b><span style="color: black;">. A clip from the rehearsal for the Christmas 1965 <i>Top of the
Pops</i>. It survives courtesy of VT Engineer Bob Pratt who was one of several
people in the Television Centre basement who kept a secret stash of music
performances to save them from being wiped.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">CILLA
BLACK: Anyone Who Had A Heart</span></b><span style="color: black;">. Captioned as 1964. The actual colour clip is from <i>Pop Go the
60s! </i>A 75 minute special shown on BBC1 on 31/12/1969.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">MADONNA:
Like A Virgin. </span></b><span style="color: black;">(13/12/1984).<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">OLIVIA
NEWTON-JOHN: Little More Love. </span></b><span style="color: black;">(07/12/1978)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">KATE
BUSH: Wuthering Heights. </span></b><span style="color: black;">(video).<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">DUSTRY
SPRINGFIELD: Son of A Preacher Man. </span></b><span style="color: black;">Another clip omitted from the insert reel so possibly played
straight into the programme from VT. Frustratingly I can't work out the source.
It's not <i>Top of the Pops.</i></span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">LULU:
“Shout”</b><span style="font-family: inherit;">. A
sneaky pre-recorded performance given away by the <i>Radio 1 FM </i>logo in the
background. The birthday show studio covers it with a 25 years logo. Can I work
out when this pre-record was done? Yes, I think so. The horizontal neon tubes
in the background are all blue on the right of the stage and the ones at the
left back are red, this matches the set up for Cliff Richards' one performance
of Mistletoe and Wine, 08/12/1988.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhag7C5sd5C-pA8ZKq7iEYD2z09eha3HiMy6CcuhSXJkoi1RUofrVEg_vYZ-su0zdXZ2whpD_b6E7AvLwDSVpLm9u65QBssFOLckoWjn4exQ54s9Q-4-YbPXofG984sw8cr8Rvx1F_QqDNYgJ7JdQxcI3pcqmcGm2nFDL47qjnCTePpegcJK7kijIFYKzZ5/s1654/Fanclub1965Lulu-cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1654" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhag7C5sd5C-pA8ZKq7iEYD2z09eha3HiMy6CcuhSXJkoi1RUofrVEg_vYZ-su0zdXZ2whpD_b6E7AvLwDSVpLm9u65QBssFOLckoWjn4exQ54s9Q-4-YbPXofG984sw8cr8Rvx1F_QqDNYgJ7JdQxcI3pcqmcGm2nFDL47qjnCTePpegcJK7kijIFYKzZ5/w290-h400/Fanclub1965Lulu-cropped.jpg" width="290" /></a></div><br /><div style="text-align: center;"><br /></div><p></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">TOP
SEVENTIES GROUPS: </b><span style="font-family: inherit;">Kid Jensen's back! He's joined by Errol Brown from Hot Chocolate.
“Do you enjoy looking back at your old performances,” Kid Jensen wants to know.
“No,” says Errol. Tough luck. Here's a montage.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">HOT
CHOCOLATE: So You Win Again.</span></b><span style="color: black;"> (02/06/1977)</span><b><span style="color: black;"><o:p></o:p></span></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">T.REX: Hot Love. </span></b><span style="color: black;">(18/03/1971)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">ROXY MUSIC: Virginia Plain. </span></b><span style="color: black;">(24/08/1972)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE JACKSONS: Blame It On
The Boogie </span></b><span style="color: black;">(video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">ABBA: Waterloo.</span></b><span style="color: black;"> (25/12/74)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">SEX PISTOLS: Pretty Vacant. </span></b><span style="color: black;">Clip from The Sex Pistols first <i>Top of the Pops</i>
“performance” 14/07/1977. It's actually a three minute video made by Virgin
Records and used by the BBC. You didn't think they would be allowed into
Television Centre did you?<br /></span><b><span style="color: black;"><br />
</span></b><b><span style="color: black;">ELO: Mr Blue Sky. </span></b><span style="color: black;">(video)</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">SENTEMENTAL JOURNEY:</span></b><span style="color: black;"> That's the name on the countdown clock. Simon Bates is the MC.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">JOHN DENVER: Annie’s Song. </span></b><span style="color: black;">It's a video but I can't track down the source.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">ST WINIFRED’S SCHOOL CHOIR:
There’s No One Quite Like Grandma. </span></b><span style="color: black;">(04/12/1980)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">TERRY JACKS: Seasons In The
Sun. (14/04/1974) </span></b><span style="color: black;">Clip from<b> </b><i>Musikladen</i>,
the show that replaced <i>Beat Club</i> on West German television.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">GLENN MEDEIROS: Nothing’s
Gonna Change My Love For You. </span></b><span style="color: black;">(07/07/88)</span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">ENGLEBERT HUMPERDINCK:
“Release Me”</span></b><span style="color: black;">. It's nice of Englebert to
come into the studio to perform but I've got nothing constructive to add.</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6I2Ihom5PE9Y9jsusNnsVkiTZs5hnqM4wI6AWcAk-qOYsroajpMRHCf-Vn9xHb5yh_TISh9Fm56T-jxcELjxHguXUDQePDDzJ-lthy9iBwYLd1OqiW2K2CkcnwU3WZdRvsUQFc5JqyvZMVDirTi5pMu4D3Qfgq-zD3y3Q5jqkC62sMAulFlhmSf8bDC4U/s650/rolling-stones-portrait-1970-billboard-650.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="650" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6I2Ihom5PE9Y9jsusNnsVkiTZs5hnqM4wI6AWcAk-qOYsroajpMRHCf-Vn9xHb5yh_TISh9Fm56T-jxcELjxHguXUDQePDDzJ-lthy9iBwYLd1OqiW2K2CkcnwU3WZdRvsUQFc5JqyvZMVDirTi5pMu4D3Qfgq-zD3y3Q5jqkC62sMAulFlhmSf8bDC4U/w400-h265/rolling-stones-portrait-1970-billboard-650.jpg" width="400" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">ROLLING STONES SEGMENT: </span></b><span style="color: black;">Introduced by Alan Freeman, with Bruno Brookes standing next to
him but not allowed to say anything. This is the way.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE ROLLING STONES: Jumping
Jack Flash.</span></b><span style="color: black;"> (promo film)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE ROLLING STONES: The Last
Time.</span></b><span style="color: black;"> (04/03/1965)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE ROLLING STONES: Brown
Sugar. </span></b><span style="color: black;">(15/04/1971)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE ROLLING STONES: Let’s
Spend The Night Together. </span></b><span style="color: black;">(26/12/1967)</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">TEEN SCREAMS: </span></b><span style="color: black;">Mark Goodier and Peter Powell are joined in the crow's nest by Les
McKeown from the Bay City Rollers. Peter Powell seems distracted and gives an
oddly hesitant introduction. Is he nervous about heights?<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">BAY CITY ROLLERS: Bye, Bye
Baby. </span></b><span style="color: black;">Annoyingly I can't narrow
this clip down. It must be either 06/03, 13/03, or 20/03/1975. <b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">DONNY OSMOND: Puppy Love </span></b><span style="color: black;">(video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">KAJAGOOGOO: Too Shy.</span></b><span style="color: black;"> (20/01/1983)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">A-HA: The Sun Always Shines
On TV.</span></b><span style="color: black;"> (video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">BROS: When Will I Be Famous?</span></b><span style="color: black;"> (21/01/1988)</span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">DAVID ESSEX: “Gonna Make You
A Star”. </span></b><span style="color: black;">This is the fifth live
performances tonight; The Swinging Blue Jeans were on newish Record Needle
stage, The Tremeloes were on the main stage, Mud were on one of the corner
stages (the one augmented with Paul Ciani's giant neon constriction), Englebert
Humperdink was back on the Record Needle stage, and that's where David Essex is
as well. That's a lot of use for one stage, although it probably is the best
looking one at present.</span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Three short talking-heads
interviews follow; Petula Clarke, which in a display of Doctor Spock logic,
must have been recorded when she was in studio for the 15/12/1988 show; then
Cliff Richards and Lulu both, logically, recorded in the studio session for
08/12/1988.</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrglF48Y90QxFByljueuZEev7ZHjAmzaXO7GQQMdveDdvq4ABTAh8TWh8ZXA5Hcdmmd1qf8dr2agoEgsYby4BLxWj4WT_-tFuUce3vJ2TDKUUuUPhMu07wunnaV2pnLS7sEXIPnNyFrIEXvCrUCb7aUPfiqPZiafTJCkFcLc6clvyH3JLN3sb1OywOlbyB/s1890/blondie-group-members-1979.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1063" data-original-width="1890" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrglF48Y90QxFByljueuZEev7ZHjAmzaXO7GQQMdveDdvq4ABTAh8TWh8ZXA5Hcdmmd1qf8dr2agoEgsYby4BLxWj4WT_-tFuUce3vJ2TDKUUuUPhMu07wunnaV2pnLS7sEXIPnNyFrIEXvCrUCb7aUPfiqPZiafTJCkFcLc6clvyH3JLN3sb1OywOlbyB/w400-h225/blondie-group-members-1979.jpg" width="400" /></a></span></div><span style="font-family: inherit;"><br /><br /></span><b style="font-family: inherit;">TOP GROUPS</b><span style="font-family: inherit;">: Tony Blackburn is joined by a pair of Bee Gees (Maurice and
Robin) for the next montage.</span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE BEE GEES: Massachusetts.</span></b><span style="color: black;"> (26/12/1967)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">FLEETWOOD MAC: Albatross.</span></b><span style="color: black;"> This is in colour so it's not from 1968 no matter what the
caption says. I think this is another clip saved by Bob Pratt, possibly from <i>The
Royal Television Gala </i>(24/05/1970).<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">MADNESS: Our House.</span></b><span style="color: black;"> (video)<b><span style="mso-bidi-font-style: italic;"><o:p></o:p></span></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE
MONKEES: I’m A Believer. </span></b><span style="color: black;">This
is weird. Someone's dubbed I'm A Believer over a clip from <i>The Monkees</i>
titles, and it's in black and white.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE
SHADOWS: Don’t Make My Baby Blue.</span></b><span style="color: black;">
(12/08/1965)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE
THREE DEGREES: When Will I See You Again?</span></b><span style="color: black;"> (15/08/1974)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">BLONDIE:
Denis</span></b><span style="color: black;">.
(video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE
WHO: My Generation</span></b><span style="color: black;">.
I can't date this clip.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">DIRE
STRAITS: Sultans Of Swing. </span></b><span style="color: black;">(video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">GLADYS
KNIGHT & THE PIPS: Midnight Train To Georgia</span></b><span style="color: black;"> (29/04/1976)</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">THE
FOUR TOPS: “Reach Out I'll Be There”. </b><span style="font-family: inherit;">Back
onto the new main stage. Check out that lovely long tracking shot across the
studio during the introduction (cor!).</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><span style="color: black;">Mumu03,
in the comments under the write up for 22/12/1988 show, tells the remarkable
story of this recording saving the lives of The Four Tops. The band wanted to
record this and Loco in Acapulco in the same studio session and catch Pan Am
Flight 103 back to New York. Paul Ciani, who I guess didn't want to feature the
old main stage set in the anniversary show insisted they return for the
separate studio session for this edition which I think was the day afterwards.</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">VIEWERS
ALL TIME HITS: </span></b><span style="color: black;">Kid
Jensen returns to introduce the songs chosen by <i>Radio 1 </i></span><span style="color: black;">listeners and readers of the <i>Daily Mirror</i>. <span style="mso-bidi-font-style: italic;">Queen are here, well not all of Queen, just
the two that always turn up; Brian May and Roger Taylor. John Deacon is
no-doubt out painting the town red and Freddie Mercury is having a quiet night
in.<b><o:p></o:p></b></span></span></span></p>
<p class="MsoNormal"><b><span style="color: black;"><span style="font-family: inherit;">QUEEN:
Bohemian Rhapsody. (video)<o:p></o:p></span></span></b></p>
<p class="MsoNormal"><b><span style="color: black;"><span style="font-family: inherit;">JOHN
LENNON: Imagine. (promo film)<o:p></o:p></span></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">SONNY
& CHER: I Got You Babe. (12/08/1965)<br />
</span></b><span style="color: black;">[at this point the All
Time Hits insert file has a clip from the promo film for Subterranean Homesick
Blues but that's edited out of the finished programme]<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><b><span style="color: black;"><span style="font-family: inherit;">U2:
Pride. (video)<o:p></o:p></span></span></b></p>
<p class="MsoNormal"><b><span style="color: black;"><span style="font-family: inherit;">ULTRAVOX:
Vienna (25/12/1981)<o:p></o:p></span></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE
BOOMTOWN RATS: I Don’t Like Mondays (video)</span></b><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><span style="font-family: inherit;">Mike Read and </span><span style="font-family: inherit;">Paul Gambaccini are joined in the
crow's nest by David Hamilton. The crow's nest consensus is that Cliff Richard
is Britain's all-time-number-one-singer. I demand a recount. Answer me this
David Hamilton. If Cliff's so great why can't he be bothered to attend the <i>Top
of the Pops</i></span><span style="font-family: inherit;"> 25<sup>th</sup> birthday
party? A brief talking-head interview
with Cliff follows.</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">CLIFF
RICHARD: “We Don’t Talk Anymore”.</b><span style="font-family: inherit;">
Cliff Richard's top selling record, according to Cliff. This is another sneaky
pre-record as part of the 08/12/1988 studio.</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsMn6Fa6tHESZ8tSJfXVtLugW3x6IV8FZhzvSDBYiEQAv-Xp4Ju8iHLa7KzY_UgsaMGhcsfpkhg12czA4nLUL-Axvy04hVKZVsDJTFz7N0cUKTwTxWUBGIj-CLQKF2wCfOfy8xgIGd6AYFMz9coGwBFPZ1G9ZLPYtjN2yI2_nbVg-FqWomntlJTmx1Ac7u/s640/ab6761610000e5ebb78f77c5583ae99472dd4a49.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsMn6Fa6tHESZ8tSJfXVtLugW3x6IV8FZhzvSDBYiEQAv-Xp4Ju8iHLa7KzY_UgsaMGhcsfpkhg12czA4nLUL-Axvy04hVKZVsDJTFz7N0cUKTwTxWUBGIj-CLQKF2wCfOfy8xgIGd6AYFMz9coGwBFPZ1G9ZLPYtjN2yI2_nbVg-FqWomntlJTmx1Ac7u/w400-h400/ab6761610000e5ebb78f77c5583ae99472dd4a49.jpg" width="400" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">TOP
MALE SINGERS: </span></b><span style="color: black;">Because
Cliff was pre-recorded his song is edited in to form part of this montage.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">ROD
STEWART: Maggie May.</span></b><span style="color: black;">
(30/09/1971)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">ELTON
JOHN: Daniel.</span></b><span style="color: black;">
(25/01/1973)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">DAVID
BOWIE: Starman. </span></b><span style="color: black;">(06/07/1972)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">PHIL
COLLINS: You Can’t Hurry Love.</span></b><span style="color: black;">
(video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">STEVIE
WONDER: I Just Called To Say I Love You.</span></b><span style="color: black;"> (video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">MARVIN
GAYE: I Heard It Through The Grapevine.</span></b><span style="color: black;"> More editing shenanigans. The first chunk is
footage of Marvin Gaye singing Can I Get A Witness on American music show <i>Shindig!
</i></span><span style="color: black;">Observe how Marvin's lips don't remotely match
what he's singing and how the footage is slowed down in places to stop the
dancers becoming wildly out of sync with the music. Then there's an edit which
causes a visible picture jump to different footage, the dancers going past in
the foreground, that's from a <i>Shindig!</i> performance of Hitch Hike.<b><span style="mso-bidi-font-style: italic;"><o:p></o:p></span></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">LIONEL
RICHIE: Hello.</span></b><span style="color: black;">
(video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">MICHAEL
JACKSON: Billie Jean. </span></b><span style="color: black;">(video
clip)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">BRUCE
SPRINGSTEEN: Born In The USA. </span></b><span style="color: black;">(video
clip)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">ROY
ORBISON: Oh Pretty Woman. </span></b><span style="color: black;">(promo
film)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">TOM
JONES: Delilah.</span></b><span style="color: black;">
(clip from 07/03/1968)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">PAUL
McCARTNEY & STEVIE WONDER: Ebony & Ivory. </span></b><span style="color: black;">(video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">ELVIS
PRESLEY: The Wonder Of You.</span></b><span style="color: black;">
(photos)</span><span style="color: black;"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">SHAKIN' STEVENS: This Ole House</span></b><span style="color: black;">. Paul Ciani sets the handheld camera operators running and they
capture some great footage of Shakey. The operators are able to rove around the
stage and singer more freely than the bigger cranes and so in the background we
get also good look at the studio layout. There are only four stages set up,
normally <i>Top of the Pops</i> has access to five or six. Either this special
has been relegated to a smaller studio or everything's been shuffled around to
accommodate the recreation of the DJ's desk.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: black;"><span style="font-family: inherit;">Two brief interviews follow,
first Lulu again and then Tom Jones interviewed outside with the Television
Centre fountain in the background.<b><o:p></o:p></b></span></span></p><p class="MsoNormal"><span style="color: black;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuHfNriLKKk3CvEMJczX2fB9ZEsjaUiGZI9Y5DIC9f_VU3_hzaqUyPD3ZU_cFXCs9buqL06qTxps_2WBThVpPt25QS5-UofR6cSz49AliD-7Fn-L_6QghIKN5BstSKr8FKgip6GSLAvIA-ZtD4V0Pm9XeB9Fh4lvlNf5uGFPqZnrZKN44OSqV5X7mOkADj/s780/2e0f70b9-35b5-418d-8170-50f7bc6f543d.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="520" data-original-width="780" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuHfNriLKKk3CvEMJczX2fB9ZEsjaUiGZI9Y5DIC9f_VU3_hzaqUyPD3ZU_cFXCs9buqL06qTxps_2WBThVpPt25QS5-UofR6cSz49AliD-7Fn-L_6QghIKN5BstSKr8FKgip6GSLAvIA-ZtD4V0Pm9XeB9Fh4lvlNf5uGFPqZnrZKN44OSqV5X7mOkADj/w400-h266/2e0f70b9-35b5-418d-8170-50f7bc6f543d.webp" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">BIRTHDAY GUESTS: </span></b><span style="color: black;">Peter Powell stands in front of selected members of the audience,
“all our friends on stage are celebrating their twenty fifth birthdays as
well!” Sweet. They've been allowed to request some songs.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">DON McLEAN: American Pie.</span></b><span style="color: black;"> Clip from <i>Sounds For Saturday</i>, 29/07/1972.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE RIGHTEOUS BROTHERS:
You’ve Lost That Loving Feeling. </span></b><span style="color: black;">(28/01/1965)</span></span></p><p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">10 C.C. : I’m Not In Love. </span></b><span style="color: black;">BBC2 ran a series called </span><i style="mso-bidi-font-style: normal;"><span style="color: black;">Six
Fifty-five Special </span></i><span style="color: black;">across the summer of 1982, from Monday 5 July to 20 August. This
performance comes from one of those programmes but BBC Genome is tight-lipped
about which one.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE SUPREMES: Baby Love. </span></b><span style="color: black;">(07/10/1964)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">WHITNEY HOUSTON: I Wanna Dance With Somebody. </span></b><span style="color: black;">(21/05/1987)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">GEORGE MICHAEL: Careless Whisper.</span></b><span style="color: black;"> (video) The clip
of Whitney Houston is squashed into faux-widescreen to ease the transition into
the Careless Whisper video and George Michael is stretched 4:3 for the
transition out.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">BAND AID: Do They Know It’s Christmas? </span></b><span style="color: black;">(25/12/84)</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiPvcTo9-irxcUe4moGbkyx6Ewy5dJEukDSQERYCNPdWIkjB-QrD1euYLFKd1JwCt5Ioygllvk8CHDG6LbrML0EO0jvMbeeGS_6RT-3c3uw9ZKhq-DSvTTrWQS12M2bT2IIdkuJomUVdiUhoMYVRGLFTNqmWHkoiDIaF7eG00wyA7xdIKZc4kMacpwsSWW/s960/vlcsnap-2024-01-01-13h42m04s692.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiPvcTo9-irxcUe4moGbkyx6Ewy5dJEukDSQERYCNPdWIkjB-QrD1euYLFKd1JwCt5Ioygllvk8CHDG6LbrML0EO0jvMbeeGS_6RT-3c3uw9ZKhq-DSvTTrWQS12M2bT2IIdkuJomUVdiUhoMYVRGLFTNqmWHkoiDIaF7eG00wyA7xdIKZc4kMacpwsSWW/w400-h300/vlcsnap-2024-01-01-13h42m04s692.jpg" width="400" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">TOP 80'S GROUPS:</span></b><span style="color: black;"> Quick! Who says 25 Years of <i style="mso-bidi-font-style: normal;">Top
of the Pops</i> to you? If you said Eddie “The Eagle” Edwards then you are Paul
Ciani and I claim my £5<b>.</b> Eddie Edwards released a single in 1988, Fly
Eddie Fly. Is “The Eagle” here to introduce a segment about novelty records?
Nope. Apparently he was just passing.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: black;"><span style="font-family: inherit;">The internet and the Official Charts page are in dispute over Fly
Eddie Fly. The bits of the internet that remember the single tell me it was a
Top Fifty hit. The Official Charts very much disagrees. POP FACT WAR!<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">DEXYS MIDNIGHT RUNNERS: Come On Eileen.</span></b><span style="color: black;"> (25/12/1982)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">EURYTHMICS: You Have Placed A Chill In My Heart.</span></b><span style="color: black;"> (23/06/1988)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">WHAM: Wake Me Up Before You Go-Go.</span></b><span style="color: black;"> (video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">CULTURE CLUB: Do You Really Want To Hurt Me.</span></b><span style="color: black;"> (25/12/1982)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">GENESIS: Turn It On Again.</span></b><span style="color: black;"> (13/03/1980)</span><b><span style="color: black;"><o:p></o:p></span></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">SOFT CELL: Say Hello Wave
Goodbye</span></b><span style="color: black;">. (video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">SPANDAU BALLET: True.</span></b><span style="color: black;"> (05/05/1983)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">HUMAN LEAGUE: Don’t You Want
Me.</span></b><span style="color: black;"> (video)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">DEPECHE MODE: Just Can’t Get
Enough.</span></b><span style="color: black;"> (24/09/81)</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8k_VElE65h0Fm2_bAz3vtN0ipLCKYL0G_jy7oG5P5p90yWTWMS499Op3OKGWMWzDHfA_OG2yONo2S73oodDF1vGDIPls624JW46SLYiiS_2vrJ9VmM4t2Xp_Dci4KwurMGG8seiHkHG_zMlUHwFs3zveL617ZgP_SRKb_LrkBLU4Uyama5OHhFHQ8VOXT/s1000/The-Beatles-GettyImages-1183628511.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1000" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8k_VElE65h0Fm2_bAz3vtN0ipLCKYL0G_jy7oG5P5p90yWTWMS499Op3OKGWMWzDHfA_OG2yONo2S73oodDF1vGDIPls624JW46SLYiiS_2vrJ9VmM4t2Xp_Dci4KwurMGG8seiHkHG_zMlUHwFs3zveL617ZgP_SRKb_LrkBLU4Uyama5OHhFHQ8VOXT/w400-h240/The-Beatles-GettyImages-1183628511.webp" width="400" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE BEATLES: </span></b><span style="color: black;">Paul Gambaccini and Mike Read introduce a segment dedicated to
“the act that's had the most Number Ones during the history of <i>Top of the
Pops</i>. Unfortunately Ringo can't be here, and George had a prior engagement,
and someone forgot to call Paul, but look! Weatherman John Kettley is back. Not
that he gets to say anything. Not even a quick “winds light to variable.”<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: black;"><span style="font-family: inherit;">The Beatles only appeared
live on <i>Top of the Pops </i>once, in 1966 to perform Paperback Writer and
Rain. Now obviously this is going to take pride of place in the BBC Archive
and. No, I'm just being silly. Get that tape into the bulk-eraser post-haste.
Do you know how expensive two-videotape is? £100! That's four and guineas
ha'penny thrupence in old money. We need that cash to ensure the BBC keeps a
complete archive of <i>Trooping the Colour </i>forever. It's really important
to show that annual ceremony has remained the same since 1949. Fortunately
David Chandler was more far-sighted than the BBC. He filmed the performance as
a teenager and kept the off-screen silent 8mm footage. It's available to view
on Youtube.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: black;"><span style="font-family: inherit;">It's probably The Beatles
fault really. They should have known better than to appear on the satanically
dated 16/6/66 edition.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: black;"><span style="font-family: inherit;">This Beatles montage also
doesn't appear on the inset tape compilation. Is it missing or were the clips
played in from a different source on the day?<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE BEATLES: Daytripper. </span></b><span style="color: black;">( promo film clip )<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE BEATLES: Hello Goodbye.</span></b><span style="color: black;"> (film clip)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE BEATLES: We Can Work It
Out.</span></b><span style="color: black;"> (film clip)<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">THE BEATLES: Hey Jude.</span></b><span style="color: black;"> (film clip)</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><span style="color: black;">The Beatles are followed by
two quick interviews with Petula Clarke and Cliff Richard and then it's time
for the grand finale...</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">STATUS QUO: Rockin’ All Over The World. </b><span style="font-family: inherit;">There's a birthday cake and then Status Quo play the programme out
with Rockin’ All Over The World, although no one remembers to put up a caption.
But first, a surprise. It's Status Quo on video from 15/02/1968 looking
slightly different. Status Quo are old pros and know to pretend to be surprised
and delighted and embarrassed at how they look slightly different. Charmingly
the VT clock for this clip describes it as END SURPRISE.</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><span style="font-family: inherit;">The credits roll over shots
of the crowd dancing, plus some nice angles of the new main stage from a camera
operator up in the crow's nest.. Paul Gambaccini, Mike Read, and Paul Ciani get
a “Compiled By” credit. Weintraub Entertainments Ltd, UPA, Vestron Video, and
Spectra Color all get a “Thanks to”. This is, presumably for the clips they
supplied to hide the gaps in the </span><i style="font-family: inherit;">Top of the Pops</i><span style="font-family: inherit;"> archive. Two Floor
Managers are credited, Iain McLean and John Spencer. Did this recording have
more than one studio session? Paul Ciani did the Producing and Directing.</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqskQ17DOblTySsUt111TFTlf1Kq-yyAu13nujedcoONMoP1Poc1RwiEgqxDttIJqERRxTNwosPBvs7D2lgJuI6N-eVVrW-PAwD0tnZyVoQamSt_jm0jeGB9iqNTLdOa1XKE_1yaWnfXCYdmYYY-3l0RDG8F3HZ6PAAOeShxG_1emfOlsa3fS3yc2enKFw/s960/25%20YEARS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqskQ17DOblTySsUt111TFTlf1Kq-yyAu13nujedcoONMoP1Poc1RwiEgqxDttIJqERRxTNwosPBvs7D2lgJuI6N-eVVrW-PAwD0tnZyVoQamSt_jm0jeGB9iqNTLdOa1XKE_1yaWnfXCYdmYYY-3l0RDG8F3HZ6PAAOeShxG_1emfOlsa3fS3yc2enKFw/w400-h300/25%20YEARS.jpg" width="400" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-52268803257927331512023-12-31T14:22:00.000+00:002023-12-31T14:22:10.922+00:00Losing mum<p><i> Warning- This post deals with subjects some people may find upsetting.</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">2023 is the year I lost
my Mum. It was a loss that I felt particularly as I had been her primary carer
for seven years though I never classed it as that till someone pointed it out.
Such an endeavour inevitably took a lot of time and took its toll on me too.
Mum had dementia but thankfully she was still able to converse and understand
stuff. I’d been looking after her at home as best I could but after she went
into hospital in May last year it soon became obvious she would not be able to
return there and we had to look for a care home. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOV3iVFWv4aQl8LImFm5CYhqywTbOAvnKjZGyASyhiwwrdjw6KGG0sAPBQvoy_2qqs0tg5PMB3Pk-xW4w5oZ_z7mfBhczHqDUJhh4J9Jez7IhnTXKVmWarJmpsT_bCtqyAvUdaK-J62bQX91uvgWj7K7gDIrik87ReYeX6hbMTdjseynGFaZasmxvLUmce/s566/1987%203.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="566" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOV3iVFWv4aQl8LImFm5CYhqywTbOAvnKjZGyASyhiwwrdjw6KGG0sAPBQvoy_2qqs0tg5PMB3Pk-xW4w5oZ_z7mfBhczHqDUJhh4J9Jez7IhnTXKVmWarJmpsT_bCtqyAvUdaK-J62bQX91uvgWj7K7gDIrik87ReYeX6hbMTdjseynGFaZasmxvLUmce/w400-h240/1987%203.JPG" width="400" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">When you say `care
home` it triggers a certain reaction from people and its not a positive one.
People always say `I could never go into a care home` or `I could never put my
relative into a care home` but mostly there is no choice. The care home mum spent
her last six months was thankfully an example of a good one. The staff did as
much as they could to make her comfortable and they worked long twelve-hour
shifts. I thought looking after one person was hard work but imagine dozens,
each with different needs and behavioural traits. I’d go in and see her each
evening and at weekends, visits that both of us looked forward to. The staff
said she smiled more when she saw me walk in than any other time and I hope
that I was able to cheer her up even if, due to the nature of her illness, it
was only for the time I was there as her short term memory was quite poor. One
of the traits of dementia can be that the sufferer stops recognising family and
friends and the strange thing was that while this had started to happen when I
was at home with her, when I visited her in the care home she always knew me.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">In February she
celebrated her ninety sixth birthday and the staff made a fuss of her including
presenting her with a large cake. I wish I could have been there but when I did
arrive later, she was still enthusing about it which itself was rare. I am so glad
she had a good last birthday. Remarkably the only piece of footage I have of
her is on that day as one of the staff thoughtfully filmed her getting the
cake. Somehow, instinctively I knew how important that short clip was when I first
saw it.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Less than two months
later I got a call to tell me she had fallen earlier and was now in a bad way,
probably she had another stroke. She was asleep mostly after that but on the
Wednesday of that week she woke briefly to complain she was too hot so I moved
the blanket whereupon she was cold so I put it back! Then she drifted asleep
again. This basic exchange was our final conversation. Unlike in the films
there was no big goodbye, no drama, just the ordinary. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">It is very difficult to
describe what its like to lose someone who had always been there for your
entire life. It leaves such a void which you cannot be filled. Yet I was so
lucky to know her for so long and to progress through the journey from her
looking after me to me looking after her and everything in between. Unlike many
people in my situation there is no unfinished business, no lingering issues,
just the ups and downs of a parent and child. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">For the funeral I wrote
the eulogy, a summation of her life, at least what I remembered as people of
her generation rarely documented their lives as we do now. I’m not one for
public speeches on any occasion so a celebrant read it out professionally
sounding like he had known her when in fact they’d never met. During this
speech the sunshine which had been hiding away broke through and I looked at
it’s rays filtering through the branches of a nearby tree. Then our chosen
music played. Who said life can’t be like films? As much as a funeral can ever
be described as such it was a perfect goodbye. I thought Mum would have liked
it - simple, dignified, respectful. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Eight months later I am
moving on I suppose, as we must, yet often I think of mum and what she would
have said, what she might have thought. I always used to be sceptical about the
sort of things people said about the person always being there in your mind but
it is true. She is gone but she is still there. I will see something quite trivial
and for just a millisecond think I’ll have to tell her about it but it happens
less as time goes on.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">I know that grief is a
difficult topic to talk about and analyse as it affects people in different
ways and this post reflects nothing more or less than my personal experiences.
What I can say is that it does get better. At first it is easy to fall into the
mind set of thinking of yourself- your loss, your grief, your pain. “What am I
going to do now?” Then it becomes about them as you approach the funeral. There
is so much stuff to do, things you never imagined beyond all the administration
if it.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Yet the hardest time I
found was afterwards. When all the sympathy and ritual is finished, when
everyone goes back to their lives, what then? I found the answer is time. I
decided not to look into what seemed like an endless night but focus on what
was happening there and then, day by day. After all the majority of our time is
spent on small, ordinary things and if I focussed on those the bigger things
would come later. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">If anyone asks how you
cope with grief I can’t give a definitive answer because it is different for
everyone. What I can say though is its better if you have good memories of
things that did happen rather than regrets about things not said or done. I was
lucky to know my mum for such a long time, a lot of people have not had that for
whatever reasons. So if you don’t see your mum much or there’s been a fallout,
or you’re just too busy then my advice, for what its worth, would be to change
that. Take the time to see them while they are there rather than always regretting
not doing so. Its too late when they aren’t there and then that’s on you. Good
things don’t last forever so appreciate them while you can.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsRjLKfzJblKKYbImNTebsAKduZaeSWFicMvgETYwR6gSXSbD_68y07KqmOOJzgtfIv5OyBV3Qbm8P2FFXhED6-pdzQX_VXtbUMcSaZwW5wzYloTynK0t-2cpuWwFwNRyfviqPvSHPOjZio9c4m3YkBYSnT6AL7kUrbX2JZWHBwQndPqi5ff5Tah8ybNFc/s537/1986%202.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="462" data-original-width="537" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsRjLKfzJblKKYbImNTebsAKduZaeSWFicMvgETYwR6gSXSbD_68y07KqmOOJzgtfIv5OyBV3Qbm8P2FFXhED6-pdzQX_VXtbUMcSaZwW5wzYloTynK0t-2cpuWwFwNRyfviqPvSHPOjZio9c4m3YkBYSnT6AL7kUrbX2JZWHBwQndPqi5ff5Tah8ybNFc/s320/1986%202.JPG" width="320" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com2tag:blogger.com,1999:blog-6170682027322091019.post-41626724616644686792023-12-26T19:07:00.000+00:002023-12-26T19:07:24.906+00:00TV Review: Doctor Who- The Church on Ruby Road<p> </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">One thing we can be
sure of is that Russell T Davies makes big, breezy Xmas specials aimed perhaps
not so much at fans but the wider public so the new Doctor was actually
introduced half way through the last of the three anniversary special and is
(literally) up and running for this tale. No sleeping for the first half as David
Tennant’s tenth Doctor did back in 2015, Ncuti Gatwa’s first full episode sees
him involved from the start adding his
charisma to what is a rollicking fairground ride of an episode. As with other
Xmas specials from the first RTD era, `The Church on Ruby Road` is all about
action and fun and Xmas (a bit)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIFNrCkgwYE5IUFmYZH9iA957pEZszjtctK5abANTHQMnfFa4tK2d-zAnd5lcsU4g-c_aWjmu3thLuNgy7sqUHsS3J-l1a42JFF1At7DugkgQI1cxhLCihTPMs-uXuXZqH_MiEhVEeucA-0Wlk1cYEKin9FISE6vKqAt5EuM5JVXmlQtATiQ67DniLiTSf/s1440/p0gwwmlk.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1440" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIFNrCkgwYE5IUFmYZH9iA957pEZszjtctK5abANTHQMnfFa4tK2d-zAnd5lcsU4g-c_aWjmu3thLuNgy7sqUHsS3J-l1a42JFF1At7DugkgQI1cxhLCihTPMs-uXuXZqH_MiEhVEeucA-0Wlk1cYEKin9FISE6vKqAt5EuM5JVXmlQtATiQ67DniLiTSf/w640-h360/p0gwwmlk.webp" width="640" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">It seems like Ncuti
Gatwa has been the Doctor forever but until a few weeks ago we’d not seen him
play the role. Interestingly even since his appearance in `The Giggle`, the actor
is already evolving his performance. Modern Doctors have been more emotional,
more human even but often at the expense of the enigmatic qualities that the likes
of Tom Baker or William Hartnell would add.<span style="mso-spacerun: yes;">
</span>This Doctor seems to feel every moment intensely whether it’s the sheer
joy of dancing in a club, or having great fun swinging from a rope ladder in mid
air to the sadness when Carla has clearly changed. Yet he is also casually
strange in a way we’ve not really seen in the modern era. We also meet the new
companion, Ruby Sunday, a foundling whose initial staring at the Doctor – who
now really does dance- seems like it might be headed into Rose territory but
the writer has something different for Ruby. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Like a lot of RTD’s
previous Xmas special the festive trimmings are just that and soon give way to
a tale of time travelling goblins who eat babies. Seemingly navigated by acts
of coincidence this giggling gaggle – who sound like Gremlins before we see
them- plan to take the latest baby being looked after by Carla Sunday. Cue lots
of rooftops shenanigans as Ruby- not knowing what she is getting into but
adapting very well- pursues them and ends up being helped by the Doctor.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Ruby’s story mirrors recently
added series lore in which the Doctor turns out to have been a foundling
himself. It’s interesting that rather than re-write or ignore this
controversial development introduced by Chris Chibnall, RTD has decided to run
with it. It’s a wise choice in that it suggests a deep emotional resonance will
permeate the coming season and it does add some mystery. Whether it will be
explained is another matter. We don’t even find out here who Ruby’s real mother
is though we can speculate. Does it turn out to be Ruby herself in some time
related thing? Or could it be the enigmatic Mrs Flood, avuncular next door
neighbour who seems to know about the TARDIS? Or someone else? Her knowledge of
the TARDIS only appears to occur after the Doctor has changed the time line back
though of course she might have been pretending earlier. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">One conclusion we can
draw is that the series is in safe hands. Ncuti Gatwa is so likeable and
enthusiastic, able to convey the Doctor’s emotional pivots easily. He certainly
has that enigmatic sparkle that a Doctor should have. Plus, he has that
otherworldly aspect- when he’s talking about the language of rope for example.
There seems to be an attempt to push that more- note the way he seems to instantly
move from the dance floor to Ruby’s table. Is he using magic? It’s also a
different idea to make him so clearly obsessed with his look in a way other
incarnations were not. Millie Gibson has a lot of assurance too as she arguably
has an even harder job. There have been so many companions it must be difficult
to come up with something different but in Ruby I think they have. The
chemistry between the two sparks right away but I really hope they keep the
best mates dynamic that served the Doctor and Donna so well. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Despite their
impressive performances the episode is stolen by Michelle Greenidge whose Carla
seems like the nicest person in the world. Her transformation from generous
motherly Carla into the couldn’t care less character she becomes after the time
line is changed is subtle but shocking nonetheless, the Doctor feels it and so
do we. I hope we see a lot more of her in future episodes. Davinia McCall’s
appearance is pleasingly part of the story rather than just being a quick cameo
and turns out to be quite funny. More comedy is provided by the deadpan Angela
Wynter as Cherry whose constant requests for a cup of tea become increasingly
sardonic! <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLZcXHPLjpylqiRVgZBDmdX2QR_leSLnDPSuLXxWGvmpyXUe7mAQqck2lYomKUv3ks7RA85mlMWFnIpo-Naqw47-DDeCpLSc8YCNDwmrLOdu_SQ2IU1P4lZB6ZshAF3qprmQQjI1EBXv-fC9NYaOBTqcd2OwDBLxKBJozj15k9wfV6pgoWRVZLx08H4uNt/s1200/Doctor-Who-Ncuti-Gatwa-and-Millie-Gibson-in-The-Church-on-Ruby-Road.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLZcXHPLjpylqiRVgZBDmdX2QR_leSLnDPSuLXxWGvmpyXUe7mAQqck2lYomKUv3ks7RA85mlMWFnIpo-Naqw47-DDeCpLSc8YCNDwmrLOdu_SQ2IU1P4lZB6ZshAF3qprmQQjI1EBXv-fC9NYaOBTqcd2OwDBLxKBJozj15k9wfV6pgoWRVZLx08H4uNt/w640-h360/Doctor-Who-Ncuti-Gatwa-and-Millie-Gibson-in-The-Church-on-Ruby-Road.webp" width="640" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">She’s not the only <i>EastEnders</i>
alumnus present. We also have tv legend Anita Dobson as Mrs Flood. As soon as
we see her, we think’ `Uh oh, there’s something a bit odd about her`. She has the appearance and behaviour
of a chatty neighbour yet she watches the TARDIS come and go without surprise.
I thought they were going to leave it at that till a mid-credits sequence (I
wonder if these are going to be a Thing now?) when she breaks the fourth wall
and winks at us with a look that falls somewhere between knowing and dangerous.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">We also get a musical
number not the full song which has been jostling for the charts and it works in
the context of the show. The goblins themselves are peripheral to the story in
that, like the Autons in `Rose`, they are just there because there needs to be
an antagonist. Unusually the Doctor has no dialogue with them- though he does
sing to them- and they are despatched with a strange scene that doesn’t quite
work as well as it might and seems unusually casual for a character who has
gone out of his way to offer villains a chance to leave before killing them.
Maybe he’s realised that never works? <span style="mso-spacerun: yes;"> </span>I would
take a little issue too with those gloves which like the shield the sonic
created in `The Star Beast` seem like an easy script writers way out especially
after the much cleverer rope scenario on the Goblin ship. The Doctor does say “mavity”
though so this clearly <i>is</i> a Thing. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The episode works well
in setting up the new Doctor and companion, providing a few mysteries to return
to and entertain a Xmas day audience. It also suggests that the approach to the
Doctor and this era is going to vary from what we’ve become used to since 2005.
There seems to be an early emphasis on the magic rather than the science yet
anchored by strong emotional storytelling.<span style="mso-spacerun: yes;">
</span>For the first time the Doctor and companion have essentially the same
background which should be interesting next season. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="line-height: 107%;"><o:p><span style="font-family: inherit;"> </span></o:p></span></p>
<p class="MsoNormal"><span style="line-height: 107%;"><o:p><span style="font-family: inherit;"> </span></o:p></span></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-51528044075137710292023-12-23T19:13:00.001+00:002023-12-23T19:13:37.560+00:00Top of the Pops - 22 December 1988<p> </p><p class="MsoNormal"><span style="font-family: inherit;"><b>Words: Chris
Arnsby<br /></b></span><span style="font-family: inherit;">Steve Wright:
“Hi!! Good evening!! To!! Radio One listeners!! And BBC1 viewers!! How are you
tonight!! I'm Steve Wright!! Here's Nicky Campbell!!”<br /></span><span style="font-family: inherit;">Nicky Campbell:
“A great show tonight. We've got Neneh Cherry. Kim Wilde. Jason and Kyie. We
start off tonight with a bunch of guys who've been in the business longer than
Steve Wright. It's The Four Tops.”</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">[15] FOUR
TOPS: loco in acapulco.</b><span style="font-family: inherit;">
One of those lighting in a bottle moments when the atmosphere in the studio
lifts a performance and makes it something great. The Four Tops are clearly
having a great time -they've come in specially from Detroit according to Steve
Wright- and they look impossibly sharp in their red suits, black shirts and
black shoes. I've got a soft spot for the second Top from the left. He looks
absolutely delighted to be there and he's really hamming it up. The best bit of
the performance comes in the instrumental. The four Tops scatter across the
stage to face different parts of the crowd and do their own thing, to whoops of
approval.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirnQVlazuEpbFKEBsEUQ259ipxRaK1Hdgdgz2fZiRuo3qclSbmxSxwOo9bnfyEaW1beJ3ggDrafxL6qE75BAyXqDw6og8Xc8IYL0lKOlgSoigasWXhQ7NnS3O88a9yrP5roZA9HAwbMEQqC6ENkuwJKBrz37rwaRoFb3o67vy8JN3IsqkgPMAqX8Z-afnV/s300/Loco_in_Acapulco.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirnQVlazuEpbFKEBsEUQ259ipxRaK1Hdgdgz2fZiRuo3qclSbmxSxwOo9bnfyEaW1beJ3ggDrafxL6qE75BAyXqDw6og8Xc8IYL0lKOlgSoigasWXhQ7NnS3O88a9yrP5roZA9HAwbMEQqC6ENkuwJKBrz37rwaRoFb3o67vy8JN3IsqkgPMAqX8Z-afnV/w400-h400/Loco_in_Acapulco.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p><p class="MsoNormal"><span></span></p><a name='more'></a><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;">Brian
Whitehouse takes the Produced and Directed By credit. Paul Ciani is away? He's
only been back one week. To be fair he's probably off preparing for the
Christmas Day special which airs three days after this one, at 2pm between <i>Eastenders</i>
and <i>HM The Queen</i>. The following week there's no <i>Top of the Pops </i>on
Thursday. There's a <i>Bros Specia</i>l at 7pm instead (Executive Produced by
Janet Street-Porter who apparently hasn't heard that Bros are over). Où est le <i>Top
des Pops</i>? C'est ici, Saturday 31/12/1988. Part of BBC1's New Years Eve line
up, at 17.20 between <i>The News </i>and <i>Bob's Full House</i>. It's a 70
minute special, also Produced and Directed by Paul Ciani, so I guess the poor
bloke deserves one day off at Christmas.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[20] A-HA:
you are the one.</b> A
sneaky pre-record. But can I work out when? Yes. I think so. It turns out
there's a surprisingly good clue provided by the neon tubes and lighting in the
area around the <i>Radio 1</i> logo; above the gap between the new Record
Needle stage and the main stage. It's lit differently for each recording and I
just need to find an earlier show that matches; in this case I'm looking for
red and blue neon tubes, plus the red neon round the <i>Radio 1 </i>logo is
turned on and the logo is dimly lit. Here we go. That matches 01/12/1988. In
this course of doing this I also worked out that Inner City's performance of
Goodlife (15/12/1988) was recorded as part of the 08/12/1988 studio. Although
in that case they tried to trick me by turning off the red neon around the <i>Radio
1</i> logo for Inner City and then turning it back on when Cliff Richard used
the same stage.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixyMHiSkZ0_mrbZXe6mhah3kxBgFB4xHsqVg97UCVFxK-0ixPcUV53m3TVJkm9oduOZlEw2EupZH3geJsX-Ud8bNtAN64e5aNp1T8k8A6OL80cAMhHh0axPDFz3sYLlSPhsyVcCC3LO00xhxoOKqTAD7ALI3FW8-gbAuoRN9-sgMtaqDmMXS3PRaAhJVOr/s906/you-are-the-one.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="906" data-original-width="906" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixyMHiSkZ0_mrbZXe6mhah3kxBgFB4xHsqVg97UCVFxK-0ixPcUV53m3TVJkm9oduOZlEw2EupZH3geJsX-Ud8bNtAN64e5aNp1T8k8A6OL80cAMhHh0axPDFz3sYLlSPhsyVcCC3LO00xhxoOKqTAD7ALI3FW8-gbAuoRN9-sgMtaqDmMXS3PRaAhJVOr/w400-h400/you-are-the-one.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 40 FROM
40 TO 31<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[19] KIM
WILDE: four letter word.</b>
It is love. Do you understand?<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>BREAKERS:</b> [28 <b>SHAKIN' STEVENS true love</b>];
[27 <b>FREIHEIT keeping the dream alive</b>].<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[13] NENEH
CHERRY: buffalo stance.</b>
Neneh is joined by two dancers who do an odd rag doll dance routine. </span><span style="font-family: inherit;">Neneh Cherry
was seven months pregnant at the time of this performance, follow up media
coverage appears to have viewed this through the frame of medieval medicine.
Wikipedia quotes the following exchange, “When asked by a reporter if it was
safe for her to go on stage and perform, Cherry answered: "Yes, of course!
It's not an illness.” Apparently the reporter was worried all that music would
make the child a carrier of the Strasbourg Dancing Plague.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxGigqxzDD_sAjz7X0o2IdDoOi5Hk57v9ukzwToTFM__75eYAxDuMuFzYLBq81hqgMeJYe8f5u1G1L_wiQx646jEZcM40aCQWFc9JTilDBzJzHzGtNcZUUqzw_WTS2tkRXKnMgrXAsdbOPnbAmnOGD8chd9VGaSg-srMGWxFI_c9WYO82_2fQS8wxXCDxF/s600/R-307491-1531058530-7094.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="525" data-original-width="600" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxGigqxzDD_sAjz7X0o2IdDoOi5Hk57v9ukzwToTFM__75eYAxDuMuFzYLBq81hqgMeJYe8f5u1G1L_wiQx646jEZcM40aCQWFc9JTilDBzJzHzGtNcZUUqzw_WTS2tkRXKnMgrXAsdbOPnbAmnOGD8chd9VGaSg-srMGWxFI_c9WYO82_2fQS8wxXCDxF/w400-h350/R-307491-1531058530-7094.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>TOP 40 FROM
30 TO 11. </b>Nicky
Campbell does a cod-German accent when the chart gets to Freiheit at <b>[27]<i>.
</i></b>Who had money on Steve Wright not being the most embarrassing host
tonight?<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 40 FROM
30 TO 11.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[2] KYLE MINOGUE
& JASON DONOVAN: especially for you. </b>Bletch.<b><span style="color: black;"><o:p></o:p></span></b></span></p>
<p class="MsoNormal"><b><span style="color: black;"><span style="font-family: inherit;">TOP
10.<o:p></o:p></span></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">[1]
CLIFF RICHARD: mistletoe & wine</span></b><span style="color: black;">. A repeat of the 08/12/1988 performance.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">[7]
STATUS QUO: burning bridges.</span></b><span style="color: black;"> Also a repeat from 08/12/1988.<b> </b>The Christmas Day <i>Top of
the Pops</i> will be hosted by Bruno Brookes, Anthea Turner, and Gary Davies,
not that Nicky Campbell or Steve Davis can be bothered to pass this information
on. I had to look it up myself.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: black;"><span style="font-family: inherit;">Here's
the question. How did <i>Top of the Pops </i>know the Christmas Day Number One?
Back in October 1987 Gallup changed to updating the charts on Sunday, and in
1988 Christmas Day was a Sunday. Would Gallup really rush compile the data on
Christmas Day for <i>Top of the Pops </i>to use at 2pm?<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><span style="color: black;">I
think there's some editorial slight of hand going on here. The Christmas <i>Top
of the Pops</i> clearly isn't live (no, really) and doesn't contain any charts.
When the programme gets to Cliff Bloody Richard, Gary Davies describes
Mistletoe and Wine as “our number one.” Not the UK's or this week's or the
Christmas Number one, but “our”. That's a fascinating weasel word to use. Was
that to be the fig-leaf coverage if the Gallup data later revealed Cliff not to
be the Christmas Number One? It didn't matter. He was*. Bah! Humbug!</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><span style="font-family: inherit;">*Also,
lazy Cliff Richard couldn't be bothered to turn up for the recording of the
Christmas Special. </span><i style="font-family: inherit;">Top of the Pops</i><span style="font-family: inherit;"> had to run the 08/12/1988 footage
again.</span></p>
<p class="MsoNormal"><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK:</b><span style="font-family: inherit;">
The Four Tops, Loco in Acapulco and Neneh Cherry, Buffalo Stance. Merry
Christmas.</span></p>
<p class="MsoNormal"><b><o:p><span style="font-family: inherit;"> </span></o:p></b></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com1tag:blogger.com,1999:blog-6170682027322091019.post-25588249577211075872023-12-18T21:56:00.001+00:002023-12-18T21:56:15.375+00:00What's with all the Nutcracker Soldiers? <p> </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><i>These Xmas decorations
are everywhere this year- but why</i>? <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p><span style="font-family: inherit;">The thing I’ve noticed
about 2023’s Xmas decorations is the ubiquitous presence of toy soldiers. Or to
give them their correct name Nutcracker Soldiers. They’ve always been about but
recently there seem to have been more and more of them till 2023 has seen an
explosion. They are everywhere! </span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">Every
shop selling decorations has had a lot of them. </span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">Why they have suddenly proliferated this year
is something of a festive mystery but they are available in all sizes from
several feet tall to small models. Over the past couple of months they’ve
rivalled Xmas trees in availability and the other day I saw a full size one
standing guard in the porch of a house. What is going on?</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgJRQDjAKWCf_u4KYRm2M7PExMKcjVFQx1TVc6frGSnkk3tm7Xp3QfMiiT378HPEIPHfu2B9vzu5zW2hlXKb3XjdjsZ2dSAzWzd1wyDqH-4XGtfi72T6o2seUiq9PKB_5nk8W1DF4sNzRw0HpPe7M6wztta6hZE1y53qpabMx1nms3J_GcdgSMwec1vtBY/s780/XEV283_BL-GOi_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="780" data-original-width="780" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgJRQDjAKWCf_u4KYRm2M7PExMKcjVFQx1TVc6frGSnkk3tm7Xp3QfMiiT378HPEIPHfu2B9vzu5zW2hlXKb3XjdjsZ2dSAzWzd1wyDqH-4XGtfi72T6o2seUiq9PKB_5nk8W1DF4sNzRw0HpPe7M6wztta6hZE1y53qpabMx1nms3J_GcdgSMwec1vtBY/w400-h400/XEV283_BL-GOi_4.jpg" width="400" /></a></span></div><span style="font-family: inherit;"><br /><span><a name='more'></a></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">If you don’t know the
ones I mean they are distinctively attired figures wearing a tall hat, usually
black and gold in colour with a symbol on it. Their uniforms are smart with
different breast plates, sashes and boots. Some of them are carrying an object
usually a long metal rod, a drum or a trumpet. Many of them also sport <span style="mso-spacerun: yes;"> </span>handlebar moustaches of a style not seen since
the heyday of Jimmy Edwards. They stand looking straight ahead, on guard. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">These figures originated
in German folklore where they were given as keepsakes and said to bring good
luck and protect homes from those evil Xmas weasels*. The idea of Nutcracker keepsakes
was not originally specifically for Xmas but could be given any time of the
year. </span><span style="font-family: inherit;">They weren’t even
always soldiers though and could be animals or other people. </span><span style="background-color: white;">The dolls themselves are first believed to have been made in the form with which we’re now familiar in the late Seventeenth Century and </span><span style="font-family: inherit;">became the most popular one due to the Nutcracker Suite ballet which was first
performed in 1882. In the story a character called Clara dreams about toy
soldiers coming to life with there being four different types- officers,
artillery, infantry and cavalry. In what seems like a somewhat out there tale she gets these soldiers along with the Nutcracker Prince to battle an invasion
of mice. Clearly there was something strong in the Bratwurst that year!</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;"><span style="background: white; color: black;"> </span>There are
a lot of Nutcracker Soldier variants around, enough for the Leavenworth NC Museum in Washington to house more
than four thousand exhibits. The come in various sizes, you can buy a six and a
half foot tall version to stand guard and probably terrify the local cats or
miniature versions to hang from a Xmas tree.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcG3A0-8nniR203vbHPBsJKz2S-cV1vcEv90iQNEguZFVPecX0G2JzgUrzvtHQH-5MhUEE1bMWCjurO5gBv71QE7yMlMgtHlhbYon9YgKi9sv-awKQyFZhzkYshQWb_75ifXDtFViY38R2hecjKgtAAkZ9pspfpj57BOnxpE3KXeFgy-w4mYryHKhuy3Eh/s2560/20211004_092833-scaled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2560" data-original-width="1920" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcG3A0-8nniR203vbHPBsJKz2S-cV1vcEv90iQNEguZFVPecX0G2JzgUrzvtHQH-5MhUEE1bMWCjurO5gBv71QE7yMlMgtHlhbYon9YgKi9sv-awKQyFZhzkYshQWb_75ifXDtFViY38R2hecjKgtAAkZ9pspfpj57BOnxpE3KXeFgy-w4mYryHKhuy3Eh/w300-h400/20211004_092833-scaled.jpg" width="300" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">Their popularity is
such that they could soon overtake those festive staples of Father Xmas and the
Snowman. Perhaps contemporary culture has become less comfortable with the
whole Father Xmas concept while the Snowman could be said to represent the sort
of weather most of us rarely experience these days. Those in the know about Xmas trends reckon
these soldiers are part of a wider demand for vintage items around the home, a
re-establishment of `classic` objects you may have found in homes decades ago. Well
flowery wallpaper has made a comeback so anything is possible. On the other
hand a decade back, it looked like garishly be-glittered reindeer were becoming
the prime decoration but after a few seasons of finding bits of the stuff<span style="mso-spacerun: yes;"> </span>everywhere people are probably seeking a less
labour intensive display.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">The big question though
is can you actually crack a nut with a Nutcracker soldier and the answer is No.
Well you might be able to but the modern ones are designed to be looked at only
and any attempt to use them to attack a nut is liable to damage it. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit;">*I might be making up
the xmas weasels btw. Or am I?</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><span style="font-family: inherit;"> </span></o:p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0tag:blogger.com,1999:blog-6170682027322091019.post-31345436747301437932023-12-17T18:55:00.000+00:002023-12-17T18:55:04.579+00:00Top of the Pops 8th and 15th December 1988<p> </p><p class="MsoNormal"><b><span style="font-family: inherit;">Words: Chris
Arnsby<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>08/12/1988</b> <br />
Nicky Campbell: “Good evening and welcome to Top of the Pops. We are on Radio
1, in FM of course. We've got a show absolutely awash with talent tonight,
Kylie and Jason, Angry Anderson, Cliff Richard, and of course, Caron Keating.”<br /></span><span style="font-family: inherit;">Caron Keating:
“What a charmer. We're starting off with something for all you rockers. Status
Quo and Burning Bridges.”</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">[20] STATUS
QUO: burning bridges</b><span style="font-family: inherit;">.
Oh goodie. A Status Quo song. I hope it's the one that goes
dun-der-dun-der-dun-der-dun-der-dun. </span><span style="font-family: inherit;">It is!
Wikipedia tells me the song is actually called Burning Bridges (On and Off and
On Again). That's probably too long for the caption generator. Also, the single
has a picture of Mike Tyson on the cover. No one knows why.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYMj_6gkSGdlxbsUpsz231VQG_hOg5skmIvwFESDab5rsR4TjmwdWF_yBN7lrq3H4JbkYZx2w22b7BbDSWSku-ZOq9KAGN41y3Era1rQacAQv3cIlXyUz1swOPhlMlM_XNWbLusaI8tvsHN79151l2isYGEakSDn65bUZgsokdToPKeBuvbUURm3z-xmM0/s325/Burning_Bridges_(On_and_Off_and_On_Again)_by_Status_Quo_UK_vinyl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="323" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYMj_6gkSGdlxbsUpsz231VQG_hOg5skmIvwFESDab5rsR4TjmwdWF_yBN7lrq3H4JbkYZx2w22b7BbDSWSku-ZOq9KAGN41y3Era1rQacAQv3cIlXyUz1swOPhlMlM_XNWbLusaI8tvsHN79151l2isYGEakSDn65bUZgsokdToPKeBuvbUURm3z-xmM0/w398-h400/Burning_Bridges_(On_and_Off_and_On_Again)_by_Status_Quo_UK_vinyl.jpg" width="398" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p><p class="MsoNormal"><span></span></p><a name='more'></a><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 40 FROM
40 TO 31<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[3] ANGRY
ANDERSON: suddenly</b>.
Less suddenly than you might think. Since last week the song has leapt up from <b>[16]</b>
but its rise outside the Top 30 was more gradual. In at<b> [51]</b> on the
chart for the week of 19/11/1988 and up to <b>[33] </b>the week after. It's
more or less gone up 16 places each week for the last month. Compare that to
Mistletoe and Wine by </span><span style="font-family: inherit;">Saint Cliff
which entered the charts last week at </span><b style="font-family: inherit;">[7]</b><span style="font-family: inherit;"> and is now the new Number 1
(spoilers for, I dunno, further down the page I guess).</span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Will Angry
challenge Cliff for the Christmas Number 1? Will it be Kylie and Jason, who
have leapt Bros-like into the <b>[2] </b>spot this week? It won't be Bros who,
oh dear, have been gently lowered down the charts from <b>[2] </b>to <b>[3]. </b>I'm
calling it. You read it here first. Bros are over!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">The studio
looks lovely. The crowd have been carefully lined up to make the studio look
full, and they've been encouraged to wave their arms about their heads, and the
luckiest of all have been issued with pre-Christmas tinsel. Martin Kisner uses
the lights to colour the studio in shades of deep blue and purple and makes
Anderson stand out with a single white spotlight. Basically, everything's great
except for the song which is turgid. </span><span style="font-family: inherit;">Angry Anderson
doesn't seem very angry. Maybe he's jet-lagged. He's decided to “sing” without
a microphone so he could be angry about miming, or possibly the way Vision
Mixer Hilary Briegel occasionally cross-fades to footage from the relevant
episode of </span><i style="font-family: inherit;">Neighbours. </i></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisahjv-Ji85G0oMrC6Dp0UcjyblY83TcGkUydmHa3DsCPRWS62psrKVFcPJ7QIHREo9sQ9JMYoCXz6VeWXl66ZC2mN8hezB_nvxHdegbCrS0nP4R3mWtwZOQqpAYjX3xNzdt-D9eOWj1n9SMKmTCgeTZgaJyNg9Rc5kBQcHRb74ILnLP4u8oQqTHgckBdu/s300/R-2902286-1306441854.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisahjv-Ji85G0oMrC6Dp0UcjyblY83TcGkUydmHa3DsCPRWS62psrKVFcPJ7QIHREo9sQ9JMYoCXz6VeWXl66ZC2mN8hezB_nvxHdegbCrS0nP4R3mWtwZOQqpAYjX3xNzdt-D9eOWj1n9SMKmTCgeTZgaJyNg9Rc5kBQcHRb74ILnLP4u8oQqTHgckBdu/w400-h400/R-2902286-1306441854.jpg" width="400" /></a></div><br /><i style="font-family: inherit;"><br /></i><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>BREAKERS:</b> [24 <b>PETULA CLARK downtown '88</b>];
[23 <b>NEW ORDER fine time</b>]; [22 <b>INNER CITY good life</b>]; [7 <b>ERASURE
stop</b>]<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[6] PHIL
COLLINS: two hearts. </b>On
film, I think. Presumably to stop the clips from <i>Buster</i> from looking odd
next to other bits on video.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 40 FROM
40 TO 31.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[2] KLIE
MINOGUE & JASON DONOVAN: especially for you. </b>On video.<b><span style="color: black;"><o:p></o:p></span></b></span></p>
<p class="MsoNormal"><b><span style="color: black;"><span style="font-family: inherit;">TOP
10.<o:p></o:p></span></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">[1]
CLIFF RICHARD: mistletoe & wine</span></b><span style="color: black;">. Brian Whitehouse has done his best but he's limited in what he
can do with the flurry of dismal songs that have leapt to the top of the
charts. I'm not angry at December 1988, just disappointed. </span></span><span style="font-family: inherit;">Imagine
if you'd come to watch this episode being recorded; Status Quo, Angry Anderson,
and Cliff Richard. What a disappointment. </span><span style="font-family: inherit;">In
the absence of anything else worth doing, the crowd sway from side to side as
they did for Angry Anderson. Their arms will be killing them in the morning.</span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">[15]
BANANARAMA: nathan jones</span></b><span style="color: black;">. <i>Top of the Pops </i>reverts (slightly) to the old format.
After the excitement of last week's credits being run over a new studio
performance, the programme reverts to using a repeat performance; it's
Bananarama from the 24/11/1988 edition.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><span style="color: black;">Mark
Goodier and Gary Davies next week.</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p><b style="font-family: inherit;">PERFORMANCE
OF THE WEEK:</b><span style="font-family: inherit;">
No one. Bilge!</span></p>
<p class="MsoNormal"><b><o:p><span style="font-family: inherit;"> </span></o:p></b><span style="font-family: inherit;"><b>15/12/1988<br /></b></span><span style="font-family: inherit;">Gary Davies:
“Hello. Good evening. Welcome to another Top of the Pops. Knockout programme we
have for you tonight. In the studio we have Erasure, Inner City, Petula Clarke,
and New Order.”<br /></span><span style="font-family: inherit;">Mark Goodier:
“Sure. And we start off tonight with Bon Jovi, who have just done some
brilliant UK gigs. Here's Born To Be My Baby.”<br /></span><span style="font-family: inherit;">Gary Davies:
“Yeaah! Woo!”</span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWTmBszeKMWafZ60NlSQ9ONMenw1OMUP8eERsVTEeSFYCQuG_I__AD-j_TpnY4z4Iv47lQKwSRJH3hzSdYIi382ntSX0wF22jqFnMDUWfA4go2e-U7GE0VL0v44B5z4IDHdd9z22TqwjQKLR23PA-g5mhu1NjYXEVmpiGvZ26jINX5OQHlt_KdMrt6ESKz/s300/R-6116829-1547826657-1775.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWTmBszeKMWafZ60NlSQ9ONMenw1OMUP8eERsVTEeSFYCQuG_I__AD-j_TpnY4z4Iv47lQKwSRJH3hzSdYIi382ntSX0wF22jqFnMDUWfA4go2e-U7GE0VL0v44B5z4IDHdd9z22TqwjQKLR23PA-g5mhu1NjYXEVmpiGvZ26jINX5OQHlt_KdMrt6ESKz/w400-h400/R-6116829-1547826657-1775.jpg" width="400" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[22] BON
JOVI: born to be my baby. </b>The
first camera shot of the programme is at an awkward 45 degree angle to the
hosts and selected audience members. Then, rather than tracking round as you
might expect, it zooms in. All is revealed after Bon Jovi has been introduced
and the camera sweeps back. Everyone on screen has been set up on the two steps
at the back of the main stage right behind Bon Jovi's keyboard player, there's
very little room for manoeuvrer.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Jon Bon Jovi is
wearing a Guardian Angels t-shirt. You never get a good look at it on camera
but the internet reveals an odd Freemason-eque design; the all-seeing-eye in a
pyramid, resting on a shield with wings coming out of the sides that are
lifting the pyramid above the clouds. Unpack the symbology of that. I did and
now I'm the legal guardian of the Mona Lisa. The Guardian Angels were a New
York vigilante group. They opened a London... branch? wing? lodge? ... whatever
in May 1989 and I remember the media's inevitable why-oh-why hand wringing in
response that followed.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">The back of the
main stage has been given a low level redesign. There are banks of monitors
placed in the rear corner, fed with pictures from the studio cameras.
Previously these monitors were arranged in a step pattern, 1, 2, 3, 3, 2, 1
(all right settle down William Oughtred). Someone has looked sensibly at this
arrangement and realised it means the monitors are often blocked from view
because the ones in the centre tend to be behind people and those at the sides
are too low. The pattern is now 3,3,1,1,3,3, with the middle pair sitting on a
metal frame. The monitors are now more visible and the effect is of a much more
impressive wall of screens.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[13] PETULA
CLARK: downtown 88.</b>
Petula Clark gets a pass, but everyone else involved in this should be
thoroughly ashamed. </span><span style="font-family: inherit;">Petula Clark is
on the new stage, the one with the big stainless steel cylinder tapering down
to a point at the bottom. The stage debuted on 24/11/1988 and I've only just
realised the big shiny thing is supposed to be the needle of a record player,
with the circular stage design representing a single.</span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 40 FROM
40 TO 31<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[10] U2:
angel of harlem. </b>On
video, cut short after two minutes.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIsjU8AxhCv_FFY5f8HFPhbOmG1Uz3n4OMlTQJjsX71Xgz4JXYcI3O4u4sfbqvXtpvmq9oFk-X3UMfFk8_GaOB3qZn71Jaj1TJhSauFzjUdVUp428ar0mBKjlGi0BIe33HHrp-XBzIjTRP-_aIJimqomCHnwn2JdF7E10I-EpMEamlFUb54fkMDzM-ea1-/s600/R-95953-1272296934.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIsjU8AxhCv_FFY5f8HFPhbOmG1Uz3n4OMlTQJjsX71Xgz4JXYcI3O4u4sfbqvXtpvmq9oFk-X3UMfFk8_GaOB3qZn71Jaj1TJhSauFzjUdVUp428ar0mBKjlGi0BIe33HHrp-XBzIjTRP-_aIJimqomCHnwn2JdF7E10I-EpMEamlFUb54fkMDzM-ea1-/w400-h400/R-95953-1272296934.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[15] NEW
ORDER: fine time. </b>New
Order have brought their Apple Mac onstage. Futuristic electronic music! The
Mac gets a big closeup, one more than base player Peter Hook.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">One of the
camera operators gets a brilliant side profile of Bernard Sumner. The
background is in soft focus, so you can only make out the shapes of the
flashing neon lights and the audience dancing behind him. It looks amazing.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span style="font-family: inherit;">TOP 40 FROM
30 TO 11.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[4] ERASURE:
stop. </b>The Top 10 has
congealed. It's pretty much stuck as it will be until the end of the year.
Cliff Richard at <b>[1], </b>everyone is buying his single as a present for
that aunt they only see once a year. Kylie and Jason fans will keep Especially
For You at <b>[2]</b>, while the <i>Neighbours </i>fans, not necessarily the
same demographic, will keep Angry Anderson in the top five.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Here's the song
that should have been the Christmas 1988 Number 1. Not Cliff Richards' rotten
Middletoe and Whine. Stop is at <b>[4] </b>this week and it will swap places
with Angry Anderson before being stalling at <b>[3]</b>, unable to outsell the
Richards/Minogue/Donovan axis.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">Vision Mixer
Carol Abbott has tremendous fun, hitting the freeze-frame button every time
Andy Bell sings “Stop!” (Actually she misses a couple, but who's counting). In
fact everyone is clearly having a great time (with the obvious exception of
Vince Clarke who gazes across the audience with an expression resembling Zeus
in the opening titles of <i>Ulysses 31). </i>Andy Bell gets to play with some
bells for the ringing bit in the middle, Martin Kisner Lights Andy Bell in
rainbow colours and Paul Ciani (he's back!) keeps the whole thing moving
nicely.<b><o:p></o:p></b></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlwbiuYlJ9erzsLTa8fW0QY6dChOH-h0x009h2blkU2KCfHDlEWEh-mP2C-sPQzK_dMf8TcFRBfOXxum-WFSmjqMKcv5btGSqp0a2fsU7NCv7cK5IsP-kEzkpPR8IjqvPbHVM7Yqb7xFg4pP4lD68NGcWAUCmtR3Y-6OlCcpiIUgeLgV3KiggvLvh0_B-M/s500/artworks-000007875274-nx915x-t500x500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlwbiuYlJ9erzsLTa8fW0QY6dChOH-h0x009h2blkU2KCfHDlEWEh-mP2C-sPQzK_dMf8TcFRBfOXxum-WFSmjqMKcv5btGSqp0a2fsU7NCv7cK5IsP-kEzkpPR8IjqvPbHVM7Yqb7xFg4pP4lD68NGcWAUCmtR3Y-6OlCcpiIUgeLgV3KiggvLvh0_B-M/w400-h400/artworks-000007875274-nx915x-t500x500.jpg" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>BREAKERS:</b> [23 <b>FOUR TOPS loco in acapulco</b>];
[28 <b>KIM WILDE four letter word</b>]; [29 <b>LONDONBEAT 9 a.m.</b>]<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b>[6] INNER
CITY good life</b>. Singer
Paris Grey dances like Andy Bell, trying to take up as much of the stage as
possible. <b><span style="color: black;"><o:p></o:p></span></b></span></p>
<p class="MsoNormal"><b><span style="color: black;"><span style="font-family: inherit;">TOP
10.<o:p></o:p></span></span></b></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">[1]
CLIFF RICHARD: mistletoe & wine</span></b><span style="color: black;">. On video.<b><o:p></o:p></b></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">[25]
A-HA: you are the one. </span></b><span style="color: black;">Steve Wright and Nicky Campbell next week for the pre-Christmas
show. I knew I shouldn't have been naughty.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><span style="color: black;">Surprise!
Mark Goodier has brought Gary Davies an “ooh Gary Davis cake from everybody at
Top of the Pops.” No one can see it Mark. This is why rehearsals are important.
<br />
a-ha are on video.</span><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRuOYNQRw0MLwXkw3c_n5KQpBVzpxJA3P2zz6EHEOr6Qs8MHJByoeTkEIbC2y-flZ2JWLBNNqleQc1x-UJjhFNZEnzHH9Pg7-26tJsBdqZ8yMf1yPABhGJFAaDcbI96Uw2sGLTQVCrdhh6zMGvIaGG0WuXsaa9U9JmCn3dgz-opAj5xFYctXwvHQyJdoHb/s960/vlcsnap-2023-12-17-10h40m46s766.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRuOYNQRw0MLwXkw3c_n5KQpBVzpxJA3P2zz6EHEOr6Qs8MHJByoeTkEIbC2y-flZ2JWLBNNqleQc1x-UJjhFNZEnzHH9Pg7-26tJsBdqZ8yMf1yPABhGJFAaDcbI96Uw2sGLTQVCrdhh6zMGvIaGG0WuXsaa9U9JmCn3dgz-opAj5xFYctXwvHQyJdoHb/w400-h300/vlcsnap-2023-12-17-10h40m46s766.jpg" width="400" /></a></span></div><span style="font-family: inherit;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: black;">PERFORMANCE
OF THE WEEK:</span></b><span style="color: black;">
Erasure, Stop.</span></span><o:p></o:p></p>John Connorshttp://www.blogger.com/profile/16168072529186067346noreply@blogger.com0