Hal Fischer didn’t realise he was making history when he took the pictures that appear in Gay Semiotics a什么棋牌能捕鱼提现金nd Other Works, which opens at the Gallery of Modern Art in Glasgow next month. He was too busy living through it. As a gay man in his twenties, who breezed into a post-hippy but still sexually liberated San Francisco in 1975 to study photography, he embraced the scene he landed in with relish.
This comes across in the twenty-four photographs that make up Gay Semiotics, which, on one level, capture an array of cock-sure young men who look like they’ve stepped straight from the pages of Armistead Maupin’s Tales of the City stories then being serialised in the San Francisco Chronicle newspaper.
Taking things further, as the title of the series hints at, each image is accompanied by a text that explains its pictorial iconography with deadpan pseudo-seriousness. The effect is of an in-crowd pastiche of some socio-anthropological textbook that might just allow straight society to get a handle on the signs and signifiers of a wild life elsewhere.
This includes identifying the meaning of how a set of keys or an earring dangles, or which denim butt-cheek pocket a particular coloured handkerchief should hang from to indicate a sub/dom preference in a world of mustachioed clones. The result is a gleeful portrait of what, in a post-Stonewall, pre-AIDS era, was both a more innocent and more liberated time for gay men.]]>
Level 42 have announced they will embark on a UK wide tour in 2020. Tickets for all shows are available at 10am on Fri 25 Oct.
Level 42 formed back in 1979 and went on to have a string of successful worldwide hits in the 80s and 90s. The group’s most known hits ‘Lessons in Love’ peaked at No. 3 in the UK and was ranked in the Top 10 music charts in thirteen countries, making it to No.1 in Spain and South Africa.
From their 1981 self-titled debut, to 2006’s Retroglide the band have released eleven studio albums. In 2020, members Mark King, Mike Lindup, Nathan King, Pete Ray Biggin, Sean Freeman, Nichol Thomson and Dan Carpenter return to touring the UK.
Level 42 2020 tour dates:
Wed 7 Oct – Royal Concert Hall, Glasgow
Thu 8 Oct – Aberdeen Music Hall
Sat 10 Oct – Newcastle City Hall
Sun 11 Oct – Bridgewater Hall, Manchester
Mon 12 Oct – Bonus Arena, Hull
Tue 13 Oct – York Barbican
Thu 15 Oct – Victoria Hall, Stoke
Fri 16 Oct – Royal Concert Hall, Nottingham
Sat 17 Oct – Liverpool Philharmonic Hall
Sun 18 Oct – Sheffield City Hall
Mon 19 Oct – Blackpool Opera House
Tue 20 Oct – Birmingham Symphony Hall
Thu 22 Oct – Royal Albert Hall, London
Fri 23 Oct – Cheltenham Town Hall
Sat 24 Oct – Bath Forum
Mon 26 Oct – St David’s Hall, Cardiff
Tue 27 Oct – Hexagon, Reading
Wed 28 Oct – Cambridge Corn Exchange
Fri 30 Oct – Winter Gardens, Margate
Sat 31 Oct – De La Warr Pavilion, Bexhill
Sun 1 Nov – Mayflower Theatre Southampton
Mon 2 Nov – Bournemouth Pav现金电玩城捕鱼游戏大全ilion Theatre, Bournemouth
Tue 3 Nov – Regent Theatre, Ipswich
Wed 4 Nov – Cliffs Pavilion, Southend On Sea
Tickets for Level 42’s 2020 tour go on sale at 10am on Fri 25 Oct.]]>
Ronnie Wood has announced he will take his new show Mad Lad: A Live Tribute to Chuck Berry to Manchester Wed 27 Nov following shows in London and Birmingham. Tickets for the newly announced show are available at 10am on Fri 25 Oct.
The Rolling Stones guitarist has been working on a new solo project, covering rock legend Chuck Berry’s best hits. On top of achieving worldwide fame with The Rolling Stones, Ronnie Wood has been a successful solo artist since the 70s. He has released seven solo albums, including 2010’s I Feel Like Playing.
His latest project supports the new release of Mad Lad: A Live Tribute to Chuck Berry. The record is available for pre-order now and due for release on Fri 15 Nov ahead of the live shows.
Ronnie Wood tour dates 2019:
Thu 21 Nov – O2 Shepherds Bush Empire, London (SOLD OUT)
Mon 25 Nov – Birmingham Symphony Hall
Wed 27 Nov – Manchester Opera House
Tickets for Ronnie Wood at the Manchester Opera H捕鱼王赢现金ouse are available at 10am on Fri 25 Oct.]]>
David Essex has announced he will head out on an 18-date tour of the UK throughout October 2020. Tickets for all shows go on sale at 10am on Fri 25 Oct.
The Grammy-nominated singer, composer and actor will perform music from his extensive body of work. Across 33 albums he has attained 19 Top 40 singles in the UK, including No.1 hits ‘Gonna Make You a Star’ in 1974 and ‘Hold Me Close’ in 1975. David Essex’s legendary single ‘Rock On’ was certified gold and nominated for a Grammy in 1974.
Alongside his prolific music career, Essex has starred in multiple musicals such as The W捕鱼大师现金版苹果ar of the Worlds, Mutiny!, Evita and Boogie Nights 2. Now he takes to the road to perform hits from his five-decade-long career.
The tour kicks off on Fri 2 Oct at Cliffs Pavilion in Southend before shows in Oxford, Nottingham, Liverpool, Glasgow and more. The tour comes to an end on Sun 25 Oct at Southampton’s Mayflower.
David Essex 2020 UK tour dates:
Fri 2 Oct – Cliffs Pavilion, Southend
Sat 3 Oct – Regent Theatre, Ipswich
Sun 4 Oct – New Theatre, Oxford
Tue 6 Oct – Venue Cymru Theatre, Llandudno
Wed 7 Oct – Royal Concert Hall, Nottingham
Fri 9 Oct – Birmingham Symphony Hall
Sat 10 Oct – Liverpool Philharmonic Hall, Liverpool
Sun 11 Oct – The Lowry, Salford
Tue 13 Oct – Glasgow Royal Concert Hall, Glasgow
Wed 14 Oct – O2 City Hall, Newcastle
Fri 16 Oct – City Hall, Sheffield
Sat 17 Oct – Brighton Centre, Brighton
Mon 19 Oct – St Davids Hall, Cardiff
Tue 20 Oct – London Palladium, London
Wed 21 Oct – De Montfort Hall, Leicester
Fri 23 Oct – Bath Forum, Bath
Sat 24 Oct – Bournemouth International Centre
Sun 25 Oct – Southampton Mayflower
Tickets for David Essex’s 2020 UK tour are available at 10am on Fri 25 Oct.]]>
As he treks around the UK atop his Paddy Crazy Horse before launching into 2020 with a brand new puntabulous show entitled Tomfoolery, passionate and intelligent Irish stand-up Tommy Tiernan continues to amuse and amaze audiences. Here, he chats about comedy as an artform, our increasingly censorious times, and why you should never berate the audience.
You’ve always been someone who’s open to influences other than comedic when putting together your shows. What has been inspiring you lately?
Last night after the show and prob after a few glasses of whisky as well, I was listening to someone reading ‘The Wasteland’ by TS Eliot, and a 1959 recording of Allen Ginsberg reading ‘Howl’ in 免费送分捕鱼对现金a café in San Francisco. All this stuff is available now. I’m constantly being made aware of the possibilities and the promise of what can happen with the spoken word and an audience. So even when I think I need to get out of this job because it’s not doing me any favours, five or six hours later I’ll be thinking ‘well, I wonder if I could try this thing?’
Do you view stand-up comedy as high or low art?
If it’s an artform, it’s not a perfect one: it’s not classical music or opera. It’s such a rough and tumble affair that you’re bound to be fumbling half the time. And it’s so organic because in a sense you can only go where the audience will bring you. I check my own state before I go on, and if I don’t feel particularly inventive, I’ll realise that this is the night when you have to rely on the script, so just relax into that and let it take the pressure off you. And on the nights when you do feel inventive, the script is the trampoline to get you into that space.
Some comedians might blame the audience if things aren’t going well. Can that ever be a good idea?
I have done that myself but what happens there is that your antennae are so heightened. That kind of self-reflective commentary can sometimes work in stand-up, and you can use it as a ploy. Bob Dylan once said that you should never talk to the audience because maybe they don’t want to be there. When the comic starts commenting on how the gig is going, you’re qualifying the experience for the audience and they don’t need that.
You’ve said a few things down the years that have got you into trouble, mainly with religious groups. But do you think these times are increasingly more censorious for stand-up comedians?
Lenny Bruce was getting in trouble in mid-60s America, though that time might not be the proper image of freedom. My sense of it is that these times are conservative, but there are good intentions within the conservatism. I’d almost suggest that we live in times that are anti-diversity. Instead of diversity being celebrated and enjoyed, it’s almost like let’s not mention it and let’s pretend that we’re all the same. Of course, beneath nationality, beneath gender, beneath religion and race, we are the same. But there are enjoyable differences that we should be able to talk about. What has happened in American stand-up now is that people are being congratulated on their opinions rather than for being funny. I listen to some American stand-up and I think, ‘where’s the joke?’ But for all the people who are self-congratulatory opinion-holders, of which I was once one, there’s some great stuff out there, like Jim Gaffigan, Maria Bamford and Doug Stanhope. But it’s like anything: if you ask a harp player about the state of harping …
You’ve done shows that are totally improvised, and even in your scripted shows you seem open to dealing with the atmosphere and events happening in the room. Is it preferable to be a little bit out of control?
If you’re in total control then nothing exciting can happen, because you’ve already decided before you go on what’s going to happen. A friend of mine gave me some great advice: get ready for the gig, but as soon as you walk on stage, abandon all preparation. Just be as open as you possibly can.
Paddy Crazy Horse is on tour until Sunday 3 November; Tomfoolery runs from Tuesday 3–Saturday 21 March.]]>
A portable projector which will put a fireworks display on the walls of your room. The device comes complete with sound effects for a touch more realism.
Avoid standing in the cold with this assorted pack of 25 fireworks specifically designed for use inside, with eight intriguing effects promised (including ‘Puff the Magic Dragon’ and ‘Disco Inferno’).
Stamp on the pressure pad and see how high you can launch these air rockets — up to 400 feet so best used outdoors.
Foot-powered fun with no batteries required.
Make sure the action on the ground is just as memorable with these magical sachets that change the colour of fire. The multicoloured fires last up to 40 minutes and your kids will think you’re cooler than Harry Potter.
Who doesn’t want 100 multicoloured neon glow sticks that last up to 12 hours?
No Bonfire Night is complete without sparklers, especially not 18 inch monsters that burn for over a minute and a half. Remember to only use these ones outside.
Perfect for a more peaceful celebration, these paper lanterns are flame proof ensuring no unexpected accidents in the night and made from biodegradable materials so that the en赢钱的捕鱼可以提现金vironment is not harmed. Please note these are definitely not toys and should be used by adults only.
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Kasabian have announced a massive hometown show for 2020. The band will perform at Leicester’s Victoria Park on 20 June to mark the six years since their triumphant first show at the venue. Tickets for the show are available at 9am on Fri 25 Oct.
The group have been working on new music for some time and announce the show as their first since headlining Isle of Wight festival and performing in London in 2018. Since forming in 1997, Kasabian have topped the UK album charts with five studio albums, bagged a Brit award, seven NME awards, four Q Awards and have headlined Glastonbury Festival, V Festival, T in the Park, Reading and Leeds Festival and numerous festivals worldwide.
Membe捕鱼赢现金红rs Serge Pizzorno, Tom Meighan, bassist Chris Edwards, drummer Ian Matthews and guitarist Tim Carter return to perform in Leicester next summer. Support for the show comes from Sam Fender, Easy Life and Inhaler.
Speaking of the show, Serge said: ‘We’re absolutely buzzing to be able to put on Solstice II in our home town of Leicester. Anyone who came last time would know how special it was and to get the opportunity to do it again is beyond a dream’.
Kasabian perform at Victoria Park in Leicester on Sat 20 Jun 2020. Tickets for the show are available at 9am on Fri 25 Oct.]]>
There’s a celebratory feel to Hot Chip’s set tonight. The fabled ballroom floor has an extra spring, pounded relentlessly by a Glasgow audience that’s in perpetual motion for the duration. Why so special? Underrated cult favourites tour in support of their well-received but not especially hip seventh album. Devoted fans turn out in force, casual fans are won over, everyone goes home (or to the Subby) happy and the world keeps turning. To reduce such a jubilant occasion to this dry analysis would be to eliminate the romance from the performance and miss the essence of what makes popular music such an important thing – in short, an absolute sin.
Times are hard, turbulent and unce最新10元起捕鱼现金版rtain, the country never more divided. Hot Chip are a shot in the arm tonight, a technicolour adrenaline rush that’s a reminder of the privilege of enjoying music, the togetherness, the escapism, the community. It’s all there in ‘Melody of Love’, which asks ‘do you have faith to feel in this world?’, before offering a consoling arm round the shoulder. ‘All you need is here, it’s moving in the air / All you need to hear, beyond this blue despair’.
Tonight’s set focuses on the aforementioned new record, which forms the backbone of the night without dominating proceedings. ‘Hungry Child’ grows into a first-class floor filler, ‘Spell’ bewitches with a vocoder call-and-response and, fleshed out with live drums and a throbbing baseline, ‘Positive’ is one of the standout tracks of the night, a plea for unity, understanding and compassion set to a classic disco tune.
The remainder is testament to Hot Chip’s enduring back catalogue (only debut album Coming on Strong isn’t represented). ‘Huarache Lights’ is a majestic opening track, its ominous call to ‘replace us with the things that do the job better’ made to look ridiculous by the band’s skill and humanity. The swaggering ‘Flutes’ gets a rapturous reception, with Owen Clarke (who’s a turbo charged, strutting presence throughout), Al Doyle (in a fetching, wide brimmed hat) and Rob Smoughton (who covers every inch of the stage) joining Alexis Taylor in a choreographed routine that’s an infectious piece of simple showmanship – this must be a rather enjoyable band to be part of. ‘And I Was A Boy From School’ gets a massive singalong too, Joe Goddard taking a well-earned swig of his Buckfast at its climax.
The night should peak with the pre-encore run of ‘Over and Over’, ‘Melody of Love’ and ‘Ready For The Floor’, but the band emerge for one last hurrah – a riotous version of the Beastie Boy’s ‘Sabotage’ and the euphoric closer ‘I Feel Better’. A flawless show from one of Britain’s greatest modern bands, and a hell of a Saturday night.]]>
Is it OK to like The King and I? Let’s hope so, because this lavish production is extremely likeable.
Set in Siam (now Thailand) in 1860, the musical is not without its political and cultural sensitivities. A forward-thinking, liberal English teacher takes up a position with the Siamese royal family, and essentially teaches them the error of their backward-thinking, eastern, misogynist ways. Hmmm.
At least now the lead role of the King of Siam is played by an Asian actor (unlike Yul Bryner in the film and early theatrical productions), and the introduction of Act Two opening number ‘Western People Funny’ (dropped from the film) offers something of a counterbalance.
Because western people are indeed funny, with their big hooped skirts, uncomfortable shoes, pinned up hair and make-up – something the King’s wives are quick to point out when they’re asked to dress European for a night. But there is plenty of wit of another kind, with The King and I bringing home many more laughs than your average musical.
Annalene Beechey as school teacher Anna Leonowens is an absolute joy. Strong of voice and will, yet gentle of spirit and in complete control of the 40-metre wide, 40lbs dress she swings round the stage during ‘Shall We Dance?’. The way she and the equally strong Jose Llana as the King of Siam play around with language has the crowd eating out of their palms.
Meanwhile, Paulina Yeung and Ethan Le Phong as would-be lovers Lun Tha and Tuptim take us into their hearts with powerful vocals and a real sense of longing. And the King’s children are, as expected, utterly adorable and well worth getting to know.
No expense has been spared on this production – the ornate head gear alone covers your ticket price. Opulent, perfectly executed and a feast for the eyes, The King and I may hark back to a different era but its capacity to entertain hasn’t diminished one bit.
Reviewed at Edinburgh Playhouse. Currently touring until April 2020.]]>
Steven Wilson has announced he will perform live at the Motorpoint Arena in Nottingham on Thu 17 Sep 2020 and The O2 Arena in London on Sat 19 Sep 2020. Tickets for the shows are available at 10am on Fri 25 Oct.
Steven Wilson is best known as the founder, lead guitarist, lead vocalist and songwriter of the prog-rock band Porcupine注册送6元体验金币的现金捕鱼 Tree. Since his first solo album Insurgentes in 2008 Wilson has been a successful solo artist with a discography five records deep.
His last solo album To The Bone came out in 2017, just one achievement in his three-decade career. Wilson is one of the UK’s most prolific prog-rock artists, earning critical acclaim during his time in Porcupine Tree and collaborative band Storm Corrosion.
Steven Wilson’s musical honours include four Grammy Award nominations and, in 2015, he received three awards at the Progressive Music Awards in London for his services to the genre, where he was crowned ‘the king of prog rock’. Hear the king live and loud in Nottingham and London next September as part of The Future Bites tour.
Steven Wilson 2020 UK shows:
Thu 17 Sep – Motorpoint Arena, Nottingham
Sat 19 Sep – The O2 Arena, London
Tickets for Steven Wilson’s Nottingham and London shows go on sale at 10am on Fri 25 Oct.]]>