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ronnydeschepper · 3 months

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Vijftig jaar geleden: "Journey to the centre of the earth" (Rick Wakeman)

Journey to the Centre of the Earth, het derde album van Rick Wakeman, werd live opgenomen tijdens het tweede concert op 18 januari 1974 in de Royal Festival Hall in Londen. Continue reading Untitled

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#David Hemmings #David Measham #Jules Verne #Justin Hayward #Michael Doud #Ozzy Osbourne #Patrick Stewart #Rick Wakeman

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lesser-known-composers · 1 year

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Wilfred Josephs - Symphony No. 5, Op. 75 "Pastoral": III. Adagio ·

Adelaide Symphony Orchestra · · David Measham

#Wilfred Josephs #Youtube

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littlequeenies · 2 years

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December 1973 - Press photo of different artists for live orchestral version of The Who's 'Tommy' staged at London's Rainbow Theatre.

Front row (L-R): Marsha Hunt, Elkie Brooks, Merry Clayton & Richie Haven. Back row (L-R): John Pertwee, David Essex, Roger Chapman, Bill Oddie, Ronnie Charles & Roy Wood.

This Tommy version was recorded with the London Symphony Orchestra and the English Chamber Choir conducted by David Measham, with guest soloist appearances by Roger Daltrey, David Essex, Roger Chapman, Elkie Brooks, Graham Bell, Marsha Hunt, L'Anglo Mysterioso (George Harrison), Merry Clayton, John Pertwee, Roy Wood, Vivian Stanshall and Billie Oddie. [source] 🌟Very special thanks to Kim Robinson for id some of the people from the photo.🌟 Ebay.

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vinyl-pussycat-records · 1 month

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Rick Wakeman - Journey To The Centre Of The Earth (Audiophile)

Mobile Fidelity Sound Lab – MFSL 1-230, Vinyl, LP, Album, Limited Edition, Remastered, 1995 US Audiophile Pressing Side 1. 1. The Journey 2. Recollection Side 2. 1. The Battle 2. The Forest Credits: Arranged By [Orchestra And Choir] – Danny Beckerman, Wil Malone Art Direction – Michael Doud Bass – Roger Newell Choir – The English Chamber Choir Conductor [Orchestra And Choir] – David Measham Crew…

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jcmarchi · 5 months

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Database of Drug-Related Festival Deaths Needed to Save Lives - Technology Org

New Post has been published on https://thedigitalinsider.com/database-of-drug-related-festival-deaths-needed-to-save-lives-technology-org/

Database of Drug-Related Festival Deaths Needed to Save Lives - Technology Org

A study led by the University of Liverpool has called for the introduction of a national database of drug-related medical incidents at UK music festivals to evaluate support services, improve safety and reduce the risk of drug-related deaths (DRDs).

Various medical pills and tablets. Image credit: Myriam Zilles via Unsplash, free license

The exact number of DRDs at UK music festivals in recent years is unknown as there are currently no standard processes for reporting or accessing data on medical incidents at these events.

This lack of a centralised, publicly accessible system for festivals to report drug-related medical incidents hinders festival organisers and support services when monitoring trends in drug-related harm and assessing the effectiveness of interventions.

Without a real-time reporting system for drug-related harm during festivals, potential opportunities are missed for preventing harm to others, such as warnings to drug-using communities about adulterated illicit drug markets.

Given that inquests often take months or even years to determine the cause of death, new research published in Drug Science, Politics and Law calls for a transparent database to compare drug-related harm within and across festivals in real-time to increase opportunities for intervention which could prevent death.

Through cross-referencing media and social media with a national database provided by coroners and communications with bereaved families and associated organisations, this research identified that, between 2017 and 2023, there were 32 potential DRDs at festivals, with 18 confirmed. Three of these deaths were of individuals under the age of 18. On average, there are five or six festival DRDs each year in the UK.

16-year-old David Celino died at Leeds Festival in August 2022 after taking high-strength ecstasy tablets. While reported at the time as an “isolated incident,” there was another DRD the same weekend and an alert was issued for similar high strength tablets by a drug testing service at a different festival.

At David’s inquest, the coroner called for greater oversight of drug-related harm at UK festivals which the introduction of a festival-specific database would ensure.

It is estimated that up to 87% of festival attendees have tried illegal drugs in their lifetime, more than twice the prevalence rate (36%) of young adults in the general population. This means that, as drug consumption is more likely at festivals, adequate oversight is necessary to prevent drug-related harm.

Professor Fiona Measham, Chair of Criminology at the University of Liverpool said: “Our research has shown that there is a small but significant number of drug-related deaths at UK music festivals each year. It is clear that more needs to be done to reduce drug-related harm, to ensure that everyone can enjoy festivals safely and to prevent any other parents hearing the heart-breaking news that their child won’t be coming home.

“While our research has shed light on the issue, currently we’re in a situation where we don’t know the definite number of drug-related deaths at festivals. This makes it extremely difficult for everyone to understand whether the situation is getting better or worse and whether festival health initiatives such as drug checking services, amnesty bins and medical services are effective.

“What we do know is that people are more likely to take drugs at festivals than elsewhere and drug markets are especially unpredictable at the moment, with risk of overdose or poisoning from synthetics. Introducing a transparent, real-time publicly accessible database of drug-related harm across festivals would provide a comprehensive picture of the extent of the issue and whether or not on-site festival support services are effective.

“If we can warn people about dangerous substances in circulation and prevent overdoses and poisoning happening in the first place, not only do we reduce DRDs and parents avoid the heartbreak of bereavement, it eases the pressures on the NHS and health services around these events.”

Source: University of Liverpool

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hmgn3 · 3 years

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21-August 散財記録

03(tue) ・Favourite People / Wading Out/Shell Island (2020, 7inch) ・Laneous / Monstera Deliciosa (2019, LP) ・The Eye of Time / MYTH II: A Need to Survive (2018, LP) ・Hakim Muhammad / The Superstress Solution (2018, used LP) ・Alex Dingley / Beat the Babble (2016, LP) ・Yo La Tengo / Summer Sun (2003, 2LP) ・Supreme Vagabond Craftsman / A Cloud Punched Me (2001, used 10inch) ・The Pastels / One Wild Moment. Pastels Music Remixed (1998, used 12inch) ・Working Week / Working Nights (1985, used LP+12inch) ・Was (Not Was) / Was (Not Was) (1981, used LP) 06(fri) ・Hunters & Collectors / The Fireman's Curse (1983, used LP) ・The Temptations / 1990 (1973, used LP) ・Ornette Coleman & The London Symphony Orchestra Conducted By David Measham / Skies of America (1972, used LP) 07(sat) ・Nightshift / Zöe (2021, LP) ・Michel Banabila / Wah-Wah Whispers (2021, LP) ・B.A.L.L. / Bird (1988, used LP) ・Shockabilly / Vietnam (1984, used LP) ・Hajime Tachibana / Hm (1983, used LP) 08(sun) ・Working Week / Fire in the Mountain (1989, used LP) 09(mon) ・山／完全版 / Strangers' immune (2019, CD-R) ・Mikel Rouse Broken Consort / A Lincoln Portrait (1988, used LP) 10(tue) ・Arthur Blythe / Illusions (1980, used LP) 11(wed) ・Kaitlyn Aurelia Smith / The Mosaic of Transformation (2020, used LP) ・United Supreme Council / Oastem! Vibe Orchestra (2001, used LP) ・Ogonjok / Ogonjok (1995, used LP) ・Better Than Death / Swimman (1988, used LP) 13(fri) ・菊地雅章 / ススト (1981, used LP) 16(mon) ・Eberhard Weber / Yellow Fields (1976, used LP) 17(tue) ・Exne Kedy And The Poltergeists / Strolling Planet '74 (2021, LP+CD) ・Run On / On/Off (1995, used 12inch) ・Elli Medeiros / Elli (1989, used LP) ・Stephen Parsons / Passion (1988, used LP) 18(wed) ・Sun City Girls / Borungku Si Derita (1993, used 7inch) 22(sun) ・The Notwist / Boneless (2008, used 7inch) ・Bill Nelson / Acceleration (U.S. Remix) (1984, used 12inch) ・Dollar Brand / African Marketplace (1980, used LP) ・山下洋輔トリオ / キアズマ (1976, used LP) 23(mon) ・Ghostride the Drift / Ghostride the Drift (2019, used 12inch) ・Nico Niquo / In a Silent Way (2017, used LP) ・The Sea and Cake / Two Gentlemen (1997, used 12inch) ・Arab Strap / The Clearing (1997, used 12inch) 24(tue) ・Astroturf Noise / Astroturf Noise (2020, LP) ・The Work / Slow Crimes (1982, used LP) 31(tue) ・Robert Wyatt / At Last I Am Free/Strange Fruit (1980, used 7inch)

#disc

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projazznet · 5 years

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Skies of America is the 17th album by jazz saxophonist Ornette Coleman, released on Columbia Records in 1972. It consists of one long composition by Coleman taking up both sides of the album, played by the London Symphony Orchestra and conducted by David Measham.

#avantgardejazz #jazz #OrnetteColeman #Ornette Coleman

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designresearch-amywight · 3 years

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Robert Fisher

Method,

Kurt Cobain already had a vision for the cover. Fisher took this idea of a baby being born underwater and went to the bookstore to find images that could be used. After going through hundreds of birthing books and baby books. Fisher realized that they were far too graphic to use. This idea of childbirth was then ruled out, and the idea of a baby simply being underwater was born, however the band wanted something more. Cobain came up with the idea of adding something like fishhook and a dollar bill to make it more menacing. The idea came together organically. Fisher needed a photographer and found Kirk Weddle to do the job, he specialized in ‘submerged humans.’ They went to the Pasadena Aquatic center and got 4 or 5 different parents to come and use their babies. They took turns passing their babies in front of the camera. They used a doll for test shots. A week after the shoots there was 40-50 proof sheet shots. The image that was chosen was ‘perfect’ according to fisher, in the context of positioning and the look on the baby’s face. Before computers the images were sent off to darkrooms to do what photoshop does. Fisher requested the fishhook and took some photos and set up polaroid’s of how he wanted the dollar bill to look and be positioned. It would be then sent off and come back 4 or 5 days later. Finally, when the image came back the last thing to perfect was the text. Fisher used a xerox machine and as it was scanning pulled it and wiggled it. He then did it on the opposite side and got the wavy type. This was groundbreaking in those times. The success of never mind was partly due to the incredible cover and the cover is now featured in the museum of Modern Art’s Collection.

O. Campbell, The Designer of Nirvana’s Nevermind Cover on Shooting Babies and Working with Kurt Cobain, The Work behind The Work, https://milanote.com/the-work/the-designer-of-nirvanas-nevermind-album-cover, Retrieved 25th August 2021.

David Carson:

Method:

David Carson was the first art director of Ray Gun a grunge and independent music scene. Carson was well known for breaking the so called ‘rules’ of graphic design. Carson didn’t standardize the pages or allocate any type of numbering system. Carson created rigid patterns and non-cohesive layouts including the leading, white space and disorganized margins. Carson said himself “a lot of people … simply take in visual information differently now” the inconsistency in the pages confused the readers. Some viewers hated it and others loved the disorganized feeling that the magazine portrayed. Carson’s own reflection showed he was simply trying to express the information that made the most sense to him which was a rebel against modern design. Carson had done a lot of work by hand, by cutting out and rearranging layouts and sending them to printers to be pasted down pieces of art. The pages of Ray Gun although not stereotypical pieces of Design was a groundbreaking experiment in which no one had seen before. Breaking the rules of classic graphic design and expanding the box of ideas in which design had been done in before.

Lees-Maffei, G. (Ed.). (2014). Iconic Designs: 50 Stories about 50 Things. London: Bloomsbury Visual Arts. Retrieved August 25, 2021, from http://dx.doi.org/10.5040/9781474293921

Carl Herner

Method:

Carl Herner a graphic designer focuses on using tools in non traditionalways or in even in the wrong way. The project was MacGuffin Magazines trousers’ issue. Herner was asked to illustrate the article of the Fantastic Man’s Founding editor; Gert Jonker’s , where Jonker’s talked about his favorite pair of trousers. They needed the visual element for the article. Working with the Magazines art director Sandra Kassenaar. Focusing on 3d software Herner and Kassenaar started to scan digitally real trousers that was found in studio. The trousers were scanned in piece by piece until they had scanned the whole pair of pants. These were then sent on file to Herner individually. They then built a pair and stitched the files together around a body which made a 3d model. The next step was to create a texture map of where the stitching would go. These could then be manipulated digitally as if someone was wearing them. Herner discussed the idea of fluidity and how the pants without anyone in them is about the movement and the texture of the pants. Not about the person in them.

Alif Ibrahim, 29 October 2019, Carl Herner deconstructs garments with his non- traditional approach to digital design, It’s Nice That, https://www.itsnicethat.com/articles/carl-herner-graphic-design-281019, Retrieved 25th August 2021.

Hannah Höch

Context:

Der Maler was a piece created by Hannah Höch in satire. Höch Wrote regarding the piece in reference to sexism of the Berlin Dada Movement in which she believed there was an underlying the movement. It also referenced German politics, male privileged and scientific objectification. The story goes that a modern painter by the name of Gotthold Himmelreich which means “God-Beloved Heavenly-Kingdom”, was forced to wash dishes by his wife. He felt degraded as a man and his manhood suffered under a feminine soul. Himmelreich becomes determined to overcome this suffering through his painting. He wanted to represent the likeliness between the female should and the nature of chives. He believed that emptiness filled both of these objects and presented it as if scientifically dissected. The story shows the frustrations and self-doubt of this man Himmelreich. And reflects the idea that every man ultimately fails to represent and or control the essence of a woman. This piece was represented in the form of photomontage. Was produced by the images and type that the mass media printed for the public.

Haakenson, T. O. (2021). Grotesque visions : The science of berlin dada. ProQuest Ebook Central https://ebookcentral.proquest.com

Ken Done:

Methpod:

Ken done was commissioned by The Powerhouse Museum in Sydney to paint the walls of the restaurant inside the museum. Done suggested painting it in a garden theme. This was suggested to alleviate the industrial architectural design of the powerhouse, the garden theme was to deflect the brick walls. Starting with drawings and ideas for dining ware, such as plates, cups, placemats etc. Done then moved on to a model replicant of the restaurant with a removable and lift off roof which was made by the museums model maker Iain Scott-Stevenson. The idea was to use vivid shapes and colours over all of the surfaces including the ceilings. These bright colours and shapes were to elevate and enliven the interior. Done turned a peculiarfeature of the room into a beautiful painting, in the pitched ceiling where the roof meets the vertical walls. Done took this feature and painted giant green leaves and fronds. Done plays with the illusion of space and form he “leans into the surroundings.” Done plays with imager and layers to energise the surroundings. Done took into account the lack of windows and in response he painted a yellow sun on the peak of the roof. Done included yellow rays of sunlight which draws attention to the height of the south wall. Done included sculptures of vases and flowers around the restaurant and paintings over top of the painted walls to preserve his work. Done’s playfulness and secondary objects is to serve as a memory of what was once there if the museum ever painted over his work. This was compared to the Rex Whistler Restaurant in the Tate Gallery which was left for 70 years.

T. Measham, R. Hara, A. Van de Ven, Y. Kinameri, R. Wood, M. Tawara, D. Lee Brien, E. Buzby, 1994, Ken Done the art of design, Powerhouse Publishing

Andy Warhol

Context:

In 1977 and 1978 Warhol and his assistant Ronnie Cutrine started an experimental project of works: The Oxidisation Piss and Cum paintings. After Warhol’s last movie “Andy Warhol’s bad” in 1976. Warhol wanted to stray away from his recent pop art and society portraits and focus more on abstract art. In his diary entry from the 70’s he had admitted that since being shot by actress Valerie Solanas in 1968 he hadn’t produced any “good” art. His critics reducing him to society portraitist. Warhol wanted to change this and keep his vanguard status by trying these experimental projects.

Method:

Warhol pulled out a canvas of conceptualwork from the 1960’s in which he had urinated on a white canvas. Using the same participants who had collaborated in the torso and sex paintings from 1976 to early 1978. The paintings were made with urinating, pouring, or dripping urine onto primed canvass’s with either copper or gold metallic paints, which created varied colour and textures. These chemical experimentationsturned invisible paintings into visually viable artworks. The rich gold and green colours created these lush colour fields paintings with varied colour and textures.

A. Warhol, J. Schnabel, 2009, Andy Warhol The Last Decade, Prestel Publisher.

Richard Hamilton:

Context:

Richard Hamilton wanted to create realism with his phycological experiments. The dark and chaotic “murder” scenes he would create were reference to the violent epidemic in new York at the time. These outlined figures with red paint as reference to blood, would catch people off guard. Hamilton wanted these public art pieces to be a reminder that we could all be victims as soon as we stepped outside. Hamilton would find and locate important parts of the city such as the city hall and the library’s and other locations to serve as a reminder of what was happening in the city at the time. Hamilton also set up an office as if he was a detective and called him self Mr Ree Dick Trace It. The play on the name Mr Ree was in reference to his mysterious outlined figures. In this office he put up maps and painted over in red paint as if to replicate blood to reference the bloodshed in the city. His figures made the news and Hamilton wanted to play with the media, as they weren’t sure if these were actual murders or what they were as public art wasn’t common in the 70’s. This confused the police, Hamilton took this further by putting up wanted posters of himself however this led to him being told he would never be given a grant again. This phycological experiment wasn’t his only public phycological piece of art. Hamilton followed the outlined murder victims with a piece called I only have eyes for you, which was life sized figures of himself stuck on walls with blueprint paper so they would fade to white shadows with the weather. This figure represented a man lost in the city all dressed up with nowhere to go. Hamilton’s experiments and public art pieces confused and shocked the public which was his intent with these phycological pieces.

O. Jacoby, 2017, Shadowman. Java Films.

Roy listechstien

Method:

Roy Listechstien was a notable artist for his pop art; however he took it one step further with his brushstroke sculptures which were commissioned in cities such as Tokyo, Barcelona, Washington and other cities across the world. These pieces were looking at how to isolate a 2-dimensional brush stroke. The process started with left over cut-outs from his paintings and collages focusing on the singular stroke. After arranging these cut-outs Listechstien would sketch the positionings on the wall in pencil. The problem was looking at the art in a 2-dimensional way although it was a 3-dimensional peice of art. The focus was on the way the brushstrokes serve a dual function. On canvas they break themselves down into linear shapes of the pieces of hair from the brush however, Listechstien turns it into a way in which these shapes overlap. Listechstien focuses on the movement of the brush this movement takes them from a 2-dimensional piece to 3-dimensional sculpture. Listechstien refers to them as cartoon like saying that we don’t see a cartoon explosion as a real one, but we still understand what it is, an explosion. Listechstien uses this same idea for his brushstrokes. Listechstien put smaller versions of the models onto images of the buildings to find the right spacing although it was a public commission Listechstien wanted to be sure that he liked his pieces first regardless of the public opinion.He drew the life-sized pieces on a piece of paper which were 20 feet long so he could see what they would look like before sending them off to the welders and sculptors. These sculptures were a challenge to him and a challenge to the public to appreciate art as a human value of acceptance.

Trottenberg, M. 1995 Roy Litchenstien: Tokyo Brushstrokes. Checkerboard Film Foundation Inc.

Keith haring

Context:

The apocalypse series was a collaboration between two queer artists Keith Haring and William S Burroughs. These Ten pieces were created by Haring and the writing that accompanied them was written by Burroughs. The Title Apocalypse was a reference to the book of revelation in which this piece was inspired by. Haring wrote in his journals of his concern of his work being obscene. The apocalypse series was a queer take on the book of revelation and a reflection of the AIDS epidemic going on at the time. Christian’s at the time were deeming AIDS a s gods punishment for homosexuality or any other ‘sins.’ Haring interpreted AIDS as a weapon for white men who oppress, colonize, control and dominate and called it “their evil disease”. The demon sperm that haring illustrates, references American culture. These apocalyptic imagery has been a source of powerful imagery to unpack the impact of the AIDS epidemic in the gay and queer community. This demon sperm that Haring plays with throughout the series appears with the number 666 which in the book of revelations is the ‘number of the beast’ these demonic images denotes AIDs and reference the queer take on Christianity. The Beast is the physical symbol of AIDS and he is depicted with a broken horn, coming out of the hole of the palm of the hand of the girl, which is a sign of Jesus’s hand where he was nailed to the cross. Haring adds medusa hair and bird legs to the girl to change the innocence and purity of the child into an impure and hybrid style object referencing death as a reflection of the AIDS epidemic. The referencing to Revelations is an important part of the series as this reflection was their interpretation of the AIDS epidemic through the story of Christianity which was something that was denoting the queer culture of the time.

Lynn. R. huber, 2019, Pulling down the sky, Envisioning the Apocalypse with Keith Haring and William S. Burroughs, Cross Currents Volume 68, Issue 2, https://doi-org.ezproxy.aut.ac.nz/10.1111/cros.12312

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pattynanmedia · 5 years

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(via 'The Shipping Forecast' Read by Brian Perkins - YouTube)

Les Barker Tour Dates

November 2018

Wed 17. Quay Arts Centre, 15 Sea Street, Newport Harbour, Isle of Wight, PO30 5BD

December 2018

Fri 14. Frodsham Folk Club The Conservative Club,74 Main St, Frodsham, Cheshire WA6 7AU

Sat 22. Raven Folk Club Bear & Billet, 94 Lower Bridge St, Chester Chester, CH1 1RU

January 2019

Stockton’s Wing with Les Barker