2.96 score from hupso.pl for:
dyversemusic.com



HTML Content


Titledyverse music

Length: 13, Words: 2
Description pusty

Length: 0, Words: 0
Keywords pusty
Robots
Charset UTF-8
Og Meta - Title exist
Og Meta - Description exist
Og Meta - Site name pusty
Tytuł powinien zawierać pomiędzy 10 a 70 znaków (ze spacjami), a mniej niż 12 słów w długości.
Meta opis powinien zawierać pomiędzy 50 a 160 znaków (łącznie ze spacjami), a mniej niż 24 słów w długości.
Kodowanie znaków powinny być określone , UTF-8 jest chyba najlepszy zestaw znaków, aby przejść z powodu UTF-8 jest bardziej międzynarodowy kodowaniem.
Otwarte obiekty wykresu powinny być obecne w stronie internetowej (więcej informacji na temat protokołu OpenGraph: http://ogp.me/)

SEO Content

Words/Characters 7789
Text/HTML 29.57 %
Headings H1 8
H2 3
H3 0
H4 0
H5 0
H6 0
H1
dyverse music
all merit to dubjax
b&w, british and ‘b’
spaceheads – laughing water
yesterday’s cinema or, the england we all want back or, how mike turned into his mother re. his choice of film
a maharaja at the 100 club: james booker in london, 1977, recalled
niño de elche at manchester jazz festival
kit downes and tom challenger at manchester jazz festival
H2
categories
archives
dyverse music
H3
H4
H5
H6
strong
b
i
em
Bolds strong 0
b 0
i 0
em 0
Zawartość strony internetowej powinno zawierać więcej niż 250 słów, z stopa tekst / kod jest wyższy niż 20%.
Pozycji używać znaczników (h1, h2, h3, ...), aby określić temat sekcji lub ustępów na stronie, ale zwykle, użyj mniej niż 6 dla każdego tagu pozycje zachować swoją stronę zwięzły.
Styl używać silnych i kursywy znaczniki podkreślić swoje słowa kluczowe swojej stronie, ale nie nadużywać (mniej niż 16 silnych tagi i 16 znaczników kursywy)

Statystyki strony

twitter:title pusty
twitter:description pusty
google+ itemprop=name pusty
Pliki zewnętrzne 12
Pliki CSS 2
Pliki javascript 10
Plik należy zmniejszyć całkowite odwołanie plików (CSS + JavaScript) do 7-8 maksymalnie.

Linki wewnętrzne i zewnętrzne

Linki 290
Linki wewnętrzne 77
Linki zewnętrzne 213
Linki bez atrybutu Title 190
Linki z atrybutem NOFOLLOW 0
Linki - Użyj atrybutu tytuł dla każdego łącza. Nofollow link jest link, który nie pozwala wyszukiwarkom boty zrealizują są odnośniki no follow. Należy zwracać uwagę na ich użytkowania

Linki wewnętrzne

dyverse geographies #
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Linki zewnętrzne

dyverse music http://www.dyversemusic.com/
about us http://www.dyversemusic.com/2010/03/dyverse-idea-seven-ages-of-dyverse_02.html
index http://www.dyversemusic.com/p/index.html
the dyverse record collection http://www.dyversemusic.com/search/label/the%20dyverse%20record%20collection
africa http://www.dyversemusic.com/search/label/africa
americas http://www.dyversemusic.com/search/label/americas
asia http://www.dyversemusic.com/search/label/asia
europe http://www.dyversemusic.com/search/label/europe
manchester scene http://www.dyversemusic.com/search/label/manchester%20scene
middle east http://www.dyversemusic.com/search/label/middle%20east
blues http://www.dyversemusic.com/search/label/blues
classical http://www.dyversemusic.com/search/label/classical
folk http://www.dyversemusic.com/search/label/folk
fusion http://www.dyversemusic.com/search/label/fusion
jazz http://www.dyversemusic.com/search/label/jazz
reggae http://www.dyversemusic.com/search/label/reggae
rock http://www.dyversemusic.com/search/label/rock
roots usa http://www.dyversemusic.com/search/label/roots%20usa
soul http://www.dyversemusic.com/search/label/soul
dyverse values http://www.dyversemusic.com/search/label/dyverse%20values
dyverse dyatribes http://www.dyversemusic.com/search/label/dyverse%20dyatribes
hero worship http://www.dyversemusic.com/search/label/hero%20worship
abner burnett http://www.dyversemusic.com/2010/02/abner-burnett-biography.html
interviews from the archives http://www.dyversemusic.com/search/label/interviews
i was there http://www.dyversemusic.com/search/label/i%20was%20there
i am here http://www.dyversemusic.com/search/label/i%20am%20here
dyverse lists http://www.dyversemusic.com/search/label/dyverse%20lists
dyrections http://www.dyversemusic.com/search/label/dyrections
obsession with... http://www.dyversemusic.com/search/label/obsessions%20with...
new records http://www.dyversemusic.com/2010/02/new-records.html
dyverse visuals http://www.dyversemusic.com/search/label/dyverse%20visuals
dyverse verbals http://www.dyversemusic.com/search/label/dyverse%20verbals
dyverse trading http://www.dyversemusic.com/search/label/dyverse%20trading
records http://www.dyversemusic.com/search/label/records
cds http://www.dyversemusic.com/search/label/cds
books http://www.dyversemusic.com/search/label/books
memorabilia http://www.dyversemusic.com/search/label/memorabilia
contact us http://www.dyversemusic.com/p/contact-us.html
last stories http://www.dyversemusic.com/
all merit to dubjax http://www.dyversemusic.com/2017/01/all-merit-to-dubjax.html
leave a comment http://www.dyversemusic.com/2017/01/all-merit-to-dubjax.html#comment-form
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dyverse dyatribes http://www.dyversemusic.com/search/label/dyverse%20dyatribes
b&w, british and ‘b’ http://www.dyversemusic.com/2016/12/b-british-and-b-brief-flashes-from.html
1 comment http://www.dyversemusic.com/2016/12/b-british-and-b-brief-flashes-from.html#comment-form
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dyverse dyatribes http://www.dyversemusic.com/search/label/dyverse%20dyatribes
spaceheads – laughing water http://www.dyversemusic.com/2016/11/spaceheads-laughing-water.html
leave a comment http://www.dyversemusic.com/2016/11/spaceheads-laughing-water.html#comment-form
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dyverse dyatribes http://www.dyversemusic.com/search/label/dyverse%20dyatribes
jazz http://www.dyversemusic.com/search/label/jazz
manchester scene http://www.dyversemusic.com/search/label/manchester%20scene
yesterday’s cinema or, the england we all want back or, how mike turned into his mother re. his choice of film http://www.dyversemusic.com/2016/10/yesterdays-cinema-or-england-we-all.html
1 comment http://www.dyversemusic.com/2016/10/yesterdays-cinema-or-england-we-all.html#comment-form
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dyverse music sounds, films, books and scenes (usually that order) that arrest the attention of mike butler, erstwhile music scribe about us index the dyverse record collection dyverse geographies africa americas asia europe manchester scene middle east blues classical folk fusion jazz reggae rock roots usa soul dyverse values dyverse dyatribes hero worship abner burnett interviews from the archives i was there i am here dyverse lists dyrections obsession with... new records dyverse visuals dyverse verbals dyverse trading records cds books memorabilia contact us last stories all merit to dubjax posted by mike butler on wednesday, 18 january 2017 · leave a comment more screen gems from the portfolio of dubjax – now flourishing with dubjax 9 – as ever backing britain and black-and-white films and still the target of the youtube copyright enforcers. for me, it’s intolerable that such a great public service should be persecuted in this manner. if that’s what the copyright law is about, the copyright law is an ass. which is just by way of saying, catch them while you can… contraband https://www.youtube.com/watch?v=qmeel_y7mdg&list=pl6ppltwczl_axe2ltvz0av6qn7spxy15v an early archers, this michael powell and emeric pressburger collaboration followed a spy in black. contraband has a nice freewheeling structure. strangers are thrown into each other’s company – he (conrad veidt) is the captain of a neutral merchant vessel ship and she (valerie hobson) is a passenger who steals his shore ticket. the film follows them as they make their rounds. it’s nicely inconsequential to begin with: london in blackout and fog, a meal in a restaurant with an eccentric, ebullient owner. but then, this being wartime and a propaganda vehicle, she needs must turn into mata hari and be kidnapped by a cell of german spies, and he must enlist the staff of the restaurant to rescue her. hokum after emil and the detectives: emeric's influence, i guess. fans of the archers might note the emergence of the charming foreigner figure, quite risky in this context, which reached its apotheosis in the anton walbrook character in the life and death of colonel blimp, who was - shock! horror! – a good german. churchill wanted it banned. valerie hobson is a fine actress, and very good in parts where fragrancy is put under pressure (as in real life: she was married to john profumo). and, if i’m not mistaken, esmond knight is actually sighted in this film, it’s so early. a valuable member of the archers repertory company, knight was blinded during the war, and subsequently regularly appeared in character parts in archers films, indifferent as to whether the role called for sight or not. michael powell was a loyal employer, it seems. contraband is lightweight but essential powell/pressubrger, and is warmly recommended, whereas a later collaboration with a wartime theme, ill met by moonlight – www.youtube.com/watch?v=ltezgbgamgc – can be safely skipped, and isn’t on the dubjax lists. trent’s last case https://www.youtube.com/watch?v=wdlyu5mc8z4&t=624s this british b-movie stars orson welles and the great miles malleson, yet it creaks so badly that i was forced to abandon viewing after about ten minutes. the same thing happened when i tried a second time. if anyone out there is more indulgent, perhaps they can tell me about orson welles’ guest cameo. for my part, i saw enough to know that trent’s last case is not the third man, and the biggest cuckoo clock in switzerland can't save it. blonde bait – https://www.youtube.com/watch?v=clilrorxryg&t=327s – makes for similar heavy weather, and i didn't stick around to catch the excellent thora hird. the two headed spy https://www.youtube.com/watch?v=zsgup8g-iow ostensibly a british flag-waver about how we won the war. again. but all these fifties films set during the war had a dual purpose: two headed is just about right. jack hawkins is known for his stiff upper lip, but here, living a lie as a british spy promoted to german officer, his denial of emotion is complete, and he is utterly broken once he lets his guard down. the film offers a study in repression, and delivers a few sharp shocks by way of catharsis. in contrast to actual films made during wartime, which are sanguine and glib to the point of silliness (contraband is a text-book example), post-war british cinema consciously aimed to assuage the national trauma that was world war 2. jack hawkins is clearly one of the walking wounded, and is clearly one of us. the common touch https://www.youtube.com/watch?v=tfqbmzmjtde&t=48s did i say wartime films were silly? the truth is a bit more complicated. the common touch undoubtedly has its silly moments. made in 1941, the only direct reference made to the war is when a voluble resident of charlie’s, a homeless shelter (or dosshouse, in the argot of the time), starts ranting in heavy german. “he’s had a sticky time,” explains tich, the odd jobs man and knocker-upper. “‘e didn’t quite see eye to eye with master hitler." nevertheless, the unspoken question that haunts the entire film is what are we fighting for? another is what do we want from the new world-a-dawning? these are weighty questions, wrapped here in an entertaining parable with lots of delirious musical interludes. the things under imminent threat include cricket and the playing fields of eton, which is where we first encounter the hero, young peter henderson the school captain (geoffrey hibbert), hitting a six. peter is an orphan, and about to leave the school to take control of a large city firm, the family business. he has turned 18 and it was his father’s dying wish that his son should step into his shoes and run the firm. but the city firm propose to demolish some property which includes charlie’s, the homeless shelter, and the shady board of directors conspire to hide this from peter, relying on his callow inexperience. this privileged scion is made of sterner stuff, however. he and a pal masquerade as homeless youths to find out more about charlie’s. a second education follows, and his eyes are opened to the lovable vagabonds, out-of-work musicians and general good eggs who reside at charlie’s. another of the things under threat from the nazis are the geegaw toys cherished by a tramp at charlie’s. “someday people will turn again to simple, beautiful things,” he says, wringing every ounce of pathos from the words. what starts as a ripping yarn about a posh kid turns into an arresting polemic: the common touch advocates nothing less than the eradication of class distinction and the adoption of fresh values. this is expressed most overtly in the final scene, where the residents are discussing their new life, now that the threat of eviction has been lifted. "all this talk about better things, homes and all that, do you suppose they really mean it?" "you know i think they were really mean it, this time, tich." "blimey, it would be like a heaven on earth." close up on the tramp, twinkling now. "and why not?" he says. the music surges. there’s a lot of music in the common touch because music is the practical means by which the social transformation is to be achieved. to simplify, the toffs like bossa nova with plenty of razzamatazz, while the down-and-outs favour syncopated jazz. high and low come together when a concert pianist on his uppers (mark hambourg) performs tchaikovsky’s piano concerto on a street piano on wheels. an orchestra in coat tails join in during a flashback to his glory days in international concert halls. his destitute listeners are enraptured. ‘the boys like a bit of music,” explains tich. law and disorder https://www.youtube.com/watch?v=htqg1hez-v8 from the same team – charles crichton, director, and t.e.b. clarke, scriptwriter – that made the lavender hill mob, and what a come-down it is. michael balcon, the ealing studios producer, and missing because ealing was winding down in 1958, was clearly more than a guiding hand. law and disorder strains to turn the old winning formula – about amiable professional criminals, witless law enforcers, maverick english characters – into a coherent storyline. michael redgrave was never a natural at comedy. there was always too much going on behind that urbane front. on the other hand, anything in black and white with walk-on parts by irene handl, john le measurer and lionel jeffries has got to pass the time nicely. to say nothing of robert morley in full pomposity. yes, yes, yes, just so long as no-one is expecting the lavender hill mob. scrolling down to the comments, an informed person (ted glen) relates that jeremy turnham, who plays colin, went on to write the cult kids' tv series, children of the stones, a quietly mind-blowing fact. the card https://www.youtube.com/watch?v=cwyuxxuni1g based on the arnold bennett novel, the card is about the rise of the irrepressible edward henry (‘denny’) machin, who works his way to the top from lowly beginnings. and though machin is an opportunist and proto-capitalist, who can fail to be won over by his nonchalant charm, winningly conveyed by alec guinness at the top of his game? there are lots of incidental pleasures, not least from the women in machin’s life – glynis johns as ruth earp, a scheming minx and gold-digger whose rise parallels machin’s own, petula clark, adorable as the girl-next-door, and valerie robson as the countess, the epitome of the high-born english rose (she played much the same role in kind hearts and coronets). the card treats of labour, class, capitalism, sex as social advancement and demagoguery, and does so with such a light touch that the final triumph of the parvenu over the paternal is guaranteed to stir nothing more radical than a sigh of contentment. operation diplomat https://www.youtube.com/watch?v=chdnaueq2mm the viewer’s response to operation diplomat depends on whether they’re one of those tolerant types willing to admit it to the so-bad-it’s-good pantheon. the film certainly succeeds in evoking a fully conceived parallel universe with no resemblance to everyday reality. as it stands, operation diplomat is useful as an example of an earlier phase in the development of the thriller genre. these fifties films are notable for having protagonists without emotion. i realise that dr fenton and loyal lisa durand are supposed to be a doctor and nurse team, but even so, their nonchalance at the rising body-count is truly disconcerting, as is their cheerful indifference to their own safety. the breakthrough came when film-makers realised that pathological lack of feeling was scarier in bad guys than good guys. the church mouse https://www.youtube.com/watch?v=g7gelrq_ftk&t=68s it begins by kidding about the march of progress, from the vantage of a thoroughly modern 1934, blessed by the advances of the intercom and women in the workplace. there’s an awful lot of kidding going on in the film – which charts the rise of betty (laura la plante) from forgotten woman, super-efficient secretary and blossoming sexual being. even unemployment is kidded about, although the light tone and comic exaggeration can’t altogether conceal real feeling: 1934 was the depth of the depression. mostly the film kids about sex. this is the earliest dubjax i’ve so far seen, and it’s also the naughtiest and most sweetly suggestive, with characters tenderly swapping mae west catch-phrases. so there is something in this pre-code business. anything more graphic than a kiss, of course, would break the enchantment completely. high treason https://www.youtube.com/watch?v=sb-sypkdljy&t=1903s ordinary people – a mild, cat-loving clerk who works in the docklands, an ex-raf officer with a small electrics shop – meet under the auspices of the elgin modern music society and whisper significant things to each other like “march 16th”. the music itself is not bad: minor key meanderings and all, but not as awful as the film-makers intend. an undercover policeman has infiltrated the society and can’t quite conceal his distaste, much to the irritation of his neighbour, who gives his all to the music. this is an uncredited part by michael ward, a character actor often used as an instant signifier of otherness, effeminacy and pseudery. the society, it turns out, is the front for a faction whose dark intentions do not brook sabotage and indiscriminate killing. a sleek, cultured mp (more tom driberg than oswald mosley) is waiting in the wings to seize power when the country has been brought to its knees. praise be, thanks to the efficiency of mi5’s intelligence gathering, a credit to liam redmond’s brain power and a well-maintained card index system. our boys foil an all-or-nothing assault on battersea power station at the finale. taken together with i’m alright jack, this film dented roy boulting’s left-wing credentials badly. wanted for murder https://www.youtube.com/watch?v=rweckqayr7k&index=24&list=pl6ppltwczl_axe2ltvz0av6qn7spxy15v&t=4s from out of nowhere, here’s a film that sheds light on the peeping tom controversy. peeping tom, made in 1960, was the first film michael powell made without his partner emeric pressburger since 1937’s the edge of the world. a portrait of a serial killer, it uncomfortably made the link between film, voyeurism and sex crime, and outraged taste and decency upon release in 1960. for an analogy, imagine if p.g. wodehouse had following through uncle fred in the springtime with last exit to brooklyn. a subsequent rehabilitation, led from the front by martin scorsese, means that we’re all now supposed to hail peeping tom as an audacious screen classic and powell’s masterpiece. i’m not sure. my own feeling is that peeping tom is as nasty and unpleasant as first supposed, and powell went off the rails without his long-time collaborator’s steadying influence. pressburger would surely have saved michael powell from himself. wanted for murder blows this theory out of the water. here is a screen nasty from 1946 about a psycho who goes around london parks strangling young women co-written by emeric pressburger. it’s every bit as glib about the desperate subject matter as contraband is glib about world war 2. a survival technique? the tone of peeping tom was inappropriate too; that was part of its problem. (what do i mean? perhaps the suspicion that powell was indulging his macabre sense of humour at our expense, or worse, his in-jokes. despatching moira shearer, the star of the red shoes, so cheerfully, for example. what was all that about? it possibly counts as an abuse of the director’s power.) but more than anything, wanted for murder makes me concerned for eric portman. what a strange cove he was, consistently drawn to dark and ambiguous characters. let’s see, there was eddie in daybreak, a hangman in his secret life and catatonically numb in his public life (wanted for murder also treats of the devastating consequences of the hangman’s profession), there’s thomas colpepper, the celebrated deviant jp in a canterbury tale, sociopathic seaman hobson in we dive at dawn, and an aloof and rigid patrician in a child in the house. the serial killer of wanted for murder can now be added to the list. it makes you wonder. a tormented homosexual in real life i gather, without knowing much about it. ps you have to be eternally vigilant with apple’s spellcheck facility. if you type in emeric it automatically turns it into emetic. filed under dyverse dyatribes b&w, british and ‘b’ posted by mike butler on wednesday, 14 december 2016 · 1 comment pt 2 of http://www.dyversemusic.com/2016/10/yesterdays-cinema-or-england-we-all.html hurrah! dubjax is back! our favourite uploader of black and white, british ‘b’ movies on youtube has posted a fresh batch of goodies. and still these acts of philanthropy are being punished by the authorities. the first attempt at a ‘dubjax 7’ portfolio was wiped out by a raid from the youtube police. and then, overjoyed to find a personal celluloid holy grail in the lists, i was dashed to find the notice, this video contains material from warners entertainment who have blocked it on copyright grounds. the citadel – a screen gem starring robert donat from 1938! – has, in my viewing experience, come around once in 78 years. at this rate, the second screening will be too late. thank you and goodnight, warners. these are some other dubjax salvages… the quiet woman https://www.youtube.com/watch?v=zffaxzymxnu&t=1879s we don’t always ask for transcendence, just a pleasant potboiler to put us in our comfort zone. there are incidental pleasures in this yarn about smugglers, an escaped prisoner and love that conquers all, but one outshines the rest. in two words: – dora bryan. castle in the air https://www.youtube.com/watch?v=vmwgcggluba&t=1448s castle in the air has some of the pleasingness, silliness and cast of made in heaven – https://www.youtube.com/watch?v=ueb5ecwv_vu – and was made in the same year, 1952. it only looks about 50 years older. the plot concerns an impoverished lord in scotland whose stately home is in danger of being requisitioned and turned into a hostel for national coal board employees. waspish comment on austerity britain is one of the pleasures of castle in the air. another is the presence of the original charming man, david tomlinson, who also turns up in… broken journey https://www.youtube.com/watch?v=nti513xkwaw the prototype of all those crashed-airplanes-with-a-motley-cross-section-of-survivors movies and as enjoyable and gripping as the best of the genre. the name ’sydney box’ begins to impinge on the consciousness. holiday camp * https://www.youtube.com/watch?v=wtoiu-ysmh8&t=22s being stranded on the top of a mountain in a wrecked plane in blizzard conditions might actually be preferable to being stuck in a butlins holiday camp in 1947 with the huggetts and charlie chester on the prowl. not to mention a miscast dennis price as a sex murderer. it was dennis price’s great misfortune to be perfectly cast just once (kind hearts and coronets, naturally: twice, if you count his tv jeeves), and miscast in everything else he did (including a canterbury tale, a bona fide screen classic). * youtube notify that this video has been terminated due to copyright infringements. daybreak https://www.youtube.com/watch?v=e7vsft9ehzy the plot twist comes early on, before the central flashback (so this is no spoiler): surely one of the benefits of having a secret life as a judicial hangman is the opportunity it gives to execute the man who seduced your wife and led her to suicide. but this is thrown away, just like the ultimate act of vengeance is thrown away. all that’s left is an inexorable sleepwalk into tragedy. the emotional inarticulacy of each of the characters is striking. everyone talks in a way that is terse and evasive; banalities conceal the scars of untold psychological damage. the ann todd part is supposed to have been a prostitute, but the censors excised all the relevant passages, making the motivating forces of the players even more opaque and unfathomable. just like life. actually, the irredeemable bleakness of a fassbinder or bergman has an earlier precedent in this film (a sydney box production, incidentally). and what a strange cove eric portman was, drawn to such dark and ambiguous characters as eddie here and the perve magistrate in a canterbury tale. eddie is not a bad fellow, but he embodies british repression, reserve and stunted emotion. daybreak resembles an anglo l’atalante set in hell, with gravesend standing in for hell. the man who watched trains go by https://www.youtube.com/watch?v=xdimbfephda&t=74s this 1952 british production is set in holland and france, and crammed with anglophone actors of continental extraction (claude rains, marius goring, herbert lom, aimée anouk). the plot, in brief, is the one where the worm turns and is then destroyed by an uncontrollable id, too long held in check. but claude rains’ popinga is surely too amiable and too neutered to obsess about rozier (märta torén), the mistress of his crooked boss (herbert lom). possibly the psychology in george simenon’s book is more convincing. in the screen treatment there’s something predictable and pat about popinga’s descent into madness. a worm that turns and gets the money and the girl would be too much to ask, i suppose. the film’s biggest setback, however, is its glorious technicolour. i’m beginning to turn into a black and white purist. personal affair https://www.youtube.com/watch?v=cdwe0w-hils couched in civilised, understated terms (the values of the film), a plot summary might read, ‘the unfortunate consequences of misplaced love’. stephen barlow (leo genn) is an inspirational latin teacher and barbara (glynis johns) is his a pupil, 17-years-old, bright, a dunce at latin. she secretly harbours a passionate crush on him. a private coaching lesson at his house culminates in kay (gene tierney), stephen’s wife, semi-amusedly accusing barbara of loving her husband. collapse and flight of barbara. stephen tries to make things right and phones and meets her. he neglects to see her onto the bus. barbara disappears. gossip and innuendo sweep the town. the river is dragged. everyone is destroyed, or would be, were it not for the british stiff upper-lip, this being 1953. could personal affair be made today? it’s hard to imaginable a world so middle-class and white, populated by such consistently sensitive, reasonable and impeccably behaved characters (barring one or two lapses of judgement). the girl’s father, henry vining (walter fitzgerald), a newspaper editor, is positively eloquent. this is his cheerful assessment of his wife, vi (megs jenkins), before the realisation that something is wrong: “my dear wife thinks that human happiness depends on everyone’s mind being an amiable blank.” even the neurotic aunt (pamela brown), who meddles so disastrously, is unusually emotionally articulate. imagine if the same situation befell the cast of daybreak. it wouldn’t make a film, but an intense and gruelling social services enquiry (this increases my admiration for daybreak more). even so, personal affair is far more wrenching than might be expected, and really ratchets up the tension. alongside kay, the viewer begins to doubt stephen. the disintegration of vi vining is devastating. this is a typically affecting performance from the fine megs jenkins (i’m thinking of her in the innocents). although everyone is good, including michael hordern and thora hird in bit parts, and glynis johns, as the confused, and largely absent teenager at the centre of the drama. so could personal affair be made today? well a sex scene every ten minutes is de rigueur in contemporary cinema: that’s the problem. and then i remembered notes on a scandal, starring judi dench and cate blanchett, which inhabits the same middle-class milieu, albeit more multicultural and chaotic, and which is modern enough to admit the actuality of sex. with some allowances, it could be the story of the neurotic aunt. flame in the streets https://www.youtube.com/watch?v=de4a6att4je set against the backdrop of black immigration and simmering racial tension, this social drama concerns jocko palmer (john mills), a shop steward committed to the working-class cause who is forced to go beyond platitudes when his daughter, kathie (sylvia syms) announces her intention to marry peter (johnny sekka), a black man. it’s a creditable attempt to tackle difficult subject-matter, but the presence of wilfred bramble as jocko’s father-in-law recalls harry h. corbett as harold steptoe, announcing loudly, “i keep saying to ‘em that they’re just the same as i am,” and lapsing into festering bewilderment, his default position, when he doesn’t get credit for the humane sentiment. flame in the streets is humane, and even-handed enough to invest dignity in nell (brenda de banzie), jocko’s bitterly racist wife. gabriel gomez (earl cameron), the likeable central character, is maddeningly passive, and the fiancé, peter (johnny sekka) is so earnestly bland we have to take the love between the transgressive couple on trust. i truly, truly hope that fire in the streets is a really interesting period-piece, and has been overtaken by changed social attitudes. directed by roy ward baker in 1961. filed under dyverse dyatribes spaceheads – laughing water posted by mike butler on wednesday, 30 november 2016 · leave a comment electric brass records ebr006 sometimes it seems that spaceheads are such a self-contained unit, they need nothing else. put simply, andy diagram covers the melody and dick harrison takes care of the rhythm. with such a clear allocation of roles, and an equally unambiguous objective – to storm the sonic boundaries – spaceheads have been active for some quarter of a century and, until the ideas dry up (and there’s no sign of that), there seems no reason for them to stop doing what they do. the press release, with unkind justice, refers to diagram and harrison as ‘ancient astronauts’. here they come to earth in a graceful landing. their last, a short ride on the arrow of time, proposed a jaunty excursion through space and time, just like the title said. laughing water is just right too, for music that is consistently adventurous and witty. ‘be calmed’, with its found sounds (someone is playing with the dial on an analog radio) is like a travelogue posted from the poolside of some luxurious continental hotel, with the guests too blissed to stir. recording for the album, so the credits inform, began in geneva in 2005 and finished in cheshire in 2016. actually much of the set has a meditative quality, presumably the swiss counterpart to norwegian pastoral. music as individual and spontaneous as this is uncommonly open to the spirit of place. the passing siren, the last sound heard on the album, has a definite swiss feel. but wait. something has happened betwixt and between a short ride on the arrow of time. laughing water contains a sterling contribution from bassist vincent bertholet (of orchestre tout puissant marcel duchamp), which gives the grooves a new limber elastic resonance. otherwise, dick harrison’s beats are as astringent as ever, and diagram’s flow of melody – utilising trumpet, loops and samples – still continuous and inexhaustible. and the collective chant contributed by friends on ‘machine molle’ – “everybody needs a piece of the world to find peace in the world” – is at one with the surrealists’ notion that human society can only recreate itself through joy. here spaceheads depart from the spirit of our mean and fearful times. ‘quantum shuffle’ and ‘pedalo power’ are characteristically dance friendly. this is social music for zurich and manchester dadas, by way of geneva, but absolutely everyone is welcome to join the party. spaceheads.co.uk filed under dyverse dyatribes, jazz, manchester scene yesterday’s cinema or, the england we all want back or, how mike turned into his mother re. his choice of film posted by mike butler on thursday, 27 october 2016 · 1 comment i haven’t done this (blogged) for a while, and can only plead major life changes (marriage, migration) and my sad conviction that nobody has time left over from tweets and facebook to blog anymore. still, it’s good to keep my hand in, so here, thinking of a quick and easy way to increase the sum of human happiness, is a round-up of films on youtube which have lately taken my fancy. made in heaven https://www.youtube.com/watch?v=ueb5ecwv_vu&t=1378s an attractive bit of fluff about an attractive bit of fluff from 1952, starring petula clark. the plot revolves around the dunmow flitch. it hadn't previously registered what a dunmow flitch was, despite a listen to the dick miles album of the same name, which goes to show that enjoyably lightweight old films can be more educational than folk song narratives. fame is the spur https://www.youtube.com/watch?v=e9eift5dvdq&t=245s labour politicians were weasels even back then. michael redgrave was an interesting fellow. a natural rebel, and drawn to edgy roles, sometimes to make the world a better place and sometimes for entertainment's sake. i’ve seen him in something else lately. oh yes, the loneliness of the long distance runner, but that was a dvd from the library, so outside my remit here. i see a dark stranger https://www.youtube.com/watch?v=10hnue6ekyi a cross between the 39 steps and odd man out and every bit as good as the description might suggest. some of the irish characterisation is a bit quaint, but the young deborah kerr is at least as radiant as the young ingrid bergman. midnight episode https://www.youtube.com/watch?v=8ylotdtr7xm with stanley holloway as a canny low-lifer who stumbles onto a murder. the story is a cut above your average musty thirties british mystery hokum. the reason why is contained in the credits, and easy to miss in small print: 'based on a book by george simenon'. the october man https://www.youtube.com/watch?v=0fx6xpkfazg a dark study of small-town alienation. see also town on trial – https://www.youtube.com/watch?v=4tlqumm8l8a – a homegrown bad day at black rock. i rejoice in anything with john mills in it. it's possibly a form of homesickness. the history of mr polly https://www.youtube.com/watch?v=411b8ai1mok&t=447s see above. for all its gentle charm, it seems to me that this adaption of the h.g. wells book is quite profound about the human condition (albeit the male, lower middle-class, edwardian branch). child in the house https://www.youtube.com/watch?v=oywxc49lzuy&t=104s on the same theme as the fallen idol – that fateful moment when innocence turns to knowledge, and subsequent disillusionment – and it seems to me the better film. (on the subject of carol reed flops, i came to a kid for two farthings – https://www.youtube.com/watch?v=6xnjfc_0ihk – too late and too jaded to be much moved, though the period charm cannot be gainsaid.) the rocking horse winner https://www.youtube.com/watch?v=kqg19zekq-g&t=967s the supernatural allied to a strong anti-materialist message. brilliant, just brilliant. all lingering prejudice against valerie hobson (mostly to do with jean simmons’ disconcerting metamorphosis into v.h. in great expectations) has vanished. also stars john mills. that’s the gilt-edged guarantee. cash on demand https://www.youtube.com/watch?v=puaequ327i4&t=155s as good a hammer and as good a heist, and as clever a reworking of a christmas carol as any i've seen. so long at the fair https://www.youtube.com/watch?v=rvqg_ugm60u&t=22s here’s a plot that is perennially intriguing: ordinary couple do ordinary things –here a brother and sister arrive in paris for the exposition universelle in 1889 – only one party disappears, and everybody is in flat denial that the party ever existed; protagonist doubts sanity, etc. it was used, in another context, in the phantom lady, a noir in which elisha cook jnr does a manic gene krupa turn, and whose fate oddly mirrors its plot in that no-one has seen it or knows of its existence. anyway, there’s a satisfyingly plausible explanation for the mystery here (the phantom lady has some hokum about a mad criminal genius). jean simmons makes a fetching damsel in distress, david tomlinson is winningly personable (after made in heaven, i’m going to be keeping an eye on david tomlinson), and only dirk bogarde’s quiff strikes a jarring note. the kidnappers https://www.youtube.com/watch?v=p1r-yewgfo8 i actually remember watching this on some blessed sunday afternoon of old. it was a gem then, and remains so today. but how easy it is to lapse into presbyterian cadences after a viewing. the characters talk like that easily and plausibly. i like, "i don't believe grandfather is truly a dog-eater." truly, this was the movie that raised the bar on naturalism in child actors. but it's the naturalism of all concerned, including the grown-ups, that saves the kidnappers from sentimentality and turns it into a saving statement of humanity. the long memory * https://www.youtube.com/watch?v=42ulvryy79o john mills as the brooding outsider again, and a convincing candidate for britain's jean gabin. that is, he shouts wronged, misjudged and doomed. the long memory shows how romantic angst crossed the channel from fog-bound quai des brumes to the unforgiving estuary landscape of kent. how dreary and magical northfleet looks; how stark and deserted gravesend is. kent natives did go around singing traditional songs in 1953 (a few of the original old-timers were still around then), but how many were effectively avenging angels, i don't know. the stretchers in the plot can be excused by the film's existentialist aims. the long memory is the work of robert hamer, the gifted director of it always rains on sunday and kind hearts and coronets, who, as an alcoholic homosexual, knew a thing or two about wronged, misjudged and doomed outsiders. * nb this video has been removed because of copyright infringement. we would not look upon its like again were it not for the dedication and discernment of youtube provider dubjax (ten out of the twelve films above are dubjax revivals). the dubjax site keeps getting pounced upon by youtube's copyright infringement police, with the films removed and reconsigned to oblivion. so full credit to dubjax, and catch them while you can. dubjax has recently downloaded a fresh cache of musty masterpieces... filed under dyverse dyatribes a maharaja at the 100 club: james booker in london, 1977, recalled posted by mike butler on wednesday, 10 august 2016 · 1 comment i was eighteen years old, new in london, and eager for blues and related art forms, when i was lucky to wander into the 100 club on oxford street, in, i think, october 1977, to see the new orleans pianist james booker. ‘lucky’ is an understatement. i had the night pegged as the gig of my life at the time, and nothing i’ve seen since has knocked it off its pedestal. i knew dr john - in the right place was already a firm favourite - and i dug ‘i want to walk you home’ and ‘walkin' to new orleans’ like everyone else, but these didn't quite prepare for james carroll booker iii. introspection, vulnerability, self-examination and soul-baring emotion are not what you associate with fats, little richard, lee dorsey and the rest. what booker offered was outside my experience of new orleans music. sure, he took the piano style of professor longhair to new heights of virtuosity, but he offered something else: ‘gumbo’ as a secret source of healing power, perhaps. support came from brett marvin and the thunderbolts (two sets from the thunderbolts; two sets from booker) but i only had eyes for booker. he certainly cut a dash, with a star on his eye-patch (he lost an eye through shooting bad heroin, it was said), and a diamond on his front tooth that flashed in the spotlight every time he smiled, or, just as often, grimaced (it was hard to tell which was which). the mystery was how anyone could acquire such musical skill and be so comprehensively, mortally wrecked when either would be a lifetime's accomplishment for lesser mortals. the concert coincided with a sustained acid flashback on the part of the performer, of which we were treated to a running commentary as he played. innocuous songs took on a new harrowing force. ‘lonely avenue’, the ray charles tune, was not a boy-loses-girl song, as previously supposed, but was transformed into a graphic trip through cold turkey. the entire performance was driven by freakish, fantastic anxiety. it was impossible to foretell what the maestro would play or say next. fats domino and dr john tunes were strung together. or should i say, ‘strung out’ together: addiction was a running theme. ‘right place, wrong time’ itself became a boogie-woogie rollercoaster ride that communicated elation, danger and panic in lightning succession, with the extreme mood swings that typify junkiedom: “i was in the right place, it must have been the wrong time / i said the right thing / must have used the wrong lines…" and, in keeping with his confessional tone: “it was the right arm / i must have used the wrong vein.” ‘junco partner’, the ultimate doper anthem, was given a hell-bent, demonically gleeful delivery. dark secrets emerged. it seems he sold ‘so swell’ to aretha. the disclosure made perfect sense. ‘so swell’ has the pay-off line: “you're so swell when you're well / you've just been sick so long.” vengeful self-loathing was never aretha's thing, whereas booker made it his own. the piano-playing was incomparable. imagine professor longhair raised to the level of liszt, larded with unlikely motifs and quotations. the woody woodpecker theme and flight of the bumble bee surfaced with obsessive regularity. and whole tunes, not just licks, were repeated. ‘please send me someone to love’, which equates personal loneliness with nuclear holocaust, received two airings. it was as if booker had been forewarned that this was his last night on earth. in fact, he finally shuffled off to boogie-woogie heaven six years later, in 1983, at the age of 43. the spirit of that night is most faithfully captured on the piano prince from new orleans and blues & ragtime from new orleans, two live lps recorded in germany on a tour the preceding year. he's sporting an afro on their respective covers, whereas i remember him as he appeared on the cover of boogie woogie & ragtime piano contest, recorded in zurich on the 27 november 1977, and in the picture that heads this blog, with the distinctive star eye patch, which he's also sporting on the cover of junco partner, island records, 1976: the definitive studio album, not that i would pass on anything by booker. james booker: manchester 1977, was recorded at belle vue manchester the same week as the 100 club appearance. the backing musicians, including norman beaker and dave lunt, contrive to iron out booker's idiosyncrasies, but it’s a worthy document (on document records actually). however, booker had evidently come down from the acid. and now comes a documentary film, bayou maharaja – of which i’ve heard glowing reports. 'bayou maharaja' looks set to join all those other titles, like ‘the piano prince of new orleans’, ‘little chopin in living colour’ and ‘black liberace’, which so signally failed to attract attention in his lifetime. filed under i was there, roots usa, soul niño de elche at manchester jazz festival posted by mike butler on sunday, 31 july 2016 · leave a comment el niño de elche has come to manchester. this, according to de la puríssima (eva and i bumped into her in tampopo last week), because a “visionary” at instituto cervantes recommended him (and de la puríssima) to mjf programmer steve mead. this wouldn’t be the person from instituto cervantes who introduced the afternoon set by claiming that elche was in valencia. (“alicante! alicante! elche is from alicante,” corrected a voice in the audience from the seat next to mine.) presumably in homage to the host city, darío del moral, the synth player (he later strapped on a bass), wore a t-shirt sporting peter saville’s monochrome art-work for unknown pleasures. we can argue about the play of dark and light forces in the music of el niño de elche, but there was a sense of occasion that no-one present will soon forget. the concert was both an exemplary exercise in catharsis and a brush with immortality. most people were expecting the gypsy kings. an ominous drone that builds. resonating guitar strings. the stocky figure of el niño, already half sunk in trance, is swaying. utterly mesmerising, and el niño has yet to speak. he holds out a poetry book (porción del enemigo by enrique falcón, as el niño later told eva). what follows next is not a straightforward recitation, more like a call to prayer from a muezzin blessed with a golden voice. the hairs involuntarily rise on the back of my neck (reem kelani was the last singer to have this effect). eva leans forward and offers a hasty translation: “do not let your children play in the gardens of torturers.” (and now echoes of distant voices. the last words of m: “we should keep a closer watch on our children”; kevin coyne’s ‘in silence’: “don’t hurt them.”) it isn’t that el niño de elche sings protest songs, it’s more that he’s somehow receptive to the pain generated by evil acts throughout the world, and transmits the intensity and rage through the medium of a powerful voice trained in flamenco. of course, the transmission of rage is what flamenco has always done, but this is duende on a cosmic scale. and because suffering has no words, so el niño resorts to shrieks, gasps, moans and, finally, a sustained scream. his body is subject to a paroxysm of jerks, but his hand movements are graceful. this is telling, and somehow symbolic. he has something in common with phil minton, the great non-verbal articulator of the visceral, and, as we know, with ian curtis, who took the sins of the world on his skinny shoulders. but perhaps i’m not adequately conveying the charisma and humour of el niño de elche. one song, ‘nadie’. – “nobody knows me / nobody has discovered me yet / not even the artichoke of my shower” (this free translation comes from eva) – has him chuckling away, taking the audience into his confidence and exposing the psychosis that lurks behind charisma and humour. in short, he’s a consummate actor as well. there was a comic note too, when raúl cantizano exchanged his axe for a spanish guitar (at last, flamenco!) modified by two tiny fans whose whirling blades recreated flamenco’s rapid thrum by mechanical means. the song was ‘canción de corro del niño palestino’, where suffering quickly outstrips the power of words, and the laughter soon died. i shall go and live in madrid if only to hear again the passion and sincerity of el niño’s performance. filed under europe, hero worship, i am here, jazz, manchester scene kit downes and tom challenger at manchester jazz festival posted by mike butler on friday, 29 july 2016 · leave a comment vyamanikal, manchester jazz festival, 28th july, 2016  for the vyamanikal project, kit downes and tom challenger decamped to rural suffolk to explore the acoustic properties of old churches, with kit downes extemporising on pipe organ in a reedy sepulchral way, and challenger responding with a minimal, keening saxophone. singularly responsive to the spirit of place, the music was unique and full of character, and turned on the peculiarities of oft-neglected, wheezy old instruments.  extending the concept to historic st ann’s church in central manchester is an interesting idea, though this sacred space is rich and ornate and the church organ is well maintained, with some original pipework from 1730, when it was built. tantalisingly, downes mentions that his father learned to play on the very same instrument.  downes is drawn to the subtleties of timbre and texture and extracts a thin, shifting sound; more misterioso than pomp. it’s music that evolves in a natural organic way, however, and these are just quiet beginnings. challenger complements with plangent simplicity. a screen just behind the players shows visuals of eerie flat expanses and cornfields, presumably from the same suffolk wilds. this invites comparison to the old bbc christmas adaptions of m.r. james ghost stories, but it's all a bit literal: it seems a shame listeners can't be trusted to make the connection for themselves.  downes temporarily diverts to a small harmonium with very much the same tonal register. we’re told that the music is fully improvised and there is no reason to doubt it, but it seems very purposeful in its meditative way, and the interplay between the two players is confident. it hardly seems necessary to say that the sound is extremely haunting. applause would only break the spell.  finally the organ regains some of its conventional power, and events take on a more grand guignol aspect, as if count magnus has arisen from the tomb.  no, that’s a rather reductive characterisation (you see how sensational the unfettered imagination can be). say rather that the music evokes the circle of life and death, and is more gratefully life-affirming than gloomy. read more » filed under i am here, jazz, manchester scene « previous page   search for: categories select category abner burnett (5) africa (3) americas (8) blues (9) dyverse dyatribes (54) dyverse lists (11) dyverse values (7) dyverse visuals (2) europe (13) folk (23) fusion (3) hero worship (13) i am here (26) i was there (34) interviews (8) jazz (57) manchester scene (36) middle east (1) obsessions with... 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