Saturday, 13 May 2017

Nik Pollard RIP

A montage of some of the comic art owned by Nik Pollard, much of it exhibited at London’s Cartoon Museum down the years

In Memoriam: Comics Archivist and Educator Nik Pollard

Posted by: News Team
downthetubes.net
12 April 2017 


Artist Steve Marchant recalls the life and work of Nik Pollard, who along with others strove to give the comics form rightful study in the UK – and was a generous benefactor to London’s Cartoon Museum…

Nik Pollard, lifelong comics fan and unsung pioneer in the exhibition of comic art in the UK, passed away recently at the age of 71. Back in the days when British learning institutions largely looked down on comics with contempt, Nik was running the library at Bournemouth & Poole College of Art, filling the shelves with bound copies of Eagle, and US comics by the classic hands of the 1960s and 70s.

In 1975, emboldened by this cumulated mass of riches and wanting to share it more widely, he began to think about holding a comics exhibition in the library. He wrote to all the comic publishers and newspapers carrying comic strips, asking if it would be possible to borrow some original artwork. Several publishers responded generously, and the exhibition ran for three weeks attracting staff and students, visitors from the local community and Pat Mills and Dez Skinn. It also garnered coverage in local papers and on Southampton Radio.

The following year, Nik spoke at a one day conference held at Bournemouth Winter Gardens and suggested that current US comics were in the future likely to have as much cultural impact and therefore historical significance, though not necessarily value, as Shakespeare in providing stories and inspiration. Although, according to Nik, ‘a stony silence followed’, his prescience has been borne out by the amount of comic-related TV shows, movies, toys, bags and clothing that we now enjoy.

In 1977 Nik took on the Deputy’s job in Kingston University’s Library Service, which gave him easier access to London comic shops such as Dark They Were and Golden Eyed, and comic marts where he found original artwork on sale, and he bought as much as he could afford. Enamoured by the “extraordinary, transformative” work by the new wave of British artists, he mounted a small 2000AD exhibition that toured the university campus’ libraries.

After attending a one-day seminar on comics at Birmingham Arts Lab in 1982, where he spoke with Denis Gifford, Raymond Briggs and David Lloyd among others, Nik returned to Kingston all fired up with the notion of running a one-day conference on comics at the university, arguing that there was a now thriving domestic industry in existence with many customers and fans and therefore money and potential students out there that nobody was capitalising on.

Nik eventually got his way, and a Saturday seminar in November 1983 was mounted with guest speakers including David Lloyd, Bryan Talbot and Alan Moore attracting attendees from across the UK. Nik also mounted a supporting exhibition entitled “Didactic uses of the Comic Strip” which featured comics on such varied topics as sex education, alcohol abuse, political philosophies, job hunting and bible smuggling into Communist states by the US Christian far right. Radio and TV took note and an article was published in Design magazine.

After eventually leaving Kingston University, Nik took on a role at the London Borough of Richmond’s Local Studies Service, where he remained until forced into retirement by ill health. He spent his last years enjoying family life and introducing his grandchildren to the world of comics.

Nik sold his comics to the London College of Communication as a research collection; his vintage science fiction books now reside at the Science Fiction Foundation’s collection at Liverpool University; and his beloved collection of original art – including pages by David Lloyd, Dave Gibbons, Frank Bellamy, Neal Adams, Alex Nino, and Herb Trimpe – were donated to London’s Cartoon Museum in late 2016, along with the life-size Judge Dredd cut-out that currently guards the entrance to its 2000AD exhibition.

Nik was passionate about comic art and was adamant that his collection should not be sold off to private collectors, but preserved and exhibited for the nation.

His last words on the matter were: “Hurrah! – they are yours. Enjoy, I have.”

Nik Pollard born 16th November 1945, died 2nd April 2017

Friday, 12 May 2017

Dead Poets Society #38 James Tate: The Blue Booby

Image result for james tate

The Blue Booby by James Tate

The blue booby lives
on the bare rocks
of Galápagos
and fears nothing.
It is a simple life:
they live on fish,
and there are few predators.
Also, the males do not
make fools of themselves
chasing after the young
ladies. Rather,
they gather the blue
objects of the world
and construct from them

a nest—an occasional
Gaulois package,
a string of beads,
a piece of cloth from
a sailor’s suit. This
replaces the need for
dazzling plumage;
in fact, in the past
fifty million years
the male has grown
considerably duller,
nor can he sing well.
The female, though,

asks little of him—
the blue satisfies her
completely, has
a magical effect
on her. When she returns
from her day of
gossip and shopping,
she sees he has found her
a new shred of blue foil:
for this she rewards him
with her dark body,
the stars turn slowly
in the blue foil beside them
like the eyes of a mild savior.


Thursday, 11 May 2017

Last night's set lists

At The Habit, York: -

Ron Elderly: -
Cry To Me
You Better Move On


Da Elderly: -
Roll Another Number (for the Road)
I Don't Want To Talk About It


The Elderly Brothers: -
When Will I Be Loved
Another Saturday Night
Wonderful World
Mailman Bring Me No More Blues
I Saw Her Standing There


Another packed open mic night at The Habit, with plenty of punters and players; all, or so it seemed, in a happy mood - the lovely warm sunshine might have helped. We all sang happy birthday to regular Tony, who had the audience singing along to his original observational songs. I dedicated I Don't Want To Talk About It to it's composer Danny Whitten who would have been 74 on Monday. The Elderly Brothers introduced a 'new' song to their repertoire - Buddy Holly's Mailman Bring Me No More Blues. For those who may be wondering, the song Wonderful World was Sam Cooke's "Don't know much about history" etc.

In other news, The Elderly Brothers have been booked for tomorrow's evening slot at The Habit, 9pm - midnight, so the FNBs will be at least one short this Friday.

Monday, 8 May 2017

We Win!

Image result for newcastle win championship 2017
Image result for newcastle win championship 2017
... so let's not blow it this time!

Saturday, 6 May 2017

Friday, 5 May 2017

Dead Poets Society #37 James Wright: A Blessing

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James Wright with his son, Franz

A Blessing by James Wright

Just off the highway to Rochester, Minnesota,
Twilight bounds softly forth on the grass.
And the eyes of those two Indian ponies
Darken with kindness.
They have come gladly out of the willows
To welcome my friend and me.
We step over the barbed wire into the pasture
Where they have been grazing all day, alone.
They ripple tensely, they can hardly contain their happiness
That we have come.
They bow shyly as wet swans. They love each other.
There is no loneliness like theirs.
At home once more,
They begin munching the young tufts of spring in the darkness.
I would like to hold the slenderer one in my arms,
For she has walked over to me
And nuzzled my left hand.
She is black and white,
Her mane falls wild on her forehead,
And the light breeze moves me to caress her long ear
That is delicate as the skin over a girl’s wrist.
Suddenly I realize
That if I stepped out of my body I would break
Into blossom.


Thursday, 4 May 2017

Last night's set lists

Don singing The Loveliest Night Of The Year

At The Habit, York: -

Da Elderly: -
Is It Only The Moonlight?
Long May You Run


Ron Elderly: -
Autumn Leaves
Make You Feel My Love


The Elderly Brothers: -
He'll Have To Go
Love Hurts
If Not For You
Bird Dog


The Habit was full to full-ish for most of the evening with plenty of players and punters. Dave from Leeds had the crowd singing along with S&G's America and lifted a song from The Elderly Brothers' set, Then I Kissed Her. A lass called Rosalind played guitar and sang with such a pure voice that she managed to hush the noisy crowd. A highlight was the welcome return of acapella crooner Don, who was celebrating his 91st birthday!! He held the crowd spellbound with a rendition of Mario Lanza's The Loveliest Night Of The Year. The Elderly Brothers finished off the evening with 4 of our favourites - hadn't played Bird Dog for a while and it went down very well. Afterwards we helped Don celebrate and sang Happy Birthday to him!

Monday, 1 May 2017

There is an - a poem by Ally May


There is an


empty chair in the Lit. and Phil.
a place going spare
in the Blaydon Race
and blossom on the ground
knocked off trees by rain.

ALLY MAY


Sunday, 30 April 2017

FRIDAY NIGHT BOY COOL #398


And in answer to your question: young Gene Kelly, third from left.

Saturday, 29 April 2017

Dead Poets Society #36 Walt Whitman: When I heard the Learn’d Astronomer



When I heard the Learn’d Astronomer by Walt Whitman

WHEN I heard the learn’d astronomer;
When the proofs, the figures, were ranged in columns before me;
When I was shown the charts and the diagrams, to add, divide, and measure them;
When I, sitting, heard the astronomer, where he lectured with much applause in the lecture-room,
How soon, unaccountable, I became tired and sick;
Till rising and gliding out, I wander’d off by myself,
In the mystical moist night-air, and from time to time,
Look’d up in perfect silence at the stars.


Unfortunately, compressing the lines to fit in the blog post ruins the effect of the build-up to the longest line...

Friday, 28 April 2017

Jonathan Demme RIP

Image result for jonathan demme
Jonathan Demme obituary
US film director whose 1991 thriller The Silence of the Lambs won five Oscars

Ryan Gilbey
The Guardian
Wednesday 26 April 2017

Jonathan Demme, who has died aged 73 from complications from cancer, rose from his colourful if tawdry beginnings under the aegis of the exploitation maestro Roger Corman to become one of the most eclectic, delightful and original film-makers in Hollywood. He also happened to be one of the nicest: the compassionate sensibility that lent his work its warmth and musicality was no put-on. Plainly put, he loved people.

Even his darkest work, such as the hit thriller The Silence of the Lambs (1991), which gave him his first taste of box-office success nearly two decades into his career and also brought him a best director Oscar, had a beguiling tenderness about it. For all that film’s gruesome frights, it was the connection between the FBI agent Clarice Starling (Jodie Foster) and her macabre mentor, the serial killer Hannibal Lecter (Anthony Hopkins), that lent the film its emotional bite.

His movies could be bewilderingly diverse – he made the innovative concert film Stop Making Sense (1984), the uproarious screwball thriller Something Wild (1986), the Aids drama Philadelphia (1993) and a remake of The Manchurian Candidate (2004) – but they were united by their colour and vim, as well as a deep-seated sense of conscientiousness and community. Demme cared deeply about what he put on the screen.

“That’s one of the joyful aspects of the work and I also feel it’s part of my responsibility as a film-maker,” he said in 2004. “You have to remember that the behaviour you visualise on screen will be witnessed by thousands or millions of people, and will ultimately say something about us as a species. That’s why it gets harder for me to have pure villains in my films. When people tell me, ‘Oh, Meryl Streep’s great in The Manchurian Candidate, I hated her so much!’ – well, I don’t wanna hear the ‘hated’ part, because I see her as a fully fledged, emotional person.”

Crucially, he never lost touch with his B-movie roots. He always remembered Corman’s advice to keep the viewer’s eye stimulated; as a mark of affection, he gave Corman cameo roles in most of his films.

He was born in Baldwin, Long Island, the son of Robert Demme, who worked in PR, and his wife, Dorothy (nee Rogers). Jonathan was educated at the University of Florida, where he became a film critic on the college newspaper and came to the attention of the producer Joseph E Levine, who was so impressed (not least by Demme’s positive review of Zulu, which Levine had produced) that he hired him as a publicity writer.

Demme met Corman while working in London on publicity for the latter’s war film Von Richthofen and Brown (1971), and was soon recruited into the stable of writer-directors that had already spawned Francis Ford Coppola and Peter Bogdanovich. He shot one scene of the sex film Secrets of a Door-to-Door Salesman (aka Naughty Wives) (1973) and wrote assorted scripts for Corman, such as Angels Hard As They Come (1971) and The Hot Box (1972), before making his directing debut with the women-in-prison thriller Caged Heat (1974) and the lighthearted gangster movie Crazy Mama (1975). In both instances, he insisted that the criminals should survive; Crazy Mama even ends with the outlaws cheerfully running a hot-dog stand. “They escaped! You’ve got no ending!” cried an outraged Corman.

After his last outright exploitation picture, the revenge thriller Fighting Mad (1976), Demme made his major studio debut with Citizens Band, aka Handle With Care (1977), intended by Paramount to cash in on the CB radio boom but shaped by Demme into a sweet-natured comic roundelay. The agent turned producer Freddie Fields interfered in the production and even sacked Demme at one point, until Roman Polanski, who had heard about the incident through a mutual friend, demanded his reinstatement. Glowing reviews (Pauline Kael likened Demme to Renoir) did not translate into ticket sales and the film was a flop, as was Last Embrace (1979), his witty homage to Vertigo. There was praise, too, for Melvin and Howard (1980), which dramatised the true story of an unassuming milkman who helps an old man stranded in the desert one night after a motorcycle accident; only later does he discover that he came to the rescue of Howard Hughes and that he has been made a beneficiary in his will. Demme’s intimate, easygoing humour, and his affectionate work with his cast (including Mary Steenburgen, who won an Oscar) brought purpose and definition to this featherweight tale.

He had another bruising encounter with Hollywood on Swing Shift (1984), a wartime comedy-drama which was re-edited by its star Goldie Hawn, who was also the producer. But Stop Making Sense was a triumph – a fully cinematic visual record of a Talking Heads performance, with the band and the show assembling gradually, song by song, beginning with just the singer David Byrne on stage with a guitar and a tape-recorder and ending with a full battalion of musicians, dancers, backing singers, props and costumes (including, famously, Byrne’s boxy, over-sized suit).

Something Wild threw together an uptight businessman (Jeff Daniels) and an unpredictable kook (Melanie Griffith) in an on-the-lam adventure steeped in colour, eccentricity and music; Demme negotiated masterfully the switch halfway through from comedy to suspense.

In Swimming to Cambodia (1987), he brought to a one-man show by the actor and raconteur Spalding Gray some of the same minimalist magic of Stop Making Sense and delivered another quirky marriage of crime and comedy in Married to the Mob (1988), starring Michelle Pfeiffer as a mafia widow. However, the audiences were not won over. “I wondered if I was missing some commercial gene,” he said. “Or if I had a curse.”

Demme claimed to be as surprised as anyone about the success of The Silence of the Lambs. “I had just done what I always did. Only this time it worked.” That was an understatement. The film was only the third in history to win all five major Oscars; it made more than $240m worldwide and its influence was strongly felt on the thriller genre, though it was to Demme’s credit that he opted not to direct the sensationalist sequel (Hannibal) and prequel (Red Dragon). Philadelphia, about the efforts of a lawyer (Tom Hanks) to sue the practice which dismissed him after discovering that he was dying from Aids, could hardly have been more different. It was credited with encouraging a better understanding of HIV/Aids.

“We got together and tried to come up with a movie that would help push for a cure and save lives,” Demme said. “We didn’t want to make a film that would appeal to an audience of people like us, who already had a predisposition for caring about people with Aids. We wanted to reach the people who couldn’t care less about people with Aids. That was our target audience.”

He later conceded that the success of those two films changed the course of his career, and not exclusively for the good. “There is some seductive upward spiral, which I might have got sucked into, where once you have success, you get to make even more expensive films, you get paid more and your work seems even more ‘important’ and ‘major.’” His adaptation of Toni Morrison’s novel Beloved (1998), though intensely powerful and boasting a spectacular performance byThandie Newton, did not continue his box-office success, while The Truth About Charlie (2002) was an insipid remake of the much-loved caper Charade.

He rediscovered his earlier vitality with Rachel Getting Married (2008), a fizzy family drama which drew on memories of his mother’s alcoholism and starred Anne Hathaway as a woman leaving rehab to attend her sister’s wedding. Shot with hand-held cameras (camcorders were even placed in the hands of the extras playing wedding guests, and their footage spliced into the movie) and peppered with impromptu musical turns, it fulfilled Demme’s ambition to create “the most beautiful home movie ever made.” Less well-received, but brimming with bonhomie, was Ricki and the Flash (2015), with Meryl Streep as a rock singer re-connecting with the daughter she abandoned.

Aside from his fiction work, Demme was an accomplished documentary maker whose subjects ranged from family (his cousin, an Episcopalian minister, in the 1992 Cousin Bobby) to musicians (Robyn Hitchcock, Neil Young, Justin Timberlake) and politicians (Jimmy Carter in the 2007 Man from Plains).

In 2008, I asked him whether he had anything to add to the formula he had outlined in 1986 for making a decent movie – “You get a good script, good actors and try not to screw it up.” He let out a joyful laugh and gave an exaggerated slap of the thigh: “That’s the formula, baby.”

He is survived by his second wife, Joanne Howard, and three children, Ramona, Brooklyn and Jos.

• Robert Jonathan Demme, film director, born 22 February 1944; died 26 April 2017

Thursday, 27 April 2017

Last night's set lists

At The Habit, York: -

Ron Elderly: -
One More Cup Of Coffee
The River
Need Your Love So Bad


Da Elderly: -
Love Song
I'm Just A Loser
In The Morning Light


The Elderly Brothers: -
Yes I Will
No Reply
You Got It
I Saw Her Standing There


As expected after last week's bumper attendance, it was a rather quiet night, for both players and punters. So it was 3 songs each in the end. Worth a mention was a lovely rendition of Sandy Denny's Who Knows Where The Time Goes by regular Deb Simpson. The Elderly Brothers closed the show with songs by The Hollies, The Beatles and Roy Orbison. A random unplugged session followed until closing time - another enjoyable evening at The Habit.

Tuesday, 25 April 2017

Relief!

Image result for newcastle vs preston rafa st james park
Of course, it remains to be seen whether Rafa will stay and how much money Trashley is prepared to part with... A conservative estimate would suggest at least five (good) players will be needed to reach even mid-table. Fingers crossed. As usual.