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By gsparacoon April 6, 2010
Complete Promo Clips Vol. 2 1980 – 1992 (Misterclaudel mcdvd-07/08)
DVD 1: Coming Up (1980), Waterfalls (1980), Ebony And Ivory (1982), Ebony And Ivory Solo (1982), Take It Away (1982), Tug Of War (1982), Here Today #1 (1982), Here Today #2 (1982), Say Say Say (1983), Pipes Of Peace (1983), So Bad (1983), No More Lonely Nights (1984), No More Lonely Nights Disco Ver. (1984), We All Stand Together (1984), Seaside Woman (1984), Oriental Nightfish (1984), Spies Like Us #1 (1985), Spies Like Us #2 (1985), Press (1986), Only Love Remains (1986), Pretty Little Head (1986), Strangledhold (1986), Let It Be (Ferry Aid 1987), All The Best UK Ad (1987), Once Upon A Long Ago (1987), My Brave Face (1989), This One #1 (1989), This One #2 (1989)
DVD 2: Figure Of Eight long version (1990), Figure Of Eight short version (1990), Put It There (1990), Put It There solo party (1990), Get Back (1990), We Got Married (1990), Distraction (1990), Ou Est Le Soleil? (1990), Party Party (1990), Birthday #1 (1991), Birthday #2 (1991), Long And Winding Road (1991), Sgt. Pepper's Lonely Hearts Club Band (1991), I Saw Her Standing There (1991), All My Trials (1991). Bonus tracks: Aspel & Company June 9th, 1984, That'll Be The Day / Royal Variety Performance November 24th, 1986, Only Love Remains / Live The Tube December 11th, 1986, Only Love Remains / Wogan November 19th, 1987, Jet, Listen To What The Man Said / The Last Resort With Jonathan Ross November 27th, 1987, Don't Get Around Much Anymore, I Saw Her Standing There, Lawdy Miss Clawdy / Live The Roxy November 17th, 1987, Once Upon A Long Ago / Yoru no Hit Studio November 18th, 1987, Once Upon A Long Ago / Countdown November 30th, 1987, Once Upon A Long Ago / Top Of The Pops December 2nd, 1987, Once Upon A Long Ago / Yoru no Hit Studio 1989 June 7th, 1989, This One, My Brave Face / Rehearsals at The Lyceum Theatre August 24th 1989, This One
The second volume in Misterclaudel's three volume series of Paul McCartney promo videos documents those made in the eighties to the very beginning of the nineties. The period covered begins at the start of his second solo career. The videos become more creative and elaborately staged with expensive productions, and then become more basic with simple live performance promos. This progress mirrors his time away from live performance.
The first disc begins with two videos from his first solo album of the decade McCartney II. "Coming Up" is one of his more famous. Through special effects there are ten McCartney's including one dressed as Beatle Paul and another as Buddy Holly. It is interesting to note that this song was a minor hit for Wings and since the band technically was still in existence when the album came out could have been a band piece, but McCartney chose to make this solo. The video premiered on NBC's "Saturday Night Live" on May 17, 1980. "Waterfalls" is a rarely seen clip from an underrated single. It is a catchy tune and the video begins with Paul composing the tune at the piano only to wander off into images from the song itself including dancing polar bears, waterfalls, and a carousel. This video was taped off of VH1 and is in excellent quality.
The following six videos come from 1982's Tug Of War, a creative peak both musically and an advancement in the videos. The first version of "Ebony And Ivory" is the better known with Paul and Stevie Wonder singing on a gigantic piano keyboard. Occasionally the scene cuts to the "backing band" the Cimarrons. Because of scheduling conflicts the performers were filmed separately and their scenes were edited together into a cohesive whole. The second "Ebony And Ivory" is McCartney's solo version found on the 12″ single and features Paul surrounded by smoke playing the piano. These scenes alternate with a story of a prisoner in jail who is let free in the end.
"Take It Away" is a high concept video. Paul and his band, consisting of Linda, Ringo and George Martin begin the song practicing in mum's house and play a big show. They are courted by an impresario played by actor John Hurt who signs them to a contract at the end. "Tug Of War" is a simple video showing Paul playing the song while sitting in a chair and mixing the song at AIR studios which is intercut with old black and white footage of people engaged in a tug of war.
The final Tug Of War videos are two variations of "Here Today." The first consists of non-synchronous shots of Paul and George Martin working on the song at Abbey Road Studios. The second is one that was shown on NBC's "Friday Night Videos" with an interview with Paul. This edit consists of the song over a montage of various still photographs of Lennon. The quality of the latter is good but looks sourced from a high generation VHS recording.
The next three videos come from 1983's Pipes Of Peace. "Say Say Say" is taped directly off of VH1 and is in excellent quality and includes the opening dialogue, which is sometimes cut out. This is a high concept video casting Paul, Linda and Michael Jackson and nineteenth century western robin hoods. The creep factor is high with Jackson making ogle eyes at his sister LaToya, but it is still a great video. "Pipes Of Peace" is one of the most elaborately produced video in the entire selection. Depicting the 1914 Christmas true between the British and Germany troops, it features Paul playing an officer for each side as they meet at the line, play football, exchange chocolate and whisky, and photos of each other's families.
"So Bad" is a simple clip featuring Paul, Linda, Ringo and Eric Stewart as a band playing during a photo shoot. This is followed by two variations of the video for "No More Lonely Nights" from Paul's film Give My Regards To Broad Street. The first is the standard video shown on MTV countless times where McCartney plays a lonely projectionist and goes to the roof of the theater for a cigarette and sees the miraculous transformation of London. This was filmed on April 10 1984 at the Old Justice Pub in Bermondey. The second is a compilation called the "disco" or "dance" variation and was filmed in October at the Hippodrome in London. This one features Paul walking and miming the words while people break dance around him. Random scenes of people dancing are edited throughout the video.
The next three video clips come from the rare out of print Rupert short that was released on VHS and videodisc in 1984. "We All Stand Together" is taped off of VH1 and is in excellent quality. It begins with Paul finding his and Mike's Rupert book in the attic and miming the song. This footage is edited with an animated short of the frogs singing the song and is an example of McCartney's branching out from pop music in the eighties. "Seaside Woman" had a long history. It was originally written by Linda in 1972 and was featured on the very first Wings tour that year. In 1977 it was released as a single, being credited to Suzie And The Red Stripes and the video was produced three years after. The clip begins with a placard that reads: "Winner Of The Golden Palm for the Best Short Subject at the Cannes Film Festival 1980." It is a fun calypso song with more serious social commentary. The animation follows the narrative in the song and is one of the true jewels in this set.
Another Linda written song "Oriental Nightfish" follows. She and animator Ian Emes directed this in 1978. Misterclaudel group with in 1984 to correspond with its home video release. These are followed by two variations of the "Spies Like Us" video, Paul's contribution to the John Landis movie released in 1985. The first is the "British" edit that was produced to comply with the BBC since British labor laws prohibit non-musicians from performing in videos. The second is the normal cut which features more of the leads including Dan Aykroyd at the mixing consol, Chevy Chase pretending to play keyboards, and the female leads Donna Dixon and Vanessa Angel miming back up vocals during the up tempo second half. Both variations end with a parody of the Abbey Road cover with Paul, Chase and Akyroyd.
The next four videos come from McCartney's 1986 release Press To Play. This album was produced by Hugh Padgham (Phil Collins, Peter Gabriel, Genesis) and the songs sound like mid eighties synthesized pop. "Press" is a low budget video showing an afternoon of Paul McCartney riding the tubes in London. There are funny reaction shots from other passengers as they realize precisely who is riding next to them and a very good scene of Paul talking to a young woman busking with her violin.
"Only Love Remains" was filmed on November 17 – 19, 1986 and is remixed for the video with more saxophone (what eighties hit didn't have a saxophone?) It features Paul and the band playing with a large orchestra, Paul and Linda standing around a fireplace, and later an older couple standing by the same fireplace. "Pretty Little Head" begins with a sound byte from "She's Leaving Home" and the narrative of the video serves as a sequel of sorts to the Sgt. Pepper's track. The girl runs away from home to escape from her bickering parents and is beset by the trials of being a runaway in the mid eighties. Finally "Stranglehold" is another story video featuring Paul playing in a bar in the American southwest. A young boy wants to play his sax, but the bouncer refuses to let him in until Linda comes, escorts him in, and he steals the show. All of these were taped off of recent broadcasts on VH1 and are in excellent quality.
"Let It Be" is a video filmed in March, 1987 for Ferry Aid, a charity to raise money for the families of the victims of the March 6, 1987 Herald Of Free Enterprise ferry disaster. The ship was leaving Zeebrugge port in Belgium and overturned, killing nearly two hundred people. The single soon hit number one in the UK and was a success. The video features Boy George, Gary Moore, Mark Knopfler, Bananarama and countless obscure pop stars in a video that follows the stock formula of the charity pieces in the mid eighties. It begins with a close up of Paul singing the song at the piano and pans to the rest of the artists in the studio recording the song as they take turns singing the lyrics until they all gather at the end and sing in one chorus. This is followed by a short television ad for McCartney's greatest hits package All The Best.
The final video from 1987 is for "Once Upon A Long Ago," issued as a single and also on the greatest hits release. This is the first of four appearances in this collection and this video is an edit of two unrelated bits of footage. The first is a animated film of a family and their puppy during Christmas, and the rest is black and white footage of Paul and the band playing the track on a deserted hilltop.
The Flowers In The Dirt videos close out the first DVD with "My Brave Face." This is a performance video intercut with a plotline centered on a Japanese collector who is looting the McCartney warehouse for Beatles memorabilia. As he snags the greatest piece, McCartney's Hofner bass guitar, he is hauled away by the police. This is in excellent quality and there are good shots of Elvis Costello (who co-wrote the song) in the studio with Paul and the band. At the end of the video the collector is captured and McCartney is dressed as a gangster.
The first of two versions of "This One" is the European cut which features Paul and Linda meditating and having dream like visions of swans and other psychedelia. The second version is the American cut which features stop motion photos of Paul, Linda and the band in different 1960's fashion. The videos from that LP continue on disc two with both the long and short versions of "Figure Of Eight." They are both performance videos and the former received more airplay than the latter. These are followed by two variations of "Put It There." The first has footage of Paul playing guitar intercut with old footage of fathers and sons and is in excellent quality. The second is Paul alone in a dark room playing and singing the song. This video received more US airplay and is in very good quality. "Get Back" is a concert performance of the track from the 1989-1990 world tour and serves as a promo for the Richard Lester film Get Back. The footage is very exciting and it is a shame the film is currently out of print.
"We Got Married" is a straight performance piece in excellent quality and "Distraction" is another working-in-the-studio video. "Ou Est Le Soleil" is a interesting concept. It is based upon a Nintendo platform video game with the character traveling around the screen. This is edited with the band miming the lyrics and random footage of African tribal dancers, discothèque footage and Paul appears at the end wearing a sombrero.
"Party Party" is a rapid motion animation in the style of Picasso. Paul and the backing band flash by in black and white. Two versions of "Birthday" issued to promote Tripping The Live Fantastic follow. The first contains concert footage from the Knebworth concert intercut with various birthday scenes, and the second is a straight concert video. The next three videos, "The Long And Winding Road," "Sgt. Pepper's Lonely Hearts Club Band" (filmed in Rio de Janiero), and "I Saw Her Standing There" likewise are promos for the live album. "Sgt Peppers" contains colorful screens shots interspersed with the concert footage. The final video is for "All My Trials." It begins with a short interview where Paul explains the song's origin. The actual video has black and white footage of McCartney and band playing in a big empty room, and this is edited with random scenes of people on the street in poverty.
There are ten bonus clips on this disc which are not videos as such but rather various television appearances in the late eighties. The first is from the "Aspel & Company" show from June 9 1984. this is a short clip of Paul singing "That'll Be The Day" as a duet with Tracey Ullman. The "Royal Variety Performance" dates from November 24, 1986 and is Paul singing "Only Love Remains." He performs the song again two weeks later on "Live At The Tube." This clip is followed by Paul's appearance on Terry Wogan's "Saturday Live" on November 19, 1987 where he plays two Wings songs, "Jet" and "Listen To What The Man Said."
The next clip is from "The Last Resort" with host Jonathan Ross. Paul plays three songs with his band, "Don't Get Around Much Anymore," "I Saw Her Standing There" and "Lawdy Miss Clawdy." The clip also includes a short interview with Paul where he is asked about Michael Jackson buying the Northern Songs catalogue and a running joke about Jonathan asking Paul to autograph a big stack of albums for his "friends" ("John," "JR," and "John-John.") Live At The Roxy from November 17 1987 shows Paul playing "Once Upon A Time" as a flashback on stage and many children wearing hats join them on stage.
"Once Upon A Time" at Yoru no Hit Studio in Japan shows the band miming the song in the studio where a wayward stagehand turns the set from a snowy winter scene to a sunny beach scene. The bonus material is in very good quality and is a nice added touch. For Paul McCartney junkies this is a gluttonous feast of rare material and a worthy sequel to the first volume. Misterclaudel will release volume three covering the nineties and Paul's videos in the new millennium.
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Back to the Future - Johnny B. Goode Lyrics
2021 West End
Back to the Future the Musical - Johnny B. Goode Lyrics
MARTY MCFLY: (spoken)
Okay, ah, so, uh, this one's an oldie...
Well, it's an oldie where I come from.
Okay, so this is a blues riff in B flat.
Watch me for the changes, and, um...
Yeah, try to keep up, okay?
(sing)
Way down in Louisiana, close to New Orleans
Way back up in the woods, among the evergreens
Where lived a country boy named-a Johnny B. Goode
Who never ever learned to read or write so well
But he could play the guitar like he's ringing a bell
Go, go
Go, Johnny, go, go
Go, Johnny, go, go, go
His mama told him,
"Someday, you will be a man
And you will be the leader of a big ol' band
Now, many people coming from-a miles around
To hear you playing music when the sun come down
Maybe someday your name will be in light
Saying "Johnny B. Goode tonight!""
Go, go! (Go, go,)
Johnny B. Goode!
(spoken)
Guess you guys aren't ready for that yet...
But your kids are gonna love it...
Read more: Back to the Future the Musical Lyrics
Johnny B. Goode lyrics Back to the Future the Musical
Back to the Future the Musical Lyrics
It's Only a Matter of Time
Audition/Got No Future
Wherever We're Going
Hello, Is Anybody Home?
Don't Drive 88!
Gotta Start Somewhere
My Myopia
Future Boy
Something About That Boy
Put Your Mind to It
For the Dreamers
Teach Him a Lesson
The Letter/ Only a Matter of Time (reprise)
Deep Divin'
Earth Angel (Will You Be Mine)
The Clocktower/ For the Dreamers (reprise)
Doc Returns/ Finale

redpajama_set_name: RedPajamaCommonCrawl


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Aurukun QLD
Aurukun
Aurukun is situated approximately 100 km south of Weipa in far North Queensland, Australia. The town faces west to the Gulf of Carpentaria.
In the wet season, roads are impassable. Aurukun is isolated by distance from mainstream Australian life.
The population of Aurukun Shire in 2005 was approximately 1100 people, with approximately 900 indigenous individuals who belong to five distinct tribal groups. The traditional language is predominantly Wik Munkin with a mixture of other dialects. English is taught in the school. Aurukun has a plethora of clan and tribal names. There are some twenty families from 13 tribal groups, which are split into two factions – the "Top end" and "Bottom end". Violent conflict between the two groups creates problems in the community on a regular basis.
Aurukun is located on bauxite-rich land. Without consideration of the protests of the community, the Queensland Government passed a bill to authorise mining. In 1975 the community was placed under direct State government control. In 1978 they were given a 50-year lease on their land under the administration of the shire clerk and other white staff, but were nominally under the control of an elected Aboriginal Council.
Nhulunbuy NT Papunya NT Queensland Aitkenvale QLD


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Home|Paintings|Abstract Paintings|Peter Roux|Suspension (east sky) no.9
Subject: Landscapes > Sky
Size: 91.4 x 127.0 x 3.8 cm
Signed: Yes, reverse
Materials: Oil and charcoal on canvas
Shipping: Ships from United States
91.4 x 127.0 x 3.8 cm
Suspension (east sky) no.9
Peter Roux
Paintings91.4 x 127.0 cm?
Worldwide safe shipping Learn MoreShips from United States by Tuesday, 07 February 2023
Peter Roux was born in 1967 in Port Jefferson, United States, and his work is redefining today's landscape genre. Working in a distinctly contemporary style, he creates oil paintings that explore his mountainous surroundings, taking everything from clouds to trees as subjects in his nature art.
Central to Peter Roux work is the human experience of these landscapes and what they have come to signify, rather than placing focus on the subject itself. It seems almost as if these works are shown through a blurry lens, evoking something of human memory and perception that is so prone to distortion.
Peter Roux's Career
Peter has enjoyed a successful career, with his nature paintings garnering attention in the USA and beyond. The artist undertook a residency at the BAER Art Center in Hofsos, Iceland, and has featured in a number of important publications such as New American Paintings and Studio Visit Magazine. These days, Peter splits his time between his art and teaching, giving instruction in painting and drawing.
Peter's Exhibitions and Collections
You'll find Peter's landscape paintings in solo and group shows across the United States, from New York to California. His work also features in numerous corporate collections such as Marriott Hotels and Four Seasons Hotels, as well as holding a permanent place in the DeCordova Museum in Massachusetts.


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Babylon & Beyond
Observations from Iraq, Iran,
Israel, the Arab world and beyond
« Previous Post | Babylon & Beyond Home | Next Post »
EGYPT: Female blogger elicits criticism
May 5, 2008 | 12:42 pm
The "wanna-b-a-bride" blog has recently elicited a storm of controversy on Babylon and beyond for its unconventional content that mocks Egyptian patriarchal norms.
Since a piece was posted about the blog last month, more than 40 comments carrying divergent views have been sent to the author Ghada Abdel Aal. Some hailed the blog as a daring exposure of an unjust reality while many dismissed it as a sham.
"Ghada u r really a wonderfull gilr, go ahead allah with u and always remember every sucessfull person has many difficulties & critics and please belive in your opinion, it's yours :)," Wafaa wrote on Babylon and Beyond
Yet, Abdel Aal's detractors had a different say on her blog which was turned earlier this year into a book. "To the worst example of unmarried girls. To the person who only represents herself and sick people, enough dissoluteness. Where are decency and purity?" wondered a respondent.
However, Blogger Abdel Aal claims that all negative comments are authored by the same person. "It is the same person that writes all those comments; he sends the same comments to my blog and I found out that he used different names," she said.
The funniest comment came from one of Abdel Aal's previous suitors. "I would like to tell Miss Ghada that she should behave and not talk about her suitors the way she does. By the way, I am one of her previous suitors ... you should not put the blame for why you are still unmarried until that age on suitors. You better find another sound and convincing justification for your being unmarried."
Abdel Aal could not believe it was one of her suitors, intimating that none of her suitors was smart enough to use the Internet. "None of my suitors used the Internet. If one of them had been an Internet user, I would not have rejected him," said Abdel Aal sarcastically.
Nevertheless, Abdel Al contended that her work elicited too much criticism because it challenged the patriarchal norms of the Egyptian society.
"They pose the question how I dare reject men who are elevated to canonical ranks; if you expose men's flaws, you are perceived as a criminal."
Yet, the 29-year-old pharmacist by training still receives a lot of positive feedback, especially from Internet users. "I expected people to be resentful when I first started my blog, but many turned out to be very encouraging," she said. "The cyberspace community is more mature and open minded than those who don't use the Internet, and this is why this community accepted [my blog]."
"Criticism comes mostly from men who have not read deeply into what I wrote. They feel they have to attack me simply because I use the expression 'wanna be a bride ' and criticize men."
"When they host me in some TV shows, they treat me as if I am looking for a suitor and start telling me how audacious I am to say 'I wanna be a bride'," added Abdel Aal.
— Noha El-Hennawy in Cairo
Photo: Ghada Abdel Aal reads excerpts from her book at a book signing in a Cairo bookstore. Credit: courtersy of Ghada Abdel Aal
P.S. The Los Angeles Times issues a free daily newsletter with the latest headlines from the Middle East, the war in Iraq and the frictions between the West and Islam. You can subscribe by registering at the website here, logging in here and clicking on the World: Mideast newsletter box here.


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By Chris Limb
The equally absurd worlds of modern celebrity and ancient mythology collide when pop singer Genie searches for her dead lover in the afterlife
Loophole (part 1)
The fictional world in which Comeback takes place is clearly one very close to our own. It's a world so similar in fact that there's no appreciable difference as far as most of the inhabitants and their everyday lives are concerned. It's a world in which the more fantastical elements are only revealed to our protagonists, even if these elements affect everyone (eventually).
But that's not to say that other people in this world aren't also meddling in things best left alone - and that the rules that apply to Genie don't also apply to them...
I bet this doesn't work, thought Daryl just before the demon appeared.
At the back of his mind was the conviction it was all a load of bollocks.
The back of his mind was crowded. His skepticism shared a corner with the frustration of being single; in the cubicle next door the fear of turning forty fought with a general fear of mortality for possession of his anxiety.
He'd joined the circle six months previously, ready to try almost anything to turn his life around. Plus he figured that there might be some interesting and attractive women in a group dedicated to black magic. In reality it consisted of men like him; not-quite nerds and ex-metallers with beer guts and a lack of personal hygiene that would make a sewer rat's eyes water.
One evening Jonno—loudest member of the group and de facto leader—turned up with a leather-bound volume he claimed to have rescued from the basement of the municipal library being demolished in the city centre.
It was unimpressive. The cover was a dull off-black and the yellowing pages spoke not of great age but of neglect, as if the book had spent the last century down the back of a filing cabinet.
The title page smelled of mold. Experiences in Summoning by G G House been published in 1885 by W & A K Johnson.
It was weeks before Daryl was allowed to borrow it. The text was dull, couched in an impenetrable language that may as well have been describing physics rather than the eternal mysteries. However, Daryl reasoned that the more scientific it sounded, the more systematic and precise it would be, increasing his chance of success.
He was keen on the idea of success. He knew exactly what he wanted. He was going to summon the devil and offer his soul in exchange for something that meant he wouldn't have to part with it.
The difficult part was getting hold of the chicken. Not obtaining one—a cursory Google found a number of suppliers in his area—but holding the damned thing still while he slit its throat. Sitting there with beak wounds on his hands and a hysterical chicken running around his bedsit defecating everywhere he wondered if it would work if he simply wrung its neck.
But no. Everything had to be done to the letter. The devil was a stickler for detail, the small print that allowed him to trick people out of their souls.
People told Daryl he was anally retentive—well here was where it was going to pay off. No sneaky sub-clause or addendum would make a difference.
The devil collected at the end of a person's life. But suppose that never came?
Daryl was going to ask for immortality.
The worst that could happen was the devil saying no. Daryl could live with that. Confirmation that the devil existed would be a result in itself—it would mean that there was an afterlife.
Daryl got hold of the chicken with one hand while maintaining his grip on the knife with the other. The candles were lit, the incense was burning. The curtains blocked the glare from the streetlamps outside and the candlelight made Daryl's squalid bedsit almost presentable.
He'd memorized the incantation.
Villowelms excleasurmate emenes
Shintormath relapsycle byth
Poxpentiours troccupage tenimes
Cognoretize skinhieven fyth!
I bet this doesn't work. He pulled the knife across the chicken's throat and cut his own thumb in the process. Blood spattered onto the altar—a cardboard box with a sheet over it—and the wounded bird wriggled from his grasp, knocking the candles over and flapping off somewhere to die in a corner.
Daryl couldn't see a thing. Stupid bloody chicken. He dropped to all fours and reached forward to retrieve the candles.
He snatched his fingers back as they touched a hot, solid object. It wasn't the dead chicken.
There was the sound of something big moving.
"Oh what now?"
The voice was powerful, smoky and large. It was also female.
An orb of white light sputtered into existence, hovering above the hand of the kneeling figure in front of Daryl. She unfolded herself and rose to her full height as the orb bobbed away into a corner.
If this was a manifestation of the devil it was a stylish one. She was dressed in an immaculately tailored black business suit that contrasted sharply with bright red skin like polished leather. Her head nearly reached the ceiling of Daryl's bedsit—horns knocking the light fitting as she looked about—and her hooves were clad in long suede boots.
Daryl backed away, tripped over the cardboard box the chicken had come in and went sprawling. The figure scowled at him.
"Are you the devil?" Daryl's voice rose to a squeak. The figure smiled.
"Are you the human?" The sound of her voice upset Daryl on some deep irrational level. There was the hint of a subsonic echo that set his teeth on edge and turned his guts to water.
There was also a hint of sarcasm. Was she taking the piss?
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