User:BennyOnTheLoose/sandbox3

SH
BRIEFLY The Bangles stop janglingThe Globe and Mail; Toronto, Ont. [Toronto, Ont]. 11 Oct 1989: C.13.

Eternal falme: The Pop Life|: Presley was inspiration for a new single by the Bangles Phoebe Snow analyzes failed relationships 'New fusion' by Andy Summers.Holden, Stephen. New York Times (1923-); New York, N.Y. [New York, N.Y]. 22 Mar 1989: C24.

Bangles, The: The Bangles: Local Girls Make Good Profile and Interview by Richard Cromelin, Los Angeles Times, 4 May 1986

Contemporary musicians. Volume 77 : profiles of the people in music

With Wispy Uncertainties, Once and Always a Bangle PARELES, JON. New York Times (1923-); New York, N.Y. [New York, N.Y]. 25 Dec 1999: C30.

Gillian Shagwell of Ming Tea in all 3 powers filsm; music for film Now And Then (1995), married 1991; gilmore gilrs in bangles 2001; Dancing With The Stars With The Bangles (2011); Grammys salute Paying Tribute To Prince With Chris Martin (2020)

https://www.latimes.com/entertainment-arts/movies/story/2019-12-31/bombshell-composer-theodore-shapiro-keys-in-on-womens-voices

comparison w GoGos -Record collecting for girls : unleashing your inner music nerd, one album at a time; also in Women and media : content, careers, and criticism; Gaar 272

Hoffs lead on 5/7 Columbia singles

SPinalt record guide

https://www.rollingstone.com/music/music-news/the-bangles-california-girls-201071/

During the video for "Walk Like an Egyptian"

"Hoffs later said that she flitted her eyes from side to side like that as a way of combatting stage fright, that she didn't even realize the camera had captured it. But it's so cool. It makes her look like she’s up to some mischief."

Director Marty Callner "I saw situations where one shot would make a star, like with Susanna Hoffs and 'Walk Like an Egyptian.' That thing she did with her eyes."

"I guess it's become an iconic moment in that video, and I didn’t even realize it was happening."

https://theretronetwork.com/the-bangles-different-light-35th-anniversary/ https://www.mtv.com/news/r26q7s/susanna-hoffs-interview I Want My MTV: The Uncensored Story of the Music Video

“Sleepwalking Sister” Zuckerbaby - no ref

https://recordcollectormag.com/articles/eternal-flame

Oh Mercy
Positive receptipn; Dylan said Lasois "managed to get my stage voice" and liked flexibiliy of being able to record anytime, called process of recording "comfortable" and - didn;t have to walk past pinball machines etc

"But perhaps the most simple and affecting performance finds him mixing sentiment with irony and despair on the stark confessional ballad"

opening of second side, sixth track. drwing on own experience but fictional character. start of verse usually, ends of verses "but not always"

song is "somewhat optimistic"

ballad. "lost-love lament" "grows into a sweeping stement that wouldn't be out of place on a U2 album" (unlike rest of album)

one of two songs on record that come close to classic status. "ironic denial of the broken heart that bleeds through each line" "painfully specific statement of personal loss" unlike rest of album, as stands above "abstract concerns". production praised

"uncharacteristicall humbled by the departure of a lover whose loss he is struggling to cope wiht"

"hangs on the narrators unsuccesful attempts to cope wiht a love loss of epic proportions"

"a tender admission of frailty and flaws"

"refreshing sense of unpretentiousness." "deft bit of songwriting"

best on album, one of two bona-fide clasics ther. D's "most painfully poetic composition in ages" "life is goinf fine without the woman he loves, msot of the time"

one of three "absolutely outstanding" tunes

one of best, Sweet Jane vs All the Tired Horse ballad

music makes song ironic. Is it Sara?

"uses the phrase like a depth charge"

ballad ."Lyrics at their simple best"

uses irony

"lush ballad" "lets Dylan profess insecurity wiht a mix of pride an uncharacteristic humility." Lanois sound but "MOTT let you know who's really in charge. Its sentiments reveal the man behind the myth of bob dylan"

Velvet Undergound initation on MOTT

Lanois says he first heard it at Bob's house, where he played piano and sang it. "It stood out to me as a very powerful expression of love. I was determined to frame that song the best I could. The core of the song was Bob and me, sitting close to each other in two chairs. It was essentially recorded in my kitchen in New Orleans. I used a Roland TR-808 beat box piped through a stage monitor, so I knew the song could be rhythmically viable because it had metronomic time; I could add instruments to it. I asked Willie Greene to come in and play drums, and I came up with the little bass hook, which was a nice response to Bob's vocals."

Dylan recorded several takes at 1305 Soniat St., New Orleans, from 8 to 16 March 1989: two takes on 8 March, six on 12 March,one on 16 March, and one on 6 April. "can be as grim in his examination of the human condition as ... William Faulkner; indeed, much of his work (“Visions of Johanna” and “Most of the Time”) displays “the human heart in conflict with itself” (Frenz 1969:444)."

Furtak summary in Bob Dylan and Philosophy: It's Alright Ma (I'm Only Thinking): https://books.google.co.uk/books?id=JaOqtb977hQC&lpg=PR7&ots=TEezJFn4bl&dq=%22most%20of%20the%20time%22%20%22bob%20dylan%22&lr&pg=PA21#v=onepage&q=%22most%20of%20the%20time%22%20%22bob%20dylan%22&f=false

Lift Off! TV 1986 General Parents Aladdin 1986

Games

 * Dragon Quest VIII Empyrea (2004)

Theatre Roles

 * Lotte Ames Mack & Mabel, Southwark Playhouse 2012
 * Lady of the Lake Spamalot, UK Tour 2011.
 * Unnatural Acts (Gilded Balloon, Edinburgh Festival) dir. David Giles 2007
 * The UnAmerican Songbook (Theatre Museum) dir. Denis King
 * Tracey Beaker Gets Real (Nottingham Playhouse & national tour) dir. David Newman 2006
 * Danny and Sylvia (Jermyn Street Theatre, London) dir. Kenn Oldfield 2005
 * Taste The Love (Jermyn Street Theatre, London) dir. Paul Rogan 2004
 * Exclusive Yarns (Wimbledon Studio Theatre at the New Wimbledon Theatre) dir. Andrew Wood 2004
 * Me, Myself and I (Orange Tree Theatre, Richmond) dir. Kim Grant 2003
 * Larkin With Women (Belgrade Theatre, Coventry) dir. David Giles 2003
 * Mrs Lovett in Sweeney Todd (Bridewell Theatre, London) dir. Richard Jordan 2001
 * Trudy in A Saint She Ain’t (The King’s Head, Islington) dir. Ned Sherrin 1999
 * Candida (New End Theatre) dir. David Evans Rees 1998
 * The Surprise Party (Nuffield Theatre at the University of Southampton & national tour) dir. Patrick Sanford 1997
 * Nellie Forbush in South Pacific (Churchill Theatre, Bromley & national tour) dir. David Taylor 1997
 * Mabel Normand in Mack and Mabel (Piccadilly Theatre, London) dir. Paul Kerryson 1996
 * Swingtime Canteen (The King’s Head, Islington) dir. Robert Howie 1995
 * Lonely Hearts (Old Fire Station Theatre, Oxford) dir. Stephen Rayne 1995
 * The Court Jester (Croydon Warehouse Theatre) dir. Ted Craig 1994
 * Shakers (Nottingham Playhouse) dir. Jane Thornton 1994
 * Ruth in The Card (Maynardville Open-Air Theatre, Regent’s Park) dir. Ian Talbot 1994
 * Gussie in The Case of the Dead Flamingo Dancer (Churchill Theatre, Bromley) dir. Martin Connor 1992
 * Sally Smith in Me and My Girl (Adelphi Theatre, London and national tour) dir. Mike Ockrent 1989-92
 * Bunny in Babes in Arms (Maynardville Open-Air Theatre, Regent’s Park) dir. Ian Talbot 1988
 * Dorothy in The Wizard of Oz (Theatre Royal, Plymouth, and national tour) dir. Andrew McKinnon 1988