Both of these songs are fantastic, though I don't think I've heard the Londonbeat one in ages. I could've sworn they had another U.S. hit, but maybe I'm thinking of someone else: Fine Young Cannibals, maybe?
love both of these songs. there was a time when i really enjoyed the londonbeat album and it was well after they were popular. at the time I didn't allow myself to enjoy them because they were so popular (lol college attitude) but it was a pretty good album. Better than the Soho album, at least.
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uhhh not hearing those congolese rumba sounds just sounded like copping baggy jangle to me. shit pow pow.
had both these songs on 12" when they came out. remember soho sounded good on 33 and a nice beat. the londonbeat just reminds of two things mostly, aerobics classes, and briton attended holiday resorts in the med.
Gosh, I'm only the FOURTH person to comment about this song? One of the great one hit wonders, but the band is seemingly so unknown today that this song has been forgotten about. My aunty was around the age I am right now when this song 1st came out (and I've heard despite the very few comments here that it was a massive success) and it was the song that her and my uncle played as a couple, 2 people who were in love with each other and, basically, this song and the lyrics explain it all.
"Boston is definitely a race that I want to do at some point, but London is very special to me,'' Radcliffe said in a statement. "I don't pick races thinking about things like pressure. I pick the ones that in my heart I really want to do. I love the atmosphere, crowds and course and know it will always be a great quality race. It is also the 25th anniversary this year which adds to the occasion.''
Radcliffe will be back in a women's-only race this year and can earn a world record bonus of $125,000 (67,000) from the organisers if she beats her 2002 time of 2hr 18min 56sec. Her chances of doing so have been improved by changes to the course involving cutting out the cobbled section near Tower Bridge which are estimated to be worth an extra minute to lite runners.
But who speaks for that majority in the incestuous Westminster village, where MPs hop from Commons bar to radio and TV studio, thinking more about impressing each other (and the party Whips) than their constituents?
"Theatre gets to create a topic of conversation for a very small audience for a very small window of time. I think we should each use that window to talk about what is dearest to us. If that doesn't include politics at least part of the time, then I probably don't want to hear that conversation." – Austin playwright Kirk LynnBurn down the discoHang the blessed DJBecause the music that they constantly playIt says nothing to me about my life– "Panic," the SmithsA year ago in London, I saw a political play called, no kidding, Myth, Propaganda and Disaster in Nazi Germany and Contemporary America. I'd read several admiring reviews – Michael Billington in The Guardian called it "fictionally gripping and politically stimulating." The story: A radical Australian professor faces career- and life-threatening danger when he expresses a few leftist ideas in the ultra-conservative post-9/11 milieu of ... a New York City university. Okay, right away you're saying: This guy is the only liberal on the faculty of a major university in Manhattan? Wha–? But oh my friend, that was only the beginning. The whole thing was so god-awful, my companion and I walked out at intermission. Translucently thin characters; preposterous assumptions; a hilariously mysterious villain, a Texan (!) in black who materialized at key moments to beat up our hero and be all Kafka-esque 'n shit – it was unbearable. It was unbearable, and I agreed with it!Then last spring, in Austin, I saw the Rude Mechanicals' workshop production of Get Your War On, an adaptation of the brilliant and scathing Internet comic by David Rees. It was hilarious and thrilling. The audience responded with the drunken, desperate laughter of people in a spiraling plane. I left exhilarated.And these two experiences left me wondering: What is the point of political theatre? Who goes to see it in the first place, anyway: like six people? And isn't "political theatre" usually just a bunch of smug liberals paying to have their own bland ides reues stuffed back down their throats?Well yes: when it sucks. But when it's alive, when it's surprising, when it's busy doing its proper job of snapping us out of our cultural trance, then political theatre is right at the heart of the human conversation.Since September 11 and the start of the Iraq war, we've seen a lot more political theatre in Austin and elsewhere. This week, besides a remount of Get Your War On at the Off Center, the hilarious and ickily-named Urinetown: The Musical opens at the Zachary Scott Theatre Center. So it's a fine time to think about why that is and how local playwrights and artists are finding ways to talk urgently about our world while avoiding the dangerous undertow of pretension and tedium.
"I have been thinking a lot about bowling and football. I think a lot of theatre gets made like bowling. It has an inevitability that builds but never goes away. [It] sets up the big ideas they are going to try to knock down and then sets about knocking them down. But really good theatre is like a fumble. All really interesting ideas are shaped like a football. When they get loose, there is no telling which way they are going to bounce and the whole contest is up in the air. Political theatre should aim to fumble more." – Kirk LynnIs that right or what? How much bowling-ball-shaped art have you seen, rolling dully toward its inevitable end, the only question whether it would knock down its intended pins – "Yay, I guess," you think, dispirited – or gutter uselessly off to the side. Good political theatre is football-shaped. It should surprise the hell out of you. It shouldn't flatter or comfort. It shouldn't seem like Common Sense or accord with Basic Values. If it does, it's living inside the old trance or creating a new one. Good political theatre doesn't let you escape into some new half-truth. It keeps the walls down. Under its jokey and proudly juvenile surface, Urinetown slyly subverts every clich of the Broadway musical and white-hat political theatre. It's unpredictable: and that's key. Steakley notes that at the end of the play, "the good guys win, people can pee for free, and everything starts falling apart. It's a powerful moment handled with great humor in the show, and quite the thing to chew on in a 'blue' city like ours."Kirk Lynn (whose conversations with me on this topic inform this piece, and who probably ought to have written it, but too bad, I did) is currently in New York City for the opening of his proudly political satire Major Bang (Or: How I Learned to Stop Worrying and Love the Dirty Bomb), produced by the Foundry Theatre at St. Ann's Warehouse. He says political theatre comes down to finding out "how to create a new paradigm which can fracture the onanism of it all and return us to messy, sexy conversation."
"I think we live in an era when people are desperately trying to shrink the parameters of dialogue. I think that is the real goal of terror. I think that is the goal of a lot of talk that masquerades as conversation on morality. I think all good theatre should aim to expand the parameters." – Kirk Lynn And that conversation is something we desperately need. Because just about everything else in our society – in our society, not just Soviet Russia or Iran – is geared to shutting it down and shutting us up.In the ber-privileged U.S., that lockdown takes the form of a cozy, superinsulated trance. Playwright Robi Polgar, whose 2004 The Road to Wigan Pier (on which I worked) translated George Orwell's book about unemployed British miners into a skewed musical-satirical statement on 20th-century political science, observes blackly that Americans "are so insulated, we wouldn't know good art if it walked into a bus and blew itself up."What political theatre at its fiercest can offer is something like a chance to break out of that insulation, break out of the cultural trance for a bit, to see things fresh and in a much bigger space. Political theatre can dislodge our true conversation from beneath the boulders piled on by terrorists and moralists and a mocking or soothing media. That's a pretty subversive thing for art to do – to offer what the radically strange British playwright Howard Barker calls "a freedom from the moral consensus" – which may explain why good political theatre is so hard to achieve. But it's worth it. Exploding the walls of conventional thought produces a deep joy – the joy I saw in the Get Your War On audience, or the pleasure that rippled across the country when Jon Stewart went on Crossfire to say, this show is hurting America, and by the way, Tucker Carlson's a dick. "That Smiths song 'Panic' kept going through my head, thinking about what I was going to say about this. The line about, 'The music that they constantly play says nothing to me about my life.' That's how I feel about apolitical theatre. What is theatre that's not political? Normal. I hope not." – Kirk Lynn 006ab0faaa
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