But I mentioned White House ambitions. Rhodes has no intention of running for office. No, he means to get in through the side window thanks to a cabinet appointment. He is backing Senator Worthington Fuller Marshall Neilan , a politician with zero charisma or appeal. I think you can see why this film is so timeless. While telegrams are dead and broadcast television is withering, social media has risen up to replace it and there will always be a new Lonesome Rhodes waiting in the wings.
Could I compare him to a modern public figure? Any comparisons or references I might make will be instantly dated while the film itself is timeless. Please stay off politics in the comments, by the way.
I hate moderating political comments more than anything and you will save me untold headaches. The film takes the medium of television and eviscerates it. Never claims it openly, of course, but manages to convince his audience all the same. As Rhodes sits on cracker barrels and sings the praises of American womanhood, old-fashioned marriage and the hard-working underdog, he smirks at his viewers and chases anything in a skirt. As a director, he was not flashy but he show enough visual flare to keep things interesting.
She communicates the hesitation, hero worship, injured pride, hollow acceptance and horror so beautifully. Her climactic breakdown is powerful, heartbreaking and heroic. Griffith did play other villains but he never brought the same level of intensity to his roles, at least in my opinion.
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Have one to sell? Sell it yourself. Get the item you ordered or your money back. Learn more - eBay Money Back Guarantee - opens in new window or tab. Seller information girbrium Contact seller. See other items More See all. Item information Condition:. Luck With Everything To Lose Our Favourite Shop Walls Come Tumbling Down! Home And Abroad Tracks - 1. The Big Boss Groove 2. My Ever Changing Moods 3. The Lodgers 4. Headstart For Happiness 5. When You Call Me 6. The Whole Point of No Return 7.
Our Favourite Shop 8. With Everything to Lose 9. Homebreakers Shout to the Top The CD features 2 extra tracks. The Cost Of Loving Tracks - 1. It Didn't Matter 2. Right To Go 3. Heavens Above 4. Fairy Tales 5. Angel 6. Walking The Night 7. Waiting 8. The Cost Of Loving 9. A second single-disc release featured the sleeve above.
Two promos were available, first the very rare 12" featuring 2 tracks and second a 7" of Waiting which came in a special bag. It's A Very Deep Sea 2. The Story Of Someone's Shoe 3. Changing Of The Guard 4. The Gardener Of Eden 6. Why I Went Missing 8. Iwasadoledadstoyboy Modernism : A New Decade Tracks - 1. A New Decade 2. Can You Still Love Me 3. Report item - opens in a new window or tab.
Description Postage and payments. Seller assumes all responsibility for this listing. Item specifics Condition: Very Good: An item that has been used, but is in very good condition. No damage to the jewel case or item cover, no scuffs, scratches, cracks, or holes. The cover art and liner notes are included. The video game instructions and box are included. The teeth of the disk holder in the DVD box is undamaged. Minimal wear on the exterior of item. No fuzzy or snowy frames on VHS tape, when played.
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This item will post to Russian Federation , but the seller hasn't specified postage options. Contact the seller - opens in a new window or tab and request a postage method to your location. Postage cost can't be calculated. See all condition definitions — opens in a new window or tab Read more about the condition. We may receive commission if your application for credit is successful. Back to home page Return to top. Back to home page. There is a sense of apprehension, particularly at the club doors where the keenest have staked out their territorial claims at the head of the file.
Tickets are clutched in anticipation of the House Full signs that will go up later on. But the charged up atmosphere that hangs in the air above the queue outside is misleading. Scratch beneath the surface excitement and the spirits of most mods are flagging fast. Disillusionment is widespread. As a cohesive youth movement, lacking the clearer focus and sometime moral muscle of punk, mod is already all but finished.
And the mods themselves know it. Inside The Marquee, Brian Betteridge, former vocalist with Back To Zero, one of the earliest of the new mod bands, reflects on the ragbag of contradictions and the sense of anticlimax. The Maximum Speed fanzine team, who always had a much clearer perspective on the new mod than the music press, have also called it a day.
The latest issue number ten is to be the last. I went to about 25 gigs a month then. This time last year, the best of the early mod bands had a raw freshness about them that was comparable with the early days of punk.
But where does all this leave The Chords themselves? Generally looked upon as one of the prime initiators of the movement, they could sink back into oblivion with it. I reckon not, though, and I can think of at least three valid reasons why. The second is their live form. On The Marquee stage they are no less blistering a live group than when I first saw them at the Wellington in Waterloo some ten months ago. They share the dismay at the commercialisation of mod off the field and lack of musical originality on it.
But their disillusionment is tempered with hope and a confidence in their own ability. Then you suddenly had everyone rushing out to buy their Fred Perry and The Who, these big gods telling us what we had to wear. Captain Mod rec. In later years, the Chords were often cursorily dismissed as little more than Jam copyists, and while there's no denying that the two groups traveled in very similar musical waters, both drawing from the British beat and Northern soul that filled their youths and sending it soaring through the prism of punk, it's there that the comparisons end.
While Paul Weller coyly played footsy with both the punk and mod scenes, refusing to commit to either, there was no doubt that his soul lay with the latter, and regardless of the trio's aggressive punk-fueled delivery, his lyrics lacked punk's burning fury.
Regardless of the class warfare related in "Eton Rifles," the racism reflected in "Down in the Tube Station," or the alienation of "Strange Town," no matter his country's evident flaws and Weller etched them vividly , he still couldn't shake his love of his homeland and optimistic hope that her problems would eventually be solved. Guitarist and songwriter Chris Pope refused to see the world through the Jam's English rose-colored glasses, turning his own equally eloquent pen to scathing vignettes virtually the flip of Weller's own.
In this respect, the Jam comparisons are red herrings, for if anything, Pope played the snottier, rebellious younger brother to Weller's more respectful good son. This was apparent from the start with the Chords' debut 45, "Now It's Gone," where the group's dream of love is trampled underfoot, and driven home by its follow-up, "Maybe Tomorrow," which firmly puts the boot into the Jam's sanguine vision of Britain and turns it into a fascist horror.
That single would kick off the group's sole album, So Far Away, 12 fierce tracks that defined mod's potential as punk's successor. Filled with fire and fury, the set skips from affairs of the heart to the pitiful state of the nation. Musically it's a revelation; the band's two guitarists give the group much more scope for aural assault than a trio, and with a much more aggressive rhythm section in tow, Far is as vociferous as many of its punk contemporaries.
In fact, reviews threw bands like the Buzzcocks and the Undertones into the brew of the Chords' notable inspirations. For while the Chords' melodies were shaped by the '60s, their delivery was forged in punk, with even Sham 69's anthemic stomp stirred into the mix.
This set reissues the stellar Far, a U. Top 30 album, in full, then tacks on all five of the original lineup's singles along with its B-sides, as well as the free 45 that was included with early copies of the album.
The bonus tracks are helpfully sequenced in chronological order, and a full discography and excellent biography complete this phenomenal package. Of course, the two-CD This Is What They Want album made this set redundant, but if your wallet doesn't stretch that far, this will easily suffice. To hear. Meynell talked Esposito into letting him join the band and thus squeezed into Squire line up on lead guitar just in time for their prestigious support at the Guildford Civic Hall to those other local boys, The JAM.
In mid no one had thought of calling it mod. As progressed Meynell engineered the band into their new musical direction and it was as early as this that he penned many of the Squire songs that were to become favourites the following year. But meynell did more than just provide the musical inspiration for the group, he also brought along the image.
They were already beginning to be seen in the sta-Press trousers and boating blazers that were to become the Squire trademark. Early in Squire signed a one-off deal with ROK Records, which resulted in the group having track released on one side of the label's first single.
The single was "Get Ready To Go", ironically a pre-Squire composition but importantly the first ever vinyl release from the British mod scene. It was an enthusiastic and speedy number with lyrics that amounted to little more than a constant repetition of the title, but the message was clear: Squire were ready to go!
And it was this unusual single that helped them on their way. It gained them their first radio airplay on the John Peel show and their first London gig. On the strenght of the ROK single, Squire gained further London gigs before their next big break came with the recording of the now legendary "Mods Mayday" album. But their place on the record was secured by little more than luck. Hearing that a concert at The Bridgehouse was to be recorded for a live album. Squire turned up on the off-chance of being able to play.
The Little Roosters didn't arrive and Squire were slotted on to the bill. The signing to I-Spy prevented the eventual release of this but the recording did highlight a signifiant deficiency in the Squire line up.
If the group were to go any further they needed a new drummer. Out went Di'Landa and in came Meynell's younger brother Kevin. Steve Baker then quit, angry at what seemed to him to be take over within the band.
Squire were left as a three piece. Records companies were slowly beginning to realise that mod music might be a marketable product. All had watched with interest as The Merton parkas entered the top 40 in august and by September everybody wanted a piece of the action. Combining a crisply simplistic finger snapping pop tune and delightfully extravagant over-produced finale, 'Kings Road' had all the ingredients for sucess, but despite extensive radio airplay, it scraped into the top 75 and surprisingly climbed no higher.
Perhaps neither of the tracks possessed theobvious chart potential of "Kings Road" but the result was a single that earnestly implored you to believe that it was taken from the soundtrack of "A Hard Days Night". Thus they entedred with an unpromoted single, no record deal, and considerable problems with their management. On the flip was "Does Stephanie Know?
For a while it seemed as if Squire had split-up. Enzo had left the band not tobe replaced until Jon Bicknell joined much later and Meynell was trying to sort the legal tangles which had resulted from bad management. It was during this time that he decided to set up Hi-Lo Records to achieve a greater control over Squire's output.
The first release came in with a compilation of old Squire demos, marketed for various legal reasons under the name of Anthony Meynell. The album, entitled "Hits from 3, Years ago", disposed of all the old Squire material leaving the path clear for future releases.Silent People By The Merton Parkas. • 1 song, Play on Spotify. Featured on Mods Mayday ' More by The Merton Parkas. Face In The Crowd / Gi’s It. More The Merton Parkas. Listen to The Merton Parkas now. Listen to The Merton Parkas in full in the Spotify app. Play on Spotify.