Look up spring in Wiktionary, the free dictionary.

Spring(s) may refer to:

• Spring (season), a season of the year
• Spring (hydrology), a natural source of water
• Spring (device), a mechanical device that stores energy
• Spring (mathematics), a geometric surface in the shape of a helically-coiled tube
• Springs (tide), in oceanography, the spring tide

Art and entertainment[link]

Art[link]

• Primavera (painting) ("Spring"), a painting by Sandro Botticelli, c. 1482
• Spring (painting), an oil by Lawrence Alma-Tadema
• Spring, a painting by Christopher Williams

Film and television[link]

• Spring (film) (Kevade), a 1969 Estonian film
• The Spring, a 1989 film about the Fountain of Youth
• "Spring" (Pee-wee's Playhouse), an episode of Pee-wee's Playhouse
• Spring (television soap), a Flemish-Belgian television series

Literature[link]

• Spring (Runelords), a character in The Runelords series of fantasy novels by David Farland
• Spring (Kevade), a novel by Oskar Luts; basis for the 1969 film (see below)

Music[link]

Works

• "Spring" (concerto), "La primavera", from Vivaldi's The Four Seasons
• "Spring" (sonata), Violin Sonata No. 5 by Beethoven
• Symphony No. 1 (Schumann) (Spring), by Robert Schumann
• Spring Symphony, a symphony by Benjamin Britten
• In Spring, a symphony by John Knowles Paine
• "Spring" (Rammstein song)

Albums

• Spring (Cyann & Ben album)
• Spring (Finn Coren album)
  • Spring: The Appendix, a follow-up album
• Spring (Jon Foreman EP)
• Spring, an album by Clay Hart
• Spring, an EP by Subtle

Performers

• Spring (band), an English band, or the band's only album
• Spring (American band), a 1970s pop music duo, known outside the U.S. as American Spring
• Spring (Belgian band), a group that performed at Marktrock 2004
• Springs, a Japanese band, formed by Aya Hirano, Yuuki Yoshida, Ayaka Itō

Business, government and education[link]

• Spring!, a brand of bottled water
• Spring Airlines, a Chinese airline
• Spring (store), a Canada-based shoe retailer
• Springs Christian Academy, a private school in Winnipeg, Manitoba, Canada
• SPRING Singapore, a governmental department of Singapore

Computing[link]

• Spring (game engine), an open-source RTS engine
• Spring (operating system), an experimental operating system from Sun Microsystems
• SPRING, a GIS and remote-sensing image-processing system with an object-oriented data-model
• Spring Framework, an open-source application-framework for the Java platform

People[link]

• Antoine Frédéric Spring, Belgian physician and botanist
• Dick Spring, Irish businessman and politician
• Dryden Spring, New Zealand businessman
• Howard Spring, Welsh author
• Jack Spring, American baseball pitcher
• Richard Spring, Conservative MP for Suffolk West
• Rudi Spring, German pianist and composer
• Sherwood C. Spring, United States Army officer and astronaut
• Cecil Spring-Rice, British diplomat, Ambassador to the United States from 1912 to 1918
• Spring Baronets of Pakenham
• Spring, Mark Adley, actor who appeared in the 1987 film The Last of England

Places[link]

• Springs, Gauteng, South Africa
• Springs, New York, a part of East Hampton, New York, U.S.
• Springs, Pennsylvania, U.S.
• Spring, Texas, U.S.
• The Springs, California, U.S.
• Şpring, a commune in Alba County, Romania
• The Spring Arts & Heritage Centre, a museum in Hampshire, England

See also[link]

• Spring Creek (disambiguation)
• Spring Lake (disambiguation)
• Spring River (disambiguation)
• Spring Township (disambiguation)
• Springer (disambiguation)
• Springfield (disambiguation)
• Springtime (disambiguation)
• Category:Spring, for articles related to the season
• Category:Springs, for articles related to the water source
• Category:Springs (mechanical), for articles related to the device
• All pages beginning with "Spring"
• Sprung (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Ferenc Cakó (born 1950) is a Hungarian artist whose specialty is performing sand animation.

He graduated from the College for Creative Arts in 1973 and did amateur animation at that point. His first success was in 1982 and in 1989 he was named artist of the Hungarian People's Republic. After that he did workshops in Finland, France, Spain, Belgium, and Portugal.

Amongst his more recent performances, Ferenc Cakó performed in IIT Bombay, Mumbai, India at Techfest 2004. His show in the Open Air Theatre was a huge hit with thousands of students, professors and visitors attending it.

Cakó's films have won prizes including the award for best short film at the Berlin International Film Festival, the jury prize for short film at the Cannes Film Festival, and numerous awards at the Kecskemét Animation Film Festival.

Filmography[link]

• Hamu ("Ashes") (1996) - Winner of KAFF's 1996 Kecskemét City Award.^[1]
• Labirintus ("Labyrinth") (1999) - Winner of the 1999 KAFF Grand Prix.^[2]
• Kövek ("Stones") (2001)
• Animal Planet Sand Promos (2003)
• A róka és a holló ("The Fox and the Raven") (2005) - Winner of the 2005 KAFF Award for Best Humorous Animated Film.^[3]
• Arc ("Face") (2009) - Winner of the 2009 KAFF Award of the Students' Jury.^[4]

References[link]

External links[link]

• Homepage
• Ferenc Cakó at the Internet Movie Database
• 10-minute video (18.4MB) of a live art performance featuring sketches in sand on an overhead projector (from the Seoul International Cartoon and Animation Festival (SICAF) 2003)

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Martha Graham
Martha Graham by Yousuf Karsh (1948)
Born	(1894-05-11)May 11, 1894 Pittsburgh, Pennsylvania, U.S.
Died	April 1, 1991(1991-04-01) (aged 96) New York City, New York, U.S.
Nationality	American
Field	Dance and choreography
Movement	Modern dance
Influenced by	Eleonora Duse
Influenced	Paul Taylor
Awards	Kennedy Center Honors (1979) Presidential Medal of Freedom (1976) National Medal of Arts (1985)

Martha Graham (May 11, 1894 – April 1, 1991) was an American modern dancer and choreographer whose influence on dance has been compared with the influence Picasso had on modern visual arts,^[1][2] Stravinsky had on music, or Frank Lloyd Wright had on architecture.^[3]

She danced and choreographed for over seventy years. Graham was the first dancer ever to perform at the White House, travel abroad as a cultural ambassador, and receive the highest civilian award of the USA: the Presidential Medal of Freedom. In her lifetime she received honors ranging from the Key to the City of Paris to Japan's Imperial Order of the Precious Crown. She said, "I have spent all my life with dance and being a dancer. It's permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable."^{[citation needed]}

Biography[link]

Early life[link]

Graham was born in Allegheny City, which today is part of Pittsburgh, Pennsylvania, in 1894. Her father George Graham was what in the Victorian era was known as an "alienist", a practitioner of an early form of psychiatry. The Grahams were strict Presbyterians. Dr. Graham was a third generation American of Irish descent and her mother Jane Beers was a tenth generation descendant of Puritan Miles Standish.

In the mid 1910s, she began her studies at the newly created Denishawn School of Dancing and Related Arts, founded by Ruth St. Denis and Ted Shawn,^[4] at which she would stay till 1923.

New era in dance[link]

In 1925, Graham was employed at the Eastman School of Music where Rouben Mamoulian was head of the School of Drama. Among other performances, together they produced a short two-color film called The Flute of Krishna, featuring Eastman students. Mamoulian left Eastman shortly thereafter and Graham chose to leave also, even though she was asked to stay on.

In 1926, the Martha Graham Center of Contemporary Dance was established. On April 18 of the same year,^[4] at the 48th Street Theatre, Graham debuted with her first independent concert, consisting of eighteen short solos and trios that she had choreographed. She would later say of the concert "Everything I did was influenced by Denishawn."^[5][6]

One of Graham's students was heiress Bethsabée de Rothschild with whom she became close friends. When Rothschild moved to Israel and established the Batsheva Dance Company in 1965, Graham became the company's first director.

In 1936, Graham made her defining work, "Chronicle", which signaled the beginning of a new era in modern dance.^{[citation needed]} The dance brought serious issues to the stage for the general public in a dramatic manner. Influenced by the Wall Street Crash, the Great Depression and the Spanish Civil War, it focused on depression and isolation, reflected in the dark nature of both the set and costumes.

In 1938 Erick Hawkins was the first man to dance with her company. The following year, he officially joined her troupe, dancing male lead in a number of Graham's works. They were married in 1948. He left her troupe in 1951 and they divorced in 1954.

Her largest-scale work, the evening-length Clytemnestra, was created in 1958, with a score by Egyptian-born composer Halim El-Dabh. She also collaborated with composers including Aaron Copland on Appalachian Spring, Louis Horst, Samuel Barber, William Schuman, Carlos Surinach, Norman Dello Joio, and Gian Carlo Menotti.^[7] Graham's mother died in Santa Barbara in 1958. Her oldest friend and musical collaborator Louis Horst died in 1964. She said of Horst "His sympathy and understanding, but primarily his faith, gave me a landscape to move in. Without it, I should certainly have been lost."

There were a few notable exceptions to her dances being taped. For example, she worked on a limited basis with still photographers Imogen Cunningham in the 1930s, and Barbara Morgan in the 1940s. Graham considered Philippe Halsman's photographs of "Dark Meadows" the most complete photographic record of any of her dances. Halsman also photographed in the 1940s: "Letter to the World", "Cave of the Heart", "Night Journey" and "Every Soul is a Circus". In later years her thinking on the matter evolved and others convinced her to let them recreate some of what was lost.

Martha Graham with Bertram Ross (1961)

Graham started her career at an age that was considered late for a dancer. She was still dancing by the late 1960s and her works from this era included roles for herself which were more acted than danced and relied on the movement of the company dancing around her. In her biography Martha Agnes de Mille cites Graham's last performance as the evening of May 25, 1968, in a 'Time of Snow'. But in A Dancer's Life biographer Russell Freedman lists the year of Graham's final performance as 1969. In her 1991 autobiography Blood Memory Graham herself lists her final performance as her 1970 appearance in "Cortege of Eagles" when she was 76 years old.

In the years that followed her departure from the stage Graham sank into a deep depression fueled by views from the wings of young dancers performing many of the dances she had choreographed for herself and her former husband. Graham's health declined precipitously as she abused alcohol to numb her pain. In Blood Memory she wrote:

It wasn't until years after I had relinquished a ballet that I could bear to watch someone else dance it. I believe in never looking back, never indulging in nostalgia, or reminiscing. Yet how can you avoid it when you look on stage and see a dancer made up to look as you did thirty years ago, dancing a ballet you created with someone you were then deeply in love with, your husband? I think that is a circle of hell Dante omitted.

[When I stopped dancing] I had lost my will to live. I stayed home alone, ate very little, and drank too much and brooded. My face was ruined, and people say I looked odd, which I agreed with. Finally my system just gave in. I was in the hospital for a long time, much of it in a coma.^{[Full citation needed]}

After a failed suicide attempt she was hospitalized. Graham not only survived her hospital stay but she rallied. In 1972 she quit drinking, returned to her studio, reorganized her company and went on to choreograph ten new ballets and many revivals. Her last completed ballet was 1990's Maple Leaf Rag.

Graham choreographed until her death in New York City from pneumonia in 1991, aged 96.^[8] She was cremated, and her ashes were spread over the Sangre de Cristo Mountains in northern New Mexico.

Influence and legacy[link]

Graham has been sometimes termed the "Picasso of Dance," in that her importance and influence to modern dance can be considered equivalent to what Pablo Picasso was to modern visual arts.^[1][2] Her impact has been also compared with the influence Stravinsky had on music, or Frank Lloyd Wright had on architecture.^[3]

To celebrate her 117th birthday on May 11, 2011, Google celebrated by turning their logo for one day into a logo dedicating the life and legacy of Graham.^[9]

Martha Graham has been said to be the one that brought dance into the twentieth century. Due to the work of her assistants, Ron Protas and Linda Hodes, much of Graham’s work and technique have been preserved. They taped interviews of Graham describing her entire technique, and videos of her performances.^[10] As Glen Tetley told Agnes de Mille, “The wonderful thing about Martha in her good days was her generosity. So many people stole Martha’s unique personal vocabulary, consciously or unconsciously, and performed it in concerts. I have never once heard Martha say, ‘So-and-so has used my choreography.'"^[11] An entire movement was created by her that revolutionized the dance world and created what is known today as modern dance. Now, dancers all over the world study and perform modern dance. Choreographers and professional dancers look to her for inspiration.^[12]

Martha Graham Dance Company[link]

The Martha Graham Dance Company is the oldest dance company in America,^[13] founded in 1926. It has helped develop many famous dancers and choreographers of the 20th and 21st centuries including Erick Hawkins, Anna Sokolow, Merce Cunningham and Paul Taylor. It continues to perform, including at the Saratoga Performing Arts Center in June 2008, a program consisting of: Ruth St. Denis' The Incense; Graham's reconstruction of Ted Shawn's Serenata Morisca; Graham's Lamentation; Yuriko's reconstruction of Graham's Panorama, performed by dancers from Skidmore College; excerpts from Yuriko's and Graham's reconstruction of the latter's Chronicle from the Julien Bryan film; Graham's Errand into the Maze and Maple Leaf Rag.^{[citation needed]} The company also performed in 2007 at the Museum of Contemporary Art, Chicago, with a program consisting of: Appalachian Spring, Embattled Garden, Errand into the Maze, and American Original.^[14][15]

Quotations[link]

According to Agnes de Mille:

The greatest thing she ever said to me was in 1943 after the opening of Oklahoma!, when I suddenly had unexpected, flamboyant success for a work I thought was only fairly good, after years of neglect for work I thought was fine. I was bewildered and worried that my entire scale of values was untrustworthy. I talked to Martha. I remember the conversation well. It was in a Schrafft's restaurant over a soda. I confessed that I had a burning desire to be excellent, but no faith that I could be. Martha said to me, very quietly: "There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others."^[16]

“Virile gestures are evocative of the only true beauty. Ugliness may be actually beautiful if it cries out with the voice of power” - Martha Graham 1928. ^[17]

Accolades[link]

Graham was awarded the Presidential Medal of Freedom in 1976 by President Gerald Ford (the First Lady Betty Ford had danced with Graham in her youth). Ford declared her "a national treasure".^{[citation needed]}

Graham was inducted into the National Museum of Dance C.V. Whitney Hall of Fame in 1987.^{[citation needed]}

In 1998 Graham was named "Dancer of the Century" by Time Magazine,^[18] and one of the female "Icons of the Century" by People Magazine.^{[citation needed]} The New York Times called her a "brilliant, young dancer".^{[citation needed]}

Choreography[link]

This excerpt from John Martin’s reviews in the New York Times provides insight on Graham’s choreographic style. “Frequently the vividness and intensity of her purpose are so potent that on the rise of the curtain they strike like a blow, and in that moment one must decide whether he is for or against her. She boils down her moods and movements until they are devoid of all extraneous substances and are concentrated to the highest degree.”^[19]

Early dancers[link]

"Graham's original girls were superb – Bessie Schonberg, Evelyn Sabin, Martha Hill, Gertrude Shurr, Anna Sokolow, Nelle Fisher, Dorothy Bird, Bonnie Bird, Sophie Maslow, May O'Donnell, Jane Dudley, Anita Alvarez, Pearl Lang – as were the second group – Yuriko, Ethel Butler, Ethel Winter, Jean Erdman, Patricia Birch, Nina Fonaroff, Matt Turney, Mary Hinkson. And the group of men – Erick Hawkins, and after him Merce Cunningham, David Campbell, John Butler, Robert Cohan, Stuart Hodes, Glen Tetley, Bertram Ross, Paul Taylor, Mark Ryder, William Carter."^[21]

See also[link]

Notes[link]

References[link]

• Bondi, Victor (1995) American Decades 1940–1949
• de Mille, Agnes (1991). Martha: The Life and Work of Martha Graham. NYC: Random House. ISBN 0-394-55643-7. 

Further reading[link]

• Newman, Gerald (1998). Martha Graham: Founder of Modern Dance. Danbury, Connecticut: Franklin Watts. 

External links[link]

Wikimedia Commons has media related to: Martha Graham

• Martha Graham at Find a Grave
• An Athlete of God: The Personal Essay of Martha Graham
• PBS:American Masters biography
• Kennedy Center biography
• Martha Graham at the Internet Movie Database
• MarthaGraham.org – Martha Graham Center of Contemporary Dance
• University of Pittsburgh online text
• MySpace.com/marthagrahamdancecompany – "MySpace site run by dancers of the Martha Graham Dance Company"
• BlackHistoryDaily.com – Martha Graham
• NY Times review by John Martin, June 7, 1959 of Episodes
• Read about the reconstruction of Clytemnestra at The Clytemnestra Project Site
• Batsheva Dance Company: From Graham to Gaga – Batsheva’s transition from a strongly American-influenced company to the more distinctive troupe it is today.
• (German) Martha Graham Dance Company
• Martha Graham's first recital, dancing barefoot on March 9, 1917, at the Peppers Estate ballroom in Santa Barbara.
• Archival footage of Martha Graham Dance Company performing Night Journey in 1994 at Jacob's Pillow

The Go-Betweens were an indie rock band formed in Brisbane, Australia in 1977 by singer-songwriters and guitarists, Robert Forster and Grant McLennan. They were later joined by Lindy Morrison on drums, Robert Vickers on bass guitar and Amanda Brown on violin, oboe, guitar, and backing vocals, before disbanding in late 1989. Forster and McLennan reformed the band in 2000 with a new line-up, McLennan died on 6 May 2006 of a heart attack and The Go-Betweens disbanded again.

In 1988, "Streets of Your Town", the first single from 16 Lovers Lane, became the band's biggest chart hit in both Australia and the United Kingdom (UK). The follow-up single "Was There Anything I Could Do?" was a No. 16 hit on the Billboard Modern Rock Tracks chart in the United States. In May 2001 "Cattle and Cane", from 1983's Before Hollywood was selected by Australasian Performing Right Association (APRA) as one of the Top 30 Australian songs of all time. In 2008, 16 Lovers Lane was highlighted on Special Broadcasting Service (SBS) TV's The Great Australian Albums series as a classic example of 1980s rock music.

Early years[link]

Robert Forster and Grant McLennan met at the University of Queensland where both were taking a theatre arts course.^[1] Forster on vocals, song writing, and guitar, and McLennan on vocals, song writing and bass guitar formed The Go-Betweens in December 1977 in Brisbane, Australia. The name of the band reflects L.P. Hartley's classic novel, The Go-Between.^[1] The band made its first public appearance as the support for The Numbers at Baroona Hall in Brisbane, in early April 1978.^[1]

We performed two songs, and as soon as we got off stage, Mark Callaghan, Robert Vickers - we met them all, in five minutes ... They immediately asked us to play a second show.

—Robert Forster^[1]

The band however were still minus a drummer, having borrowed Gerard Lee for their first show.^[1] They had a succession of drummers starting with Bruce Anthon (ex-The Survivors). With a guest drummer, Dennis Cantwell (The Riptides), they recorded their debut single, "Lee Remick", in May 1978. The song, an ode to the US actress, was released on the independent Able label in September 1978. The B-side to the single, "Karen", was a love song to a librarian. The sleeve depicts Forster and McLennan alongside portraits of Bob Dylan, Che Guevara and Lee Remick. The band sent copies to record labels around the world, with interest shown by the UK arm of America's Beserkley Records. The group's first real drummer was Temucin 'Tim' Mustafa, recruited after the recording of "Lee Remick", although he appears on the picture sleeve of the single.^[1] The band further expanded with the addition of guitarist, Peter Milton Walsh.^[1] Beserkley offered the band a contract, that proposed the re-issue of "Lee Remick" and "Karen" as two singles, followed by an eight album deal.^[1] The band recorded two more songs for Beserkley in November 1978 (including "Sound of Rain") however when Beserkley went bust weeks later Walsh left to form The Apartments.^[1][2][3]

The band's second single, "People Say", which was recorded in May 1979, was produced by The Go-Betweens with Mustapha on drums and Malcolm Kelly on piano and organ. The B-side, "Don't Let Him Come Back", is a farewell to Walsh, who remained friends with Forster and McLennan.^[1] From May 1978 to May 1979, the group recorded some tracks live in Forster's bedroom using McLennan's two-track tape deck—they were not released until 1999 as 78 'Til 79: The Lost Album, which also includes both sides of the first two singles.^[4] These songs were simple pop tunes with a rough New Wave edge, an obvious blend of pure pop influences such as The Monkees with the gritty simplicity of The Velvet Underground.

In November 1979, the duo left Australia, with a plan to shop their songs from record company to record company simply by visiting their offices and playing them.^[1] In Glasgow, Scotland, on 28 April 1980, for independent label Postcard, they recorded their next single, "I Need Two Heads", with Steven Daly of Scottish band, Orange Juice, guesting on drums and Alex Fergusson producing. Forster returned to Australia in June 1980, whilst McLennan continued to New York. They followed Australian contemporaries The Birthday Party to the busier music scene in London. "I Need Two Heads" peaked at No. 6 on the UK independent charts. Upon return to Brisbane they were joined by Belinda "Lindy" Morrison (ex-Xero) on drums in 1980. In November 1980 the band played their first Sydney show at the Palais Theatre, supporting The Birthday Party and the Laughing Clowns.^[1] The band impressed Keith Glass (Missing Link Records), which had re-issued "I Need Two Heads" for the Australian market, and offered to release the band's next single. Their fourth single, the first with Morrison, "Your Turn My Turn", was recorded in Sydney with Tony Cohen (The Birthday Party) in April 1981.^[1] The single was released in September.^[2][5] They recorded ten tracks as demos in Brisbane during 1981, which were released as Very Quick on the Eye by Man Made Records in 1982, the tracks showed that Morrison's "drum abilities, always a deeply underrated part of the band's appeal, fit hand in glove with the arrangements".^[6] By this time, Forster and Morrison were lovers and Morrison was living in Spring Hill.^[7]

The band's first official album, Send Me a Lullaby, produced by The Go-Betweens and Tony Cohen, on Missing Link in Australia, was released as an eight-track mini-album in November 1981.^[1] Missing Link's UK distributors, Rough Trade, released the album in the UK, three months later, with four tracks added.^[2][5] Morrison provided the album title, in preference to Two Wimps and a Witch, from a Zelda Fitzgerald novel Save Me the Waltz.^[8] The group had developed a subtler sound consisting of dry semi-spoken vocals, complex lyrics and melodic but fractious guitar pop influenced by contemporary bands such as Television, Wire and Talking Heads. Australian rock music historian, Ian McFarlane, described the album as "tentative and clumsy [with] its brittle, rough-hewn sound".^[2] Forster and McLennan wrote all the tracks, they alternated lead vocal duties, except "People Know" which had Morrison on vocals and James Freud (Models) guesting on saxophone.^[9][10] Enticed by Rough Trade, the band relocated to London.^[1] The band's next single, "Hammer the Hammer", was released by Rough Trade, in July 1982.^[2][5] In 2002, UK label Circus released a 2× CD version of Send Me a Lullaby which included "After the Fireworks" recorded as a collaboration with The Birthday Party's Nick Cave on vocals, Mick Harvey on piano and Rowland S. Howard on guitar. It had been released as a single under the band name, Tuff Monks in 1982 on Au Go Go Records.^[11]

"Cattle and Cane" to "Streets of Your Town"[link]

The Go-Betweens returned to UK and recorded their second album, Before Hollywood (May 1983), with John Brand producing,^[5] at the International Christian Communications studio in Eastbourne.^[1] It established them as cult favourites while "Cattle and Cane" was released as a single and was "[a]rguably the band's absolute highlight of its earliest years".^[2][12] In Australia the song had exposure on the national broadcaster, Australian Broadcasting Corporation (ABC), pop music TV series, Countdown. Their tracks were played on ABC's alternative rock radio station Triple J—although mainly heard in the Sydney region at that time. Despite the consistent critical acclaim their recordings garnered both in Australia and overseas, The Go-Betweens were mostly ignored by Australian commercial pop radio and never gained a broad national audience. Before Hollywood was described as "more world-weary [...] full of deceptively simple yet accomplished songs".^[2]

Robert Vickers joined on bass guitar in late 1983—freeing McLennan for lead guitar work.^[1] Their next album Spring Hill Fair (September 1984) was produced by Brand with Robert Andrews and Colin Fairley, for Sire Records.^[5] The album was acclaimed as "the sound was bolder and more confident", while "Man O' Sand to Girl O' Sea", "Bachelor Kisses" and "Part Company" were issued as singles.^[2] In 1985, the band signed with True Tone Records distributed by Polygram.^[2][5]

Liberty Belle and the Black Diamond Express, released in March 1986 on Beggars Banquet Records, received favourable reviews, and showed the band gradually moving towards a smoother and more contemporary sound, while retaining elements of their idiosyncratic early style.^[13] McFarlane claims "[it] remains the band's most cohesive and finely crafted statement".^[2] "Spring Rain" (February) and "Head Full of Steam" (June) were released as singles with "Spring Rain" reaching the Australian Kent Music Report Singles Chart Top 100.^[14]

Amanda Brown on violin, oboe, guitar, keyboards and backing vocals joined later in the year. Within a few months, Brown and McLennan were lovers—many of McLennan's new lyrics were about this relationship.^[8][15] Tallulah (June 1987), produced by The Go-Betweens for True Tone and Beggars Banquet contained their "most winsome and hummable songs, `Right Here' and `Bye Bye Pride'"; while Brown's contributions "added extra lustre".^[2] LO-MAX Records released a 2× CD version of Tallulah in 2004, one of the additional tracks, "Doo Wop in 'A' (Bam Boom)" was co-written by Morrison, Brown, McLennan and Forster.^[16] In November 1987, The Go-Betweens returned to Australia and John Willsteed (ex-Xero with Morrison) replaced Vickers on bass.

16 Lovers Lane (1988), was the group's most commercial offering, providing the alternative radio hit "Streets of Your Town" (1988), which became the band's biggest chart hit in both the UK and Australia peaking in the Top 100. The follow-up single "Was There Anything I Could Do?" was a No. 16 hit on US Modern Rock radio stations, and Beggars Banquet, trying to encourage the band's commercial momentum re-released "Streets Of Your Town" in the UK in early 1989, where it charted low once again. These minimal successes were hardly the hoped-for commercial breakthrough for the band, and after recording six albums, Forster and McLennan disbanded The Go-Betweens in December 1989. McLennan and Brown had separated as a couple earlier and both Forster and McLennan pursued solo careers. Brown and Morrison formed Cleopatra Wong in 1991. All official albums published in the 1980s have titles with a double L word, except 16 Lovers Lane, which has two words beginning with an L.

[edit] The Friends of Rachel Worth to Oceans Apart

Forster and McLennan pursued solo careers throughout the 1990s, and McLennan also collaborated with Steve Kilbey of The Church in the studio project band Jack Frost.

Forster and McLennan were inspired to work together again after they were invited by fans at French music magazine Les Inrockuptibles to perform at the magazine's 10th anniversary on the 23/05/1996 in Paris.^[17] For this performance the band comprised Forster, McLennan, Adele Pickvance on bass guitar and Glenn Thompson on drums.^[18]

In 2000, Forster, McLennan and Pickvance went to Jackpot! studio in Portland Oregon with members of Sleater-Kinney, and recorded the album The Friends of Rachel Worth.

The 2001 Thompson rejoined the band for the Australian Big Day Out Festival. This line up of Forster, McLennan, Pickvance and Thompson went on to record Bright Yellow Bright Orange and In October 2005, The Go-Betweens finally achieved mainstream recognition, with the album Oceans Apart (produced by Mark Wallis and Dave Ruffy) winning an ARIA award for 'Best Adult Contemporary Album'. Grant McLennan died on 6 May 2006 of a heart attack, and Robert Forster subsequently announced that The Go-Betweens were no more.^[19] Forster has continued to perform and records as a solo artist and has also written well-received music criticism.

Legacy[link]

The focal point of The Go-Betweens was the song writing skills of Forster and McLennan, described by The Village Voice critic Robert Christgau as "the greatest songwriting partnership working today." Each developed a distinctive but complementary style: Forster's songs were angular and angst-ridden, making much use of irony and unusual lyrical imagery, while McLennan's were generally softer and more sensitive, his lyrics often based on character study and reported speech. Without ever securing an Australian or UK Top 50 chart single—a fact which mystified their supporters in the press, to the point where this "scandalous" lack of popular success became a cliché when writing about the band. However, there were a few very minor chart successes for the band, starting with "Spring Rain", which sneaked in to the lower rungs of the Australian charts in 1986 and became the band's first ever Top 100 chart hit. The following year, "Right Here" similarly rode low on the UK Top 100 Charts. Then in 1988, "Streets of Your Town", the first single from 1988's 16 Lovers Lane, reached the Top 100 in both Australia and UK.

In May 2001 "Cattle and Cane", written by McLennan and Forster,^[20] was selected by Australasian Performing Right Association (APRA) as one of the Top 30 Australian songs of all time.^[21] McLennan described writing the lyrics:

I wrote (the song) to please my mother. She hasn't heard it yet because my mother and stepfather live (on a cattle station) and they can't get 240 volts electricity there, so I have to sing it over the phone to her [...] I don't like the word nostalgic; to me, it's a sloppy yearning for the past, and I'm not trying to do that in that song. I'm just trying to put three vignettes of a person, who's a lot like myself, growing up in Queensland, and just juxtaposing that against how I am now.^[22]

—Grant McLennan, 1983

Their song, "Streets of Your Town", was used by Prime Television and GWN in their station identification from 2001 to 2003. Elements from the same song were sampled in the 2003 single "Just The Way You Are" by the Italian dance group Milky.

In the 4th Season of American TV Series 24 a company is named McLennan-Forster—the producer of the series and author, Evan Katz, wanted to express his veneration of the Go-Betweens by this company name.^[23]

On the eve of the first anniversary of McLennan's death, Triple J & JTV broadcast a tribute concert to The Go-Betweens, recorded in 2006 at Brisbane venue, the Tivoli Theatre. Inspired by this tribute concert, and featuring many of the same artists, a tribute album to The Go-Betweens, Write Your Adventures Down, was released in June 2007 in Australia by The Red Label.

In 2008, 16 Lovers Lane was highlighted on Special Broadcasting Service (SBS) TV's The Great Australian Albums series as a classic example of 1980s rock music.^[24] The documentary was later released on DVD.

On 29 September 2009, Brisbane City Council announced that a four-lane traffic bridge, previously known as Hale Street Link, would be renamed as Go Between Bridge in the band's honour, following a popularity poll.^[25]

The Go-Betweens are referenced in the Teenage Fanclub song "When I Still Have Thee" (2010), and in the Belle and Sebastian song "Shoot the Sexual Athlete".

Nada Surf covered their song "Love Goes On!" on their covers album If I Had a Hi-Fi (2010).

Robert Forster continues to perform and also contribute articles to The Monthly magazine.

Members[link]

• Robert Forster – vocals, guitar,(1977–1989, 2000–2006)
• Grant McLennan – vocals, guitar, harmonica, bass guitar (1977–1989, 2000–2006)
• Bruce Anthon - drums (1978, 1979–1980)
• Dennis Cantwell – drums (1978)
• Lissa Ross – drums (1978)
• Tim Mustapha – drums (1978–1979)
• Peter Milton Walsh – vocals, guitar (1978–1979)
• Malcolm Kelly – piano, organ (1979)
• Steven Daly – drums (1980)
• Claire McKenna – drums (1980)
• Dave Tyrer – guitar (1980)
• Lindy Morrison – drums, vocals (1980–1989)
• Robert Vickers – bass guitar (1983–1987)
• Amanda Brown – violin, oboe, guitar, keyboards, backing vocals (1986–1989)
• John Willsteed – bass guitar, guitar (1987–1989)
• Michael Armiger – bass guitar (1989)
• Adele Pickvance – bass guitar, backing vocals (2000–2006)
• Mathias Strodler – drums (2000)
• Janet Weiss – drums, backing vocals (2000)
• Glenn Thompson – drums, backing vocals, keyboards (2002–2006)
• Ross McLennan –

Discography[link]

Albums[link]

Studio albums

• Send Me a Lullaby (Missing Link, February 1982)
• Before Hollywood (Stunn, May 1983)
• Spring Hill Fair (Sire, September 1984)
• Liberty Belle and the Black Diamond Express (True Tone, March 1986)
• Tallulah (True Tone, June 1987)
• 16 Lovers Lane (Mushroom, September 1988)
• The Friends of Rachel Worth (2000)
• Bright Yellow Bright Orange (2003)
• Oceans Apart (2005)

Compilations

• Very Quick on the Eye (recorded 1981, Man Made Records 1982; re-released 2002)^[6]
• Metal and Shells (1985)
• 1978–1990 (1990)
• Bellavista Terrace: Best of The Go-Betweens (1999)
• 78 'til 79 the Lost Album (1999)

Live albums

• Live on Snap with Deirdre O'Donoghue (1999)
• Live in London (2005)
• That Striped Sunlight Sound Live CD/DVD (2006)

Extend plays[link]

• The Able Label Singles (1986)
• The Peel Sessions (1989)
• Worlds Apart (2005)

Singles[link]

Further reading[link]

• Clinton Walker (1996). Stranded: The Secret History of Australian Independent Music 1977-1991. Pan MacMillan Australia. ISBN 0-7329-0883-3
• Andrew Stafford (2004). Pig City: from the Saints to Savage Garden. University of Queensland Press. ISBNs 9780702233609 (first edition), 9780702235610 (second edition)
• David, Nichols (2003). The Go-Betweens. Portland, OR: Verse Chorus Press. ISBN 1-891241-16-8. http://books.google.com/books?id=-eMZkz3jMlAC&printsec=frontcover&dq=the+go-betweens+david+nichols&cd=1#v=onepage&q&f=false.  Note: [online] version has limited functionality.
  • David Nichols (2005). The Go-Betweens (Limited Italian edition). Libera Publishing. ISBN 88-901889-1-X

References[link]