Loïe Fuller in 1900.

Loie Fuller (also Loïe Fuller; (January 15, 1862 – January 1, 1928) was a pioneer of both modern dance and theatrical lighting techniques.

Career[link]

Born Marie Louise Fuller in the Chicago suburb of Fullersburg, now Hinsdale, Illinois, Fuller began her theatrical career as a professional child actress and later choreographed and performed dances in burlesque (as a skirt dancer), vaudeville, and circus shows. An early free dance practitioner, Fuller developed her own natural movement and improvisation techniques. Fuller combined her choreography with silk costumes illuminated by multi-coloured lighting of her own design.

Portrait of Loïe Fuller, by Frederick Glasier, 1902.

Although Fuller became famous in America through works such as Serpentine Dance (1891), she felt that she was not taken seriously by the public who still thought of her as an actress. Her warm reception in Paris during a European tour persuaded Fuller to remain in France and continue her work. A regular performer at the Folies Bergère with works such as Fire Dance, Fuller became the embodiment of the Art Nouveau movement. An 1896 film of the Serpentine Dance by the pioneering film-makers Auguste and Louis Lumière gives a hint of what her performance was like. (The unknown dancer in the film is often mistakenly identified as Fuller herself.)

Loïe Fuller at the Folies Bergère, poster by PAL (Jean de Paléologue).

Fuller's pioneering work attracted the attention, respect, and friendship of many French artists and scientists, including Jules Chéret, Henri de Toulouse-Lautrec, François-Raoul Larche, Henri-Pierre Roché, Auguste Rodin, Franz von Stuck, Maurice Denis, Thomas Theodor Heine, Koloman Moser, Stéphane Mallarmé, and Marie Curie. Fuller held many patents related to stage lighting including chemical compounds for creating color gel and the use of chemical salts for luminescent lighting and garments (stage costumes US Patent 518347). Fuller was also a member of the French Astronomical Society.

Loie Fuller's original stage name was "Louie". In modern French "L'ouïe" is the word for a sense of hearing. When Fuller reached Paris she gained a nickname which was a pun on "Louie"/"L'ouïe". She was renamed "Loïe" - this nickname is a corruption of the early or Medieval French "L'oïe", a precursor to "L'ouïe", which means "receptiveness" or "understanding".

Fuller formed a close friendship with Queen Marie of Romania; their extensive correspondence has been published. Fuller, through a connection at the U.S. embassy in Paris played a role in arranging a U.S. loan for Romania during World War I. Later, during the period when the future Carol II of Romania was alienated from the Romanian royal family and living in Paris with his mistress Magda Lupescu, she befriended them; they were unaware of her connection to Carol's mother Marie. Fuller initially advocated to Marie on behalf of the couple, but later schemed unsuccessfully with Marie to separate Carol from Lupescu.^[1] With Queen Marie and American businessman Samuel Hill, Fuller helped found the Maryhill Museum of Art in rural Washington State, which has permanent exhibits about her career.

Fuller occasionally returned to America to stage performances by her students, the "Fullerets" or Muses, but spent the end of her life in Paris where she died of pneumonia on January 1, 1928 at age 65. She was cremated and her ashes are interred in the columbarium at Cimetière du Père Lachaise in Paris. Her sister, Mollie Fuller, had a long career as an actress and vaudeville performer.^[2]

Continuing influence[link]

Fuller depicted by Koloman Moser (1901).

Fuller painted by Toulouse-Lautrec.

Poster featuring Loïe Fuller at the Folies Bergères by Jules Chéret.

Fuller’s work has been experiencing a resurgence of professional and public interest. Sally R. Sommer has written extensively about Fuller’s life and times^[3] Marcia and Richard Current published a biography entitled Loie Fuller, Goddess of Light in 1997.^[4] And Giovanni Lista compiled a 680-page book of Fuller-inspired art work and texts in Loïe Fuller, Danseuse de la Belle Epoque, 1994.^[5]

Fuller continues to be an influence on contemporary choreographers. Among these are Jody Sperling who re-imagines Fuller’s genre from a contemporary perspective.[1]

Written works[link]

Fuller's autobiographical memoire "Quinze ans de ma vie" was written in French and published by F. Juven (Paris) in 1908 with an introduction by Anatole France. She drafted her memoires again in English a few years later, which were published under the title "Fifteen Years of a Dancer's Life" by H. Jenkins (London) in 1913. The New York Public Library Jerome Robbins Dance Collection holds the nearly complete manuscript to the English edition and materials related to the French edition.^[6]

References[link]

External links[link]

Wikimedia Commons has media related to: Loie Fuller

• New York Times report
• Biodata
• Biography
• Loie Fuller collection, 1914-1928, held by the Jerome Robbins Dance Division, New York Public Library for the Performing Arts
• Loie Fuller papers, 1892-1913, held by the Jerome Robbins Dance Division, New York Public Library for the Performing Arts
• Loie Fuller notebooks and letters, held by the Jerome Robbins Dance Division, New York Public Library for the Performing Arts

This article may be expanded with text translated from the corresponding article in the Spanish Wikipedia. (March 2009) Don't speak Spanish? Click here to read a machine-translated version of the Spanish article. Click [show] on the right to review important translation instructions before translating. Google's machine translation is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. After translating, {{Translated|es|Segundo de Chomón}} must be added to the talk page to ensure copyright compliance. For more guidance, see Wikipedia:Translation.

Segundo de Chomón
Born	Segundo Víctor Aurelio Chomón y Ruiz (1871-10-17)October 17, 1871 Teruel, Spain
Died	May 2, 1929(1929-05-02) (aged 57) Paris, France
Years active	1902–1927

La casa hechizada (1906)

Satán se divierte (1907)

El Hotel eléctrico (1908)

Segundo Víctor Aurelio Chomón y Ruiz (17 October 1871, Teruel, Aragon - 2 May 1929) was a pioneering Spanish film director. He produced many short films in France while working for Pathé Frères and has been compared to Georges Méliès, due to his frequent camera tricks and optical illusions. Segundo de Chomón (1871-1929) became involved in film through his wife, who was an actress in Pathé films. In 1902 he became a concessionary for Pathé in Barcelona, distributing its product in Spanish-speaking countries, and managing a factory for the colouring of Pathé films. He began shooting actuality films of Spanish locations for the company, then 1905 moved to Paris where he became a trick film specialist. The body of work he created over five years was outstanding. Films such as Le Spectre Rouge, Kiriki – Acrobates Japonais, Le Voleur Invisible and Une Excursion Incohérente are among the most imaginative and technically accomplished of their age. De Chomón created fantastical narratives embellished with ingenious effects, gorgeous colour, innovative hand-drawn and puppet animation, tricks of the eye that surprise and delight, and startling turns of surreal imagination (see, for example, the worms that crawl out of a chocolate cake in Une Excursion Incohérente, one of a number of films where visitors or tourists are beset by nightmarish haunted buildings, a favourite de Chomón theme).

It is curious why he is not generally known as one of the early cinema masters, except among the cognoscenti in the field. Perhaps it is because there is a smaller body of work than that created by Georges Méliès (his works can perhaps be described as a cross between that of Méliès and another who combined trickery with animation, Emile Cohl); perhaps it is because he was a Spaniard working in France for the key part of his film career that has meant that neither side has championed him as much as they might have done. De Chomón carried on as a filmmaker, specialising in trick effects, working for Pathé, Itala and others, and contributing effect work to two of the most notable films of the silent era, Pastrone’s Cabiria (1914) and Abel Gance’s Napoléon (1927).

Selected filmography[link]

• 1902: Choque de trenes, Monserrat.
• 1903: Pulgarcito, Gulliver en el país de los Gigantes.
• 1905: Eclipse de sol, Los guapos del Parque, La gallina de los huevos de oro, dirigida por Albert Capellani.
• 1906: El hijo del diablo (1906), dir. Lépine. Excursión a la luna, dirigida por Ferdinand Zecca.
• 1907: Vida y pasión de Nuestro Señor Jesucristo y El pescador de perlas, filmes de Ferdinand Zecca. La casa encantada, Satán se divierte, Les ombres chinoises, La Légende du Fantôme, Le Chevalier mystère, Voyage à la planète Jupiter.
• 1908: El Hotel eléctrico, Alarde equilibrista, El escultor moderno, El castillo encantado, El teatro eléctrico de Bob, Mars, Cuisine magnétique, La Table magique, Transformation élastique.
• 1909: El sueño de un cocinero, Una excursión incoherente, Les Jouets vivants, Voyage au centre de la terre, Voyage dans la lune.
• 1910: Amor Gitano, La expiación, El puente de la muerte, Venganza de un carbonero, La fecha de Pepín, La fatalidad, El ejemplo, Pragmática real, Justicias del rey don Pedro, La manta del caballo, La hija del guardacostas, La gratitud de las flores o Flores y perlas, Los guapos, El puñao de rosas, Las carceleras, La tempranica, El pobre Valbuena, Lucha fratricida o Nobleza Aragonesa, Los pobres de levita, Los dulces de Arturo, Una farsa de Colás, Flema inglesa, Gerona: la Venecia española, La heroica Zaragoza.
• 1911: Pulgarcito
• 1912: El talismán del vagabundo, Soñar despierto, El gusano solitario (film de André Deed). Padre, de Giovanni Pastrone (Itala Films).
• 1913: Tigre reale (Italy) directed by Giovanni Pastrone.
• 1914: Cabiria (Italy) directed by Giovanni Pastrone.
• 1915: El fuego
• 1916: Tigre real
• 1917: La guerra e il sogno di Momi (Italy) directed with Giovanni Pastrone.
• 1919: Hedda Gabler.
• 1926: El negro que tenía el alma blanca (Spain), by Benito Perojo
• 1927: Napoleon (France), by Abel Gance.

Bibliography[link]

• (Spanish) SÁNCHEZ VIDAL, Agustín, Realizadores aragoneses, Zaragoza, Caja de Ahorros de la Inmaculada-Edelvives, 1999. ISBN 84-95306-22-0
• (Spanish) SÁNCHEZ VIDAL, Agustín, El cine de Chomón, Zaragoza, Caja de Ahorros de la Inmaculada, 1992.
• (Spanish) Juan Gabriel Tharrats, Los 500 filmes de Segundo de Chomón, Universidad de Zaragoza, Prensas Universitarias, 1988.
• (Spanish) Juan Gabriel Tharrats, Inolvidable Chomón, Filmoteca regional de Murcia, 1990, 59 p.

Segundo de Chomón at [1]>The Internet Archive

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Harry Relph (July 21, 1867 – February 10, 1928), known on the stage as "Little Tich", was an English music hall comedian. He was noted for the characters of The Spanish Señora, The Gendarme and The Tax Collector, but his most popular routine was his Big Boot dance, which involved a pair of 28-inch boots, commonly called "slapshoes" in the days of vaudeville. He was also popular as a pantomime dame; in one season he appeared with Marie Lloyd and Dan Leno also in the cast.

Biography[link]

The surviving film of the Big Boot dance, made by Clément-Maurice for the Phono-Cinéma-Théâtre in 1900, was described by Jacques Tati as "a foundation for everything that has been realised in comedy on the screen".^[1]

Relph was born at Cudham, now in the London Borough of Bromley, one of 15 children to the landlord of the Blacksmith's Arms. He made his first stage appearance at the age of twelve at Rosherville Gardens, Gravesend. Relph, only four feet six inches (1.37 m) in height but also very stout as a child (though he later slimmed down), took his stage name "Little Tich" from the Tichborne claimant, the corpulent Arthur Orton.^[2]

He performed internationally, and at the age of 42 was made an officer of the French Academy, for his performances at the Folies Bergère. His final performance was at the London Alhambra Theatre in 1927, with Jack Hylton's Band, and he died at Hendon after a long illness in 1928.

He was a polydactyl, having five fingers and a thumb on each hand, and six toes on both feet.^{[citation needed]} Mementoes of his life are still preserved at the public house in which he was born.

The second of Igor Stravinsky's "Three Pieces for String Quartet" (1914) was inspired by one of Little Tich's performances.^[3]

In the Ministry of Silly Walks sketch in Monty Python's Flying Circus a parody of old 20th-century silent film is shown. In this film Michael Palin is dressed like Little Tich in his "Big Boots" sketch, complete with high hat and large shoes.

References[link]

• Tich, Mary and Richard Findlater (1979). Little Tich; Giant of the Music Hall. London: Elm Tree Books. ISBN 0-241-10174-3. 

External links[link]

• Anthony, Barry. Little Tich (Harry Relph)
• Little Tich at the Internet Movie Database
• Irving, Gordon. Little Tich
• Knapp, Lawrence. (2000) Sax Rohmer and Little Tich
• Blue plaque by the London Borough of Bromley
• Little Tich on YouTube
• Little Tich at Find a Grave

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (November 2010)

Jody Sperling is an American dancer, choreographer, and dance scholar based in New York City. She is the Founder/Artistic Director of Time Lapse Dance, a dance company that gives a postmodern twist to vintage genres, from the fin de siècle spectacles of Loie Fuller, to circus and music hall entertainments.^[1]

Biography[link]

Sperling holds an MA in Performance Studies (New York University, 1996) and a BA in Dance and Italian (Wesleyan College, 1992).

Sperling became interested in Fuller in 1997 when she performed Fuller's The Butterfly Dance.^[2] Since then, she has gained an international reputation as an expert on Loie Fuller and as a contemporary interpreter of Fuller’s style of dancing. She has lectured and/or performed at colleges, universities and international festivals and conferences in countries such as the United States, Canada, France, Ireland, Italy, The Netherlands, and Russia.

Sperling has created five Fuller-inspired solos:The Serpentine Dance (after the 1891 original); The Magic-Lantern Dance (a collaboration with the American Magic-Lantern Theater); Dance of the Elements, La Nuit set to the music of John Cage; and Debussy Soirée. She has also developed group works such as Ghosts (2008); the trio Roman Sketches (2007), co-commissioned by Vermont Performance Lab, LLC. and Marlboro College,;^[3] and the septet Ballet of Light [1] (2007), a reinterpretation of Fuller’s 1908 original, commissioned by the University of Wyoming with funds from the National Endowment for the Arts/American Masterpieces program.

Sperling’s interest in dance history has led her to perform works from other periods, such as Yvone Rainer's 1960s Trio A, and her dance Orlando was inspired by an interest in 16th-century galliard steps. She is also a hoop dancer/instructor, and has created dances for low-flying trapeze.

She has written occasional articles for Dance Magazine, The Village Voice, and other publications, including a contribution to the six-volume International Encyclopedia of Dance (Oxford University Press, 1998).

Sperling has served on the Board of Directors of the Society of Dance History Scholars.^{[citation needed]}

References[link]

External links[link]

• TimeLapseDance.com
• Interview with Jody

Simon Cousins (born Simon Frederick Cousins, 17 January 1965, Bath, Somerset) is an English singer-songwriter and musician, who was a member of Liverpool indie country rock band The Onset and folk rockers Ophiuchus. He studied music at the Liverpool Music College and has a degree in philosophy from Liverpool University. His solo work is in an acoustic, folk / country genre, described by Tim Peacock of Whisperin and Hollerin' online magazine as "showcasing a fluid finger-picking style and a gentle, unobtrusive voice which nonetheless carries a determined presence." ^[1] Seph Ong of Glasswerk National stated that Cousins' songs were "derived from real life experience" and that as a performer he "presents a series of tales that gradually unravel to build a story of the mystery of life."^[2] Cousins performed at the Glastonbury Festival, Pilton, UK in both 2010 and 2011.^[3][4]

Career[link]

The So![link]

The So! formed in 1978 when Simon Cousins and his twin brother Jon were pupils at Grittleton House School, near Chippenham in Wiltshire. The Band's original members were Andrew Hawker (vocals), David Clifford (drums), Jon Cousins (vocals, guitar) and Si Cousins (vocals, bass). The So! started out as a Punk Rock outfit, covering the songs of other bands, but soon became a vehicle for the Cousins Brother's early song writing efforts. The original So! performed only one concert before it disbanded, at Grittleton House School in 1979.

Simon Cousins continued to work with his brother, with their musical styles beginning to reflect the influence of Lou Reed, David Bowie and Marc Bolan. In October 1981 the Cousins Brothers, now attending the 6th Form at Chippenham's Sheldon and Hardenhuish Schools, reformed The So! with former Sheldon Students Mark Dunn (keyboards) and Richard Pearson (Drums). The new So! played their first gig on March 15, 1982, and the event was covered by the Wiltshire Times and News, which reported that "Chippenham rock group, The So, got their first big break on Monday night when they performed at the Stonehouse, Bristol."^[5] In May 1982 Jon Cousins invited fellow Hardenhuish student Myke Vince to join The So! to play drums. June 11, 1982, Wiltshire Times and News reported that the So! had decided to change their name to Random Gender. The article states that "The group's last gig as The So will be a private party for their fans at Kington St. Michael."^[6] This gig was at the Jolly Huntsman Pub, Kington St. Michael, Wiltshire.

Random Gender[link]

The Chippenham New also ran the story on The So changing its name to Random Gender, reporting that the band “had been off the scene for a few months rehearsing a new set.”^[7] This is indicative of the transition to Random Gender, which marked a new phase of song writing for Simon Cousins, with his songs Stage, Night and Day and The Man With The Face being recorded as demo singles during 1983 and 1984.

Throughout his time with Random Gender, Cousins’ songs became more progressive, introducing dynamics and themed movements to create mood and contrast, using keyboards, guitar and saxophone to provide texture in melody and harmony. Mark Ashton, writing in Bristol and Bath's Biggest What’s On Guide, “The Venue”, commented that the band “like tangibility, emotion and fun in their music.”^[8] Lyrics of songs like “Ten Words”, “Spirit” and “Running Through The Sky”, reflected Cousins’ growing interest in Earth mysteries, myth and folklore. Dave Massey reviewing Random Gender for Sounds Music Paper in July 1984 commented that he felt “cross-eared... with the intrigue of untangling what precisely Random Gender are all about.”^[9] In an interview with Susan Hampton for Wiltshire Gazette and Herald in March 1985, Simon Cousins stated “We don’t know what to call it – really it’s a mixture of all our influences.”^[10] Al Read, in his 2003 publication, “The Granary Club” describes Random Gender as being a “Velvet Underground meets King Crimson type outfit.”.^[11] Simon Kinnersley of Bath and West Evening Chronicle tried to pin down the Gender Sound, writing “they’ve been aligned to King Crimson and Velvet Underground, which they should take as something of an insult, because they are rather more dashing and positive than that.”^[12] The classic band line up saw Simon Cousins (bass and vocals) and Jon Cousins (guitar and vocals) team up with Myke Vince (drums), Richard Hughes (keyboards) and Pat D’Arcy (saxophone). Jon Cousins later coined the term “Progressive Garage” to describe Random Gender’s music. Simon Cousins summed the band up in an interview with Karen Mills of Salisbury’s Portfolio Magazine, “Pat’s influences are soul and rhythm and blues, I’m basically influenced by Genesis and Bowie, Myke’s influenced by Japan, Bowie, Talking Heads and Psychedelic Furs. Jon has a strong Folk influence, which is good for the band, and Rich doesn’t seem to be influenced by anyone!”^[13]

Redirect to Random Gender main article.

Ophiuchus[link]

In 1986 the Cousins Brothers and D’Arcy split from Random Gender to form the Progressive Folk Rock outfit Ophiuchus. They played their first gig supporting Culture Shock in Warminster that year. They quickly established a residency at Pee Wee’s Real Ale Bar in Trowbridge. Ophiuchus’ music was grounded in a fusion of punk, progressive and folk rock. Lyrically, the Cousins Brothers were writing songs about stone circles, green men and solstice. Jon Cousins being interviewed for the Mardenbeat Magazine in 1987 explained that “A lot of pop music has its roots in Black American music, but we want to go back to more traditional English sounds, particularly from this part of England.”^[14] Si Cousins’ compositions such as “A Time Of Changes”, “The Healing” and “Children Of The Moon”, were a result of his interest and experiences of New Age, Occult and Wiccan Cultures. Simon Jones writing in Folk Roots commented that "Ophiuchus weave their own dreamy, rustic idyll.”^[15] The Venue Magazine billed them as “The best thing out of Wiltshire that isn’t made by Wadsworth.”^[16] Although he left Ophiuchus in 1987, Cousins has a cameo appearance as a Guest Snare Drum Player on their Debut LP; “Pronounced Offee-ick ‘Cus”, released on Probe Plus Records in 1989.^[17]

Redirect to Ophiuchus main article.

The Onset[link]

In January 1987, Cousins moved to Liverpool to join Mike Badger, the founder of Liverpool’s Britpop band The La’s,^[18] who was working with guitarist Dan Dean to develop an indie/country/roots sound as The Onset. The band was described by Pete Frame, author of Rock Family Trees, as "The most arresting group in captivity - younger than yesterday, fresher than tomorrow".^[19] Mike Badger in interview with Tim Peacock of Whisperin and Hollerin Magazine in 2008, stated “This meant a lot to us, as did any good wholesome thing said about us. It drove us on because we had no real income from the band save for funding itself. We had distribution at times when we had no airplay, or we had airplay at times of no distribution and great press when there was no record.”.^[20] Their classic line up was Mike Badger (vocals, acoustic guitar), Simon Cousins (bass, vocals), Danny Dean (lead guitar), Paul Hemmings later of the Lightning Seeds,(rhythm guitar, slide, mandolin) and Tony Russell (drums). Mike Badger called their sound as “a sort of Punk Cajun”.^[21] This appealed to Geoff Davies the legendary Record Producer of Liverpool’s Probe Plus Label, who signed up the band stating they were “Irresistible salad of rootsy pop... Lovely stuff, warm, human, spiritual, compassionate.”.^[22]

The Onset was primarily a vehicle for Mike Badger’s song writing, with Cousins and the other members contributing to arrangements rather than composition. Cousins does have joint music credit on The Onset’s “Sun and Moon”, “Two Step Angels”, “First I Feel You”, “What Say You”, “Love's Inspiration”, “I Do What I Can” and “Touch The Moon”. He also contributed one of his own songs to the band “Mother England”, commenting on the impact of the recession in the late 80s. The music was heavily influenced by the Senegalese Mbalax style with a Hawaiian lap steel lead played by Paul Hemmings.

Redirect to The Onset main article.

The Catfish[link]

Si Cousins left The Onset in late 1991 to join up with The Catfish, a group of musicians who had all played or recorded with The Onset at various stages. They were Roger Llewellyn (vocals, banjo, acoustic guitar), Simon Cousins (bass, vocals) Nick Hrydowy (lead guitar, mandolin) and Brian Morrow (percussion, drums). Cousins contributed a number of songs to The Catfish’s set including Jump Into The Fire, which saw him return to the themes of symbolism and folklore. The Catfish sound owed more to West Coast Pop than the Country Rock style of the Onset. They performed for just over a year before Roger Llewellyn and Brian Morrow joined The Onset in 1993. Simon Cousins studied music at the Liverpool Music College during this time and rejoined the Onset in 1994 for their final recording sessions in Ian Broudie’s Liverpool Studios.

Solo performer[link]

Since the Onset folded in 1995, Simon Cousins has continued to write songs, developing as an acoustic guitarist with an intimate vocal style and poignant lyrics. He recorded at Pat D’Arcy’s studio during the 90s and with Jon Cousins on the Liberty Blake sessions in 2008. His recordings with The Onset continue to be released through Probe Plus, The Viper Label and Mike Badger’s Generator Label.

In 2009, Cousins began performing live after a 13 year hiatus. He has played concerts throughout the UK including the famous Cavern Club Liverpool (May 2010) and the Members Room, St.Helens Town Hall (June 2010). Tim Peacock from Whisperin' and Hollerin' Online Magazine reviewing Cousins' music stated "There's a mission to both soothe your soul and quietly sweep you off your feet going ahead here, so you'd be foolish not to succumb."^[1]

In April 2010, Si Cousins joined his brother Jon to reform Ophiuchus with fellow members, Pat D'Arcy (Saxophone), Glenn Wardle (Hammer Dulcimer), Pete Causer (Melodeon), Richard Hughes (Piano Accordion), Xavier Tutien (Bass), Myke Vince (Drums), Jack "WestWayy" Cousins (Percussion), Mike Slater (Cruel Driver) and Dick (Mumming Memento Mori). The Group had not played together for 23 years. In an interview with journalist Nick Cook, Cousins commented that "planning rehearsals with band members in Chippenham, Swindon, Bristol, Glastonbury, Liverpool and Paris was a logistical nightmare.".^[23] The reformed band played on the Bandstand Stage at the Glastonbury Festival of Contemporary Performing Arts on Sunday, June 27, 2010.^[3][24]

On 1 June 2011, the Liverpool Echo announced that Cousins was to return Glastonbury as a solo artist to play four shows at the 2011 Glastonbury Festival.^[25] Cousins' shows were in the Green Futures Field where he played the Tadpole Stage on Wednesday 22 June and the Mandala Stage on Thursday 23rd, Saturday 25th and Sunday 26 June.^[4]

Cousins’ first solo single, Love’s Counterfeit, was released on 11 November 2011.^[26] The song received its first radio play on Radio Merseyside’s ‘Tony Snell in the Morning’ show on 20 June 2011.^[27] Cousins is reported to have decided to release the song because of its popularity at Glastonbury Festival.^[28] Love’s Counterfeit was released as a digital download format through iTunes.^[29]

Discography[link]

• The Foxhole Sessions – Random Gender, EP (1983)
• Night and Day / The Journey – Random Gender, Single (1984)
• The Man with the Face – Random Gender, Single (1984)
• The Mabinogion – Jon Cousins and Random Gender, Album (1984)
• My Death – Random Gender, Single (1985)
• Chain to Break – Random Gender, Single (1985)
• The Pool Of Life – The Onset, LP (1988), Probe Plus (PROBE19)
• Pronounced Offee-ick Cuss – Ophiuchus, LP (1989), Probe Plus (PROBE23)
• What Say You – The Onset, EP (1990), Furious Fish Records (Onset1)
• The Pool Of Life Revisited – The Onset, CD (1994), Probe Plus (PROBE40)
• Liverpool Cult Classics Unearthed - Volume Two - Various Artists, CD (2001), The Viper Label (Viper009)
• Lo Fi Acoustic Excursions by Mike Badger & Friends - Mike Badger CD (2004), The Generator Label (Gen09)
• The Onset – The Onset, CD (2005), The Generator Label (Gen10)
• Lo Fi Electric Excursions by Mike Badger & Friends - Mike Badger, CD (2006), The Generator Label (Gen11)
• Mike Badger's Country Side - Mike Badger, CD (2008), The Generator Label (Gen12)
• Love's Counterfeit – Simon Cousins, Single (2011), Misericordia

References[link]