Bert Hardy (19 May 1913 — 3 July 1995) was a documentary and press photographer known for his work published in the Picture Post magazine between 1941 and 1957.
Bert Hardy rose from humble working class origins in Blackfriars, the eldest of seven children he left school at age 14 to work for a chemist who also processed photos. His first big sale came when he photographed King George V and Queen Mary in a passing carriage, and sold 200 small prints of his best view of the King. Hardy freelanced for The Bicycle magazine, and bought his first small-format Leica 35 mm. He signed on with the General Photographic Agency as a photographer, then found his own freelance firm Criterion.
In 1941 Hardy was recruited by the editor Tom Hopkinson of the leading picture publication of the 1930s and 1940s, Picture Post. Hardy was self-taught and used a Leica —unconventional gear for press photographers of the era— but went on to become the Post's Chief Photographer, after he earned its first photographer credit for his 1 February 1941 photo-essay about Blitz-stressed fire-fighters.
A low-life or lowlife is a term for a person who is considered morally unacceptable by their community, especially those who exploit others for their own selfish purposes. Examples of people who are often called "lowlifes" are the dregs of society: drug dealers, drug users, alcoholics, those with bad hygiene, thieves, liars, thugs, hustlers, con artists, griefers, pimps and spammers.
Often, the term is used as an indication of disapproval of antisocial or destructive behaviors, usually bearing a connotation of contempt and derision. This usage of the word dates to 1911.
Laurel and Hardy were one of the most popular and critically acclaimed comedy double acts of the early Classical Hollywood era of American cinema. Composed of thin Englishman Stan Laurel (1890–1965) and fat American Oliver Hardy (1892–1957), they became well known during the late 1920s to the mid-1940s for their slapstick comedy, with Laurel playing the clumsy and childlike friend of the pompous Hardy. They made over 100 films together, initially two-reelers (short films) before expanding into feature length films in the 1930s. Their films include Sons of the Desert (1933), the Academy Award winning short film The Music Box (1932), Babes in Toyland (1934), and Way Out West (1937). Hardy's catchphrase "Well, here's another nice mess you've gotten me into!" is still widely recognized.
Prior to the double act both were established actors with Laurel appearing in over 50 films and Hardy in over 250 films. Although the two comedians first worked together on the film The Lucky Dog (1921), this was a chance pairing and it was not until 1926, when both separately signed contracts with the Hal Roach film studio, that they began appearing in movie shorts together. Laurel and Hardy officially became a team the following year in the silent short film Putting Pants on Philip (1927). The pair remained with the Roach studio until 1940, then appeared in eight "B" comedies for 20th Century Fox and Metro-Goldwyn-Mayer from 1941 to 1945. After finishing their movie commitments at the end of 1944, they concentrated on stage shows, embarking on a music hall tour of England, Ireland, and Scotland. In 1950 they made their last film, a French/Italian co-production called Atoll K, before retiring from the screen. In total they appeared together in 107 films. They starred in 40 short sound films, 32 short silent films and 23 full-length feature films, and made 12 guest or cameo appearances, including the recently discovered Galaxy of Stars promotional film (1936).
Joseph Lee Williams (October 16, 1903 – December 17, 1982), billed throughout his career as Big Joe Williams, was an American Delta blues guitarist, singer and songwriter, notable for the distinctive sound of his nine-string guitar. Performing over four decades, he recorded such songs as "Baby Please Don't Go", "Crawlin' King Snake" and "Peach Orchard Mama" for a variety of record labels, including Bluebird, Delmark, Okeh, Prestige and Vocalion. Williams was inducted into the Blues Hall of Fame on October 4, 1992.
Blues historian Barry Lee Pearson (Sounds Good to Me: The Bluesman's Story, Virginia Piedmont Blues) attempted to document the gritty intensity of the Williams persona in this description:
Born in Crawford, Mississippi, Williams as a youth began wandering across the United States busking and playing stores, bars, alleys and work camps. In the early 1920s he worked in the Rabbit Foot Minstrels revue and recorded with the Birmingham Jug Band in 1930 for the Okeh label.
In 1934, he was in St. Louis, where he met record producer Lester Melrose who signed him to Bluebird Records in 1935. He stayed with Bluebird for ten years, recording such blues hits as "Baby, Please Don't Go" (1935) and "Crawlin' King Snake" (1941), both songs later covered by many other performers. He also recorded with other blues singers, including Sonny Boy Williamson I, Robert Nighthawk and Peetie Wheatstraw.
Janice Long (born 5 April 1955) is an English radio broadcaster currently working on BBC Radio 2. Her show is on Sunday to Thursday nights from midnight to 02:00. She is the older sister of TV and radio personality Keith Chegwin.
Following a career in the airline business, Long became a station assistant at BBC Radio Merseyside in Liverpool. She started presenting shows for the station shortly thereafter. After interviewing Paul Gambaccini, the latter recommended her to Radio 1.
Janice joined Radio 1 in December 1982 with her own Saturday evening show from 7:30 to 10 pm. From 1984 to 1987 she presented the Monday – Thursday Janice Long Show from 7.30-10pm, a mix of new music and current affairs, and record review programme Singled Out on Friday evenings from 5.45-7pm. On television, Long was a regular presenter of the BBC One chart show Top of the Pops between December 1982 and August 1988, and she returned to co-present its final show in July 2006.
In 1989, she joined London station BBC GLR, taking over from Nick Abbot on the breakfast show. At the time, GLR was being run by future Radio 1 controller Matthew Bannister and future Radio 1 executive Trevor Dann. In 1991, Long left the breakfast show of her own volition but continued to work for the station, where she took over a weekend show. In addition to this, she was heard presenting and producing occasional shows on the old BBC Radio 5. Long became involved with XFM in London, when it had a restricted service licence, and played a crucial part in its bid for a permanent licence.
Did she fall or was she pushed? Your shirt on my chair Your shirt on my chair I'll be with you. I'll be there. I'll never leave you Your shirt on my chair. Come here little girl. Get into the car. It's a brand new Cadillac. Bright red. Your words in my ears. I'll be with you. I'll be there. I'll never leave you. Wild beasts shall rest there And owls shall answer one another there And the hairy ones shall dance there And sirens in the temples of pleasure. Your shirt on my chair. I'll be with you. I'll be there. I'll never leave you. Your shirt on my chair.
The great American mischief has muted our hearts
And our rhythms are met
With the inharmonious grunts of electric guitars
It's all but too much
So nobody out there believes the obscene are reprieved
Everybody get fed up
My baby better get high
'Cause, I got something that I need to confess
The dead men talking are longing
For so much more than simply the obvious
Cut us off
We're suffering, hysterical
Lighting the flare from the foot of her bed
I've been begging you for less mercy than this
But the only thing you need to know
Is that you never wanted to know
Take it off, take it back
Or take cover because we're nearing a nerve
Dead is wasted on the patient
So make haste and head for the wake
Now the hornets inhabit the hearts
We've abandoned, we are the gone
Cast aside our clothes like funeral roses
And dance straight through the psalm
I was right all along
I'm dead in the water, don't come for me
I was once alive in the desert?s eyes
On the day it wed the sea
I drew a chalk outline around your city
I hushed the sobs in your halls
But we both know that it's killer
Baby, he'll outrun them all
There is so much shame
In how little we've gained for so long
Now the sky is falling
And you're just repeating everything I say
You're not listening close enough, it's a catastrophe
You have not been concentrating
Pay attention there will be an exam
Build an ark, build an ark
Come bring us back to the ruin
Drifting out of our heads
Taped off the sky above your city
Dusted for prints on the chapel wall
But we all know that it's killer
You know that feeling
Bright red and seizing
Every word that you said
(Did you mean it
Did you mean it all?)
There it goes to my head
(You be careful
It's contagious, boy)
But it feels so good
It's just wires
Smoke and mirrors and flowers
Help! And throw me a rope
I think I'm drowning
Shallow people
Help! I think I'm falling, falling again
You know that feeling
Bright red and seizing
When you'd like to be seen
(Did you see her?
Did you see her hair?)
Would you like to told
(You look gorgeous, simply gorgeous)
We like to be heard
(Did you hear her? Did she say something charming?)
Help! And throw me a rope
I think I'm drowning
Help! I think I'm falling, falling again
Breathe in
Breathe out
And sigh
And sigh
Help! And throw me a rope
I think I'm drowning (drowning)
Face down
Help! Oh, help
No more falling for tall tales again
Still falling for shallow people
Help! Help!
I think I'm falling again
You know the feeling
They're knockin' on my door, telling me they want more:
Hold on, hold on.
They're bangin' on my window, telling me it's been too long:
Hold on, yea.
They're knockin' on my door, telling me they want more.
They said they're looking for somethin' new,
I gotcha. Give me 6 months, and I'll hook you up proper.
Something hotter than the biggie who shot you.
Watch out, I boiled it up like lobsters.
They get impatient, like waiting at the doctor's
Office, craving good music like oxy-
Gen, but please understand, I'm trying to break out of this box I'm in.
I'm not stopping 'til I get to ten,
It's gotta be flame when that paper hits my pen.
Forget hits, I ain't worried if it hits a trend,
We start a new one, watch them stop listening.
Yea, but 'til then, I got people that are ready,
Knockin' on my door, saying "Hurry up already! "
It takes time, so here's the appetizer,
To whet your appetite, bon appetit!
They're knockin' on my door, telling me they want more:
Hold on (wait, I'm not ready yet), hold on (no, I'm not ready yet).
They're bangin' on my window, telling me it's been too long:
(Wait, I'm not ready yet) Hold on (no, I'm not ready yet).
They're knockin' on my door, telling me they want more:
Hold on.
Yea, it's the return of the hold up,
I've never been promoted, how could I blow up.
I come from a place where they call pop soda,
Starts with an "m", and it's not Minnesota,
Moved to the south where it gets less colder.
And record labels tell you it's all about quotas;
Well, my vote is that we all take notice of the
Fact that nobody knows what to do.
Oh, but a few people in my corner said keep pushing,
People out there want more, and they're looking
For good music, well, let me get them cookin'.
I even got attention out of Brooklyn,
But that didn't pan out like mono.
Haven't found what I'm looking for like Bono,
Put on my tom like Alyssa Milano,
Hit these high notes like sopranos.
They're knockin' on my door, telling me they want more:
Hold on (wait, I'm not ready yet), hold on (no, I'm not ready yet).
They're bangin' on my window, telling me it's been too long:
(Wait, I'm not ready yet) Hold on (no, I'm not ready yet).
They're knockin' on my door, telling me they want more.
I know what it feels like,
To be on that shelf, like
Everybody's passing you by, by.
I keep wishing they would notice,
But it seems so hopeless,
No matter how hard you try!
This world will try to shake you,
Mold you and then break you,
They ain't worried 'bout your soul, soul.
Lock that door and bolt it,
Tell them to move on, cause
What we've got is worth waiting for!
They're knockin' on my door, telling me they want more:
Hold on, hold on.
They're bangin' on my window, telling me it's been too long:
(Wait, I'm not ready yet) Hold on (no, I'm not ready yet).
They're knockin' on my door, telling me they want more:
Hold on (wait, I'm not ready yet), hold on (no, I'm not ready yet).
They're bangin' on my window, telling me it's been too long:
(Wait, I'm not ready yet) Hold on (no, I'm not ready yet).
All I wonder
Is this all the
All I wonder
Is this all
There's a place
Deep down inside
Where I breathe
I can see into the sea
All I wonder
Is this all I see
There's only [?]
(All I wonder) As I wonder (Is this all the)
Will you wait for me? (All I wonder)
I struggle to breathe (Is this all the)
(All I wonder) As I wonder (Is this all the)
Will you wait for me? (All I wonder)
I struggle to breathe (Is this all the)
As I cast aside old doubt
To the waves
I float away to sea
As I breathe
As I breathe
(All I wonder) As I wonder (Is this all the)
Will you wait for me? (All I wonder)
I struggle to breathe (Is this all the)
Woah, I struggle to breathe (to breathe)
I struggle to breathe
Will you be there for me
I struggle
I struggle to breathe
(All I wonder) As I wonder (Is this all the)
Will you wait for me? (All I wonder)
I struggle to breathe (Is this all the)