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pers-books · 2 months

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Returning to Original Theatre Online from Friday 23 February

Original Theatre are delighted to announces that Barnes' People by Peter Barnes is returning to Original Online.

Four exquisitely crafted monologues from writer Peter Barnes (The Ruling Class) performed by four of our leading actors - Jon Culshaw, Matthew Kelly, Jemma Redgrave and Adrian Scarborough - filmed on stage at the Theatre Royal Windsor in 2021.

Each of these wonderful solo performances presents and explores a different character, with Barnes' unique wit and humanity throughout, bringing them to life for a unique glimpse into the complexities of the human experience.

"Barnes' Stormers... these mini dramas pack a big punch" - Daily Mail

"Beautiful and compelling anthology collection" - The Reviews Hub

"Barnes' mordant observation and exquisitely turned phrasing feel as beguiling as ever" - The Arts Desk

Original Online Members get exclusive access this weekend, from Friday 23 February at 5pm - become a member today from £8.99/month* to watch sooner, along with all the other benefits of a membership.

Returning to Original Theatre Online from Friday 23 February

Dear Raymond,

I am delighted to announce that our production of Barnes' People is returning to Original Online.

"Barnes' Stormers... these mini dramas pack a big punch" - Daily Mail

"Beautiful and compelling anthology collection" - The Reviews Hub

"Barnes' mordant observation and exquisitely turned phrasing feel as beguiling as ever" - The Arts Desk

Original Online Members get exclusive access this weekend, from Friday 23 February at 5pm - become a member today from £8.99/mo* to watch sooner, along with all the other benefits of a membership.

CLICK HERE TO GET STARTED WITH A MEMBERSHIP

General release, including rental, is from Monday 26 February at 5pm.

The monologues, and the stars involved, in the order they appear are detailed below:

A True Born Englishman Starring Adrian Scarborough

Leslie has been a footman at Buckingham palace for thirty years. A life of service, a life of discretion... and lifetime of secrets. Originally banned from broadcast by the BBC and never seen before, this world premiere takes you behind the scenes of the most famous of royal palaces.

Rosa Starring Jemma Redgrave

Dr Rosa Hamilton is tired. After twenty years of battling the system, drowning in paperwork and watching patients fade away in care homes- she’s tired, she’s angry - and she really wants a drink. Especially as she’s about to dictate the most important letter of her life.

Billy & Me Starring Jon Culshaw

For Michael Jennings the only way to fight the voices in his head is to bring them life. In fact he’s made a career from it. Now seemingly alone on an empty stage, Billy, his stage partner of 25 years keeps interrupting him. Which would be fine, except that Billy is a puppet.

Losing Myself Starring Matthew Kelly

Adams used to have everything with the world at his feet. Now he’s lost his faith… and his rocking horse. On a solitary bench within the hallowed confines of one of London’s forgotten churchyards Adams sits on a bench for his final conversation with an old friend.

More details, reviews and preview videos can be found on the Original Theatre website.

*brb squeeing and flailing*

And THIS is why I didn't cancel the Original Theatre newsletter subscription!

#Jemma Redgrave #Play: Barnes' People - Rosa #Dr Rosa Hamilton #Original Theatre

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timesiren · 2 years

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Well. Where do I begin with this one?

Overall - Fantastic, definite full marks. Everything felt fleshed out, the plot, characters and relationships. A really fun boxset. Until it isn’t and it makes you sad. But it’s fun! Very timey wimey as his future would say. It was interesting seeing where these sets are in the timeline but it makes a really odd sense that will become clearer when you listen to it. (Trying to make my thoughts as spoiler free as possible)

Bonus notes: Culshaw carried a lot of set 2. Great work. Loved the reference in The Secrets of Telos (Tomb of the Cybermen is one of my favourites! So it was nice seeing the threads being weaved between those two)

Peter Davison/Peter Davison!

(Note: I hope we’re all understanding the rating joke I’ve got going on here and we’re not assuming I’m shipping Peter with himself and the other four Doctors prior to his 😂)

#doctor who #big finish #fifth doctor #forty #starsfivejourney

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wholesome-supervillain · 2 years

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behold…… every actor and va, according to the Tardis wiki etc., to portray the Doctor

technically there are spoilers here

1. Daniel Anthony

2. Rowan Atkinson

3. Christopher Baker

4. Colin Baker

5. Tom Baker

6. John Banks

7. Christopher Barry

8. Joe Bassett

9. Geoffrey Bayldon

10. Tim Bentinck

11. David Bradley

12. Nicholas Briggs

13. Jim Broadbent

14. Ian Brooker

15. Nicola Bryant

16. Bill Burridge

17. Douglas Camfield

18. Peter Capaldi

19. Jonathon Carley

20. Gail Clayton

21. David Coker

22. David Collings

23. Gordon Craig

24. Elliot Crossley

25. Jon Culshaw

26. Peter Davison

27. Jesse Deyi

28. Sacha Dhawan

29. Peter Diamond

30. Jacob Dudman

31. Christopher Eccleston

32. India Fisher

33. George Gallaccio

34. Ncuti Gatwa

35. Adrian Gibbs

36. John Guilor

37. Hugh Grant

38. Richard E Grant

39. Melvyn Hayes

40. Graeme Harper

41. William Hartnell

42. Philip Hinchcliffe

43. Frazer Hines

44. Kieran Hodgson

45. Robert Holmes

46. Anthony Howell

47. Geoffrey Hughes

48. Richard Hurndall

49. John Hurt

50. Derek Jacobi

51. Michael Jayston

52. Andy Jones

53. Jac Jones

54. Paul Kasey

55. Jack Kine

56. Tom Laird

57. Chris Laurens

58. Joanna Lumley

59. Damian Lynch

60. Katy Manning

61. Jo Martin

62. Trevor Martin

63. Sylvester McCoy

64. Paul McGann

65. Terry Molloy

66. Grace Nettle

67. Stephen Noonan

68. Jon Pertwee

69. Michael Pinder

70. Brian Proudfoot

71. Peter Puves

72. Colum Regan

73. Pat Ruins

74. William Russel

75. Matt Smith

76. Debra Stephenson

77. Robert Banks Stewart

78. Matthew Sweet

79. Leo Tang

80. Wink Taylor

81. David Tennant

82. Tim Treolar

83. Michael Troughton

84. Patrick Troughton

85. Unknown

86. Unknown

87. Unknown

88. Angus Villiers-Stuart

89. Chris Walker-Thomson

90. Pete Walsh

91. Terry Walsh

92. Albert Ward

93. David Warner

94. Edmund Warwick

95. Arabella Weir

96. Liz White

97. Jodie Whittaker

98. Anneke Wills

99. Michael Wisher

#if i count the doctor-donna can i make it 100?#doctor who #this is counting dhawan #as well as non-canon regens from the curse of fatal death #i don’t know where the line is on spoofs. if i took everyone who portrayed the doc EVER it would probably be at least a few thousand #because. fan content. yknow

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tindogpodcast · 2 months

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TDP 1239: REVIEW - The Roy Huddlines

review

A News Huddlines reunion celebrating the life and comedy of Roy Hudd OBE.

The Roy Huddlines was staged on Sunday 14th May 2023 at the Sondheim Theatre in London’s West End. The cast, writers and producers of BBC Radio's longest-running audience comedy programme, The News Huddlines, gathered to celebrate the life, love and laughter of Roy Hudd OBE.

Roy had a profound effect on all who worked with him - he was a unique combination of comedy genius, wise mentor and cheeky uncle. The cast reunited here for one joyous hurrah in his honour are Huddlines originals Chris Emmett, Alison Steadman, Nichola McAuliffe and announcer Richard Clegg, plus Kate Harbour and the brilliant Jon Culshaw who took Roy's centre microphone with the blessing of Roy’s widow, Debbie Hudd.

Also assembled for this gala event were the writers who cut their comedy teeth working on The News Huddlines and went on to create some of the finest British comedy from the 1980s to the present day. Not the Nine O'Clock News, Spitting Image, Drop the Dead Donkey and One Foot in the Grave were all created by Huddlines alumni, and the legacy continues.

Written by Geoff Atkinson Martin Booth Paul B Davies Roger Davison Dave Dixon Julian Dutton Mark Griffiths Andy Hamilton Nick Revell Tony Hare Glenn Mitchell Ged Parsons Richard Quick Peters-Rowley David Semple Stuart Silver Alan Stafford Richard Stoneman Malcolm Williamson

Starring Jon CulshawChris Emmett

A new Tin Dog Podcast

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stevenhaard · 4 months

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The Tucker Carlson Encounter: Bret Weinstein https://tuckercarlson.com/the-tucker-carlson-encounter-bret-weinstein/

Graham & John Interview Professor Angus Dalgleish… https://rumble.com/v466xuo-graham-and-john-interview-professor-angus-dalgleish….html

Disaster If WHO Gets Total Medical Control – Dr. Meryl Nass https://rumble.com/v464a8e-disaster-if-who-gets-total-medical-control-dr.-meryl-nass.html

Graham and John Host a panel discussing the terms for reference for a royal commission into covid… https://rumble.com/v45smm3-graham-and-john-host-a-panel-discussing-the-terms-for-reference-for-a-royal.html

COVID-19 Royal Commission in Australia: On the People's Terms https://rumble.com/v465o2l-covid-19-royal-commission-in-australia-on-the-peoples-terms.html

More amazing things have happened https://www.youtube.com/watch?v=b4roldGODC8

5G, COVFEFE & TRUMP -- TODD CALLENDER & DR. LEE VLIET https://www.bitchute.com/video/oBMWN8vMhP6k/

THE TWILIGHT OF GLOBAL ORDER -- HARLEY SCHLANGER https://www.bitchute.com/video/WnoUcq78Sra0/

The Greatest Medical Fraud in History The Pain, Profit and Politics of AIDS https://www.youtube.com/watch?v=QS0i1LiHG5U

DR. SAM BAILEY: FAKE EPIDEMICS, TESTS & DRUGS WITH REBECCA CULSHAW-SMITH https://www.bitchute.com/video/SNwgXJvW20ml/

I Went Undercover to the World Economic Forum… (DOCUMENTARY) https://www.youtube.com/watch?v=dk59B34qjUs

Adam, vaccine injury https://www.youtube.com/watch?v=Tu9f1TT7Ja0

KLA.TV: FOOD AS WEAPON – THIS CONNECTS THE FARMERS’ PROTESTS 🚜 AGENDA 2030 AND THE ATTACK ON FOOD https://www.bitchute.com/video/6jWu2NSDgA3W/

HANG ON! NOW BILL GATES IS COMING FOR YOUR BACKYARD GARDENS? https://www.bitchute.com/video/sBMA3SIgaJSm/

No Farmers No Food: Will You Eat The Bugs? | Documentary https://www.theepochtimes.com/epochtv/nofarmersnofood-5390883?utm_source=partner&utm_campaign=wideawake_media&src_src=partner&src_cmp=wideawake_media

NEW DATA REVEALS TSUNAMI OF COVID-19 VACCINE DEATHS https://thehighwire.com/ark-videos/new-data-reveals-tsunami-of-covid-19-vaccine-deaths/

HERE WE GO AGAIN, AGAIN. https://www.bitchute.com/video/AyhOS42LZ3RU/

The Art Teacher https://www.youtube.com/watch?v=b4wPvNaeC1k

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carlosubeda · 1 year

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Clandestino: en busca de Manu Chao

Biografía sobre Manu Chao, originalmente publicada en 2013 en inglés y no actualizada para su edición española, 8 años posterior. Está escrita de manera poco cuidadosa -a veces incongruente e incluso con algunos apuntes poco rigurosos- y deficientemente traducida, llena de giros poco naturales. Pero, pese e ello, la exhaustiva búsqueda de Peter Culshaw consigue realizar un análisis nada superficial de Manu Chao, abordando con detalle sus múltiples facetas, aportando material de primera mano y no dejándose llevar por el estereotipo. En ese sentido, es de agradecer que profundice en lo musical: sus influencias, evolución, estilo compositivo o su muy peculiar técnica de producción y mezcla.

Goodreads

#books

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janieunknownwriter · 1 year

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pWas the AIDS-HIV campaign but a prelude to the COVID-19 mega fraud/pp /ppDid you know that AIDS-HIV campaign was but a prelude to the COVID-19 mega fraud? Nearly all the same hoaxes and scientific frauds aimed at increasing the wealth and power of Anthony Fauci, the big government health agencies, the pharmaceutical industry, the investors, and the elites. /pp /ppHost Peter Breggin MD has an in-depth discussion with Rebecca Culshaw, PhD, a mathematician working with disease models, and author of The Real AIDS Epidemic. Both find that AIDS was a warm up for COVID-18. There was the same suppression of good inexpensive treatments and the touting of disastrous expensive ones. The same false testing and the same oppression of anyone dissenting from the narrative and ultimately. And the same insane rush to make a vaccine that there never was. /ppDr. Breggin concludes there was one big difference between the conduct of the AIDS and the COVID-19 campaign. This time they decided to go ahead with vaccines that they know don’t work and that kill people. /p

#covid_19 #covid-19 #fuck covid #covid isn't over #covid #fauci files #fauci lied #arrest fauci #antonio fauci #fauci #aids epidemic #aidsawareness #aids2022 #aids #garynull #azt #vaccine

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popsixsquishcicerolipschitz · 4 years

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West India Company -- O Je Suis Seul - (Baghwan Boogie Mix) Weatherall Remix

Music Maker

Artwork By [Design & Illustration] -- Tom Hughes Engineer -- Thrash Performer [Member] -- Asha Bhosle, Pandit Dinesh, Peter Culshaw, Stephen Luscombe Producer -- Pandit Dinesh, Stephen Luscombe Remix -- Andrew Weatherall

Concept: Gerard Talbot & Keith Wood. Re-mixed from original track off West India Company "New Demons" (EGED 61 / EGEDC61 / EEGCD 61). manufacted and distributed by Caroline Records, Inc. Editions EG c&p 1990

#West India Company #O Je Suis Seul #Baghwan Boggie Mix #Weatherall Remix #Music Maker #Tom Hughes #Thrash #Aaha Bhosie #Pandit Dinesh #Peter Culshaw #Stephen Luscombe #Andrew Weatherall #Gerard Talbot #Keith Wood #Caroline Records Inc.#1990 #1990s

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thedoctorwhocompanion · 3 years

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Celebrate 40 Years of Peter Davison's Doctor with The Fifth Doctor Adventures

.@bigfinish Celebrates 40 Years of Peter Davison's Doctor with The Fifth Doctor Adventures #DoctorWho

Celebrating 40 years of Peter Davison’s Fifth Doctor, Big Finish is releasing two anniversary box sets released in April and September 2022 respectively. The Fifth Doctor Adventures – Forty celebrates four decades since the Fifth Doctor made his first regular appearance in Doctor Who in Castrovalva. The six dramas are plucked from various points in the Fifth Doctor’s timeline, as he adventures…

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doctorwho247 · 4 years

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THE DOCTORS ASSEMBLE ✨ 23.05.2020 💥

STARRING: David Bradley, Jonathon Carley, Elliott Crossley, Jon Culshaw, Jacob Dudman, Debra Stephenson, Angus Villiers-Stuart, Wink Taylor, Chris Walker-Thomson and Peter Walsh.

#Doctor Who #Dr Who #The Doctors Assemble #Doctors Assemble #David Bradley #Jon Culshaw #The Doctor #The Doctors

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marcoshassanlevy · 5 years

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Marcos Hassan

| 7 months ago

José-Manuel Thomas Arthur Chao Ortega is perhaps France’s most successful rock musician of all time, not to mention an inimitable icon of rock en español. Yet he probably feels more comfortable being labeled a busker: a musician in the street playing his heart out, observing his surroundings, and making songs about it. He’s known to pop up on the sidewalk next to any given bar of any given city he happens to be in at the moment and start playing. Busking is what taught Manu Chao about the universality of music, and it informs Clandestino, his debut solo album. The project turns 20 this year, and remains perhaps his boldest statement yet.

There’s nothing conventional about Clandestino, yet its radicalism relies on humanist values. Although his former band Mano Negra was at one point one of the most popular musical groups in France, Manu renounced the country as his own, disappearing on the road and appearing throughout Mexico, South America, Europe or Africa, something that allowed him to reach audiences beyond traditional borders. The label “world music” – a genre coined by Western record companies as an umbrella term to market folkloric and popular music from across the globe, lumping them together without much context – became widely used around that time, but few artists embodied that kind of post-globalist utopia. Clandestino also rekindled “protest pop” in a way seldom heard before, contributing to a discourse of sociopolitical unrest and selling more than 5 million copies along the way without a supporting tour or official singles released to radio.

In many ways, Clandestino is the album Manu Chao was born to make. Chao was born in 1961 to Felisa Ortega and writer Ramón Chao, anti-Franco intellectuals who migrated to France to avoid persecution due to their leftist ideals. Initially inspired by punk bands like The Clash and The Jam, Manu and his brother Antoine soon broadened their taste, culminating in the creation of Mano Negra in 1987, an ethnically diverse band of immigrants and descendants of immigrants that played punk, son, ska, flamenco, salsa, Algerian raï, and many other styles. They became fixtures on radio, thanks to eclectic tracks like “Mala Vida” and “Sidi H’Bibi,” which eschewed French and embraced Spanish and Arabic, respectively. Unexpectedly, they became huge.

GIF by Alan Lopez for Remezcla

By 1992, their label pushed them to tour the U.S. and UK, but they decided instead to board a ship across the Atlantic Ocean and play coastal cities in South America; the next year, they embarked on another unconventional tour, boarding a train to play in different Colombian cities during the last days of Pablo Escobar. These tours allowed Manu to engage with Latin American communities up close, know their struggles firsthand, and in many cases, come in contact with radical political groups such as EZLN in Mexico and guerrillas in Colombia.

Manu Chao inhabits a universality that spoke to people, then and now.

According to Peter Culshaw, author of the book Clandestino: In Search Of Manu Chao, Chao became depressed about the dissolution of Mano Negra (and the end of a long term relationship). Manu returned to the band’s last adopted home in Madrid, but not for long. To cure his blues, he hit the road and settled along the way in many countries, including Mexico, Brazil, Senegal, France, and back to Spain; he didn’t have plans to record again, yet he collected ideas and melodies along the way on his laptop, dubbed Estudio Clandestino, with contributions from friends like Mexico’s Tijuana NO and Argentina’s Todos Tus Muertos, as well as his brother Antoine, among others. Manu’s debut solo album began to properly take shape after he met producer Renard Letang, who helped flesh out the arrangements. Originally, it was supposed to be much more electronically influenced, but a bug in Letang’s computer stripped much of these elements from the songs, making the duo re-evaluate their efforts.

Clandestino reflects Manu Chao’s “lost weekend,” with much of the themes of displacement present throughout the record. Rather than focus on autobiography, Chao embodied different characters from his travels, creating an album that reflects the sociopolitical issues of the era. The title track reimagines immigrants as lost souls exiled in Babylon, faceless bandidos making ends meet however they can – their big crime being a lack of legal documentation. In “Desaparecido,” the character proclaims to be lost in the 20th century, on the way to the 21st, wondering where will he arrive. Displacement is common within the worlds of Clandestino, as it examines how globalization has threatened to erase identity and tradition in favor of U.S. cultural imperialism. Manu could be talking about himself, but he inhabits a universality that spoke to people, then and now.

There are no gaps between the tracks, and every song flows like an endless stream of music. After exploring nervous and swinging energy with Mano Negra, Clandestino presented a new element of Manu’s musical talents: a laid-back sound focused on melodies and spare instrumentation. Most of the tracks on Clandestinoare based on reggae rhythms and the majority of the instruments are acoustic; Manu uses similar rhythms and melodies throughout the album, working with a limited palette that allows him to get creative and explore a side of his artistry at the opposite end of Mano Negra. On Clandestino, less is more.

Clandestino established Manu as a compassionate yet rebellious figure who wasn’t afraid to laugh in the face of oppression.

Samples from different radio stations – selected during his travels – function as a window into the outside world. “Mentira” features a sample of a news anchor talking about the Kyoto Conferences on global warming. The next song, “Lágrimas de Oro,” is a salve for a loved one who has no blame for the world being so bad. Tracks like “Welcome To Tijuana” present the duality of life in a border town, where hedonism and death are everyday occurrences. The album is subtitled Esperando La Última Ola, reflecting an almost apocalyptic attitude, yet its melodies and instrumentation suggest an underlying optimism.

Almost from the get-go, Manu Chao has been vocal about the oppression and marginalization of Latin American people, and has been celebrated for doing so. However, at the time, few questioned Manu’s authority to voice these concerns. Throughout Clandestino, Chao assumes the voice of Latin Americans as characters of his songs, as if speaking from their point of view. Considering his European origins, it’s easy to see how today, some may question his role as an outsider who has chosen to express the struggles of oppressed people. That being said, Manu has demonstrated that his commitment to social justice causes is not solely self-serving. While Chao benefited immensely from the globalization of the music industry in the 90s, giving and taking from the supposedly utopic borderless world that the Internet and various world treaties promised, he has consistently been critical of its concomitant imperialism, playing during protests against the G8 and benefits for indigenous rights organizations, among other causes.

GIF by Alan Lopez for Remezcla

It would take a year for Clandestino to pick up commercially. Although some in-the-know radio stations programmed a few songs, no singles were initially released, in part because his label, Virgin, thought it would hurt Manu to heavily promote his album. Touring was out of the question, since there was no band to back him. The record arrived in stores to little fanfare, and was slowly picked up by an audience of hippies, backpackers, audiophiles, and festival goers, who discovered the album by chance and embraced it, spreading the word about the music to any acquaintance who would listen. Joe Strummer, Malcolm McLaren, and Chris Blackwell became vocal fans. Press was also key to its growing influence; prominent Spanish alternative magazine Rock Delux declared it album of the year. A full year later, the album entered the French charts –at first oblivious to the adventures of the frontman of the biggest band in the country’s history – and remained there for four years. Five million copies of Clandestino were sold worldwide. Its legacy is now cemented and has surpassed that of Mano Negra.

Clandestino established Manu as a next-generation Bob Marley: a compassionate yet rebellious figure who wasn’t afraid to laugh in the face of oppression and invite you to love and have a good time. In 1999, EZLN’s Subcomandante Marcos included Chao’s name in his “Musicians Of The World” address, shouting out his support of the Zapatista cause. All this gave Manu newfound confidence. The follow-up to Clandestino, Próxima Estación: Esperanza, arrived in 2001 to greater acclaim. This time, he assembled a band and toured the album, prompting invitations to play at prestigious U.S. festivals like Coachella and Lollapalooza.

GIF by Alan Lopez for Remezcla

His output since has been sporadic at best. After 2007’s La Radiolina, he dropped two songs a full decade later; 2017 also saw the release of the first track from side project ti.po.ta, but that’s been about it. However, Manu’s vision remains unique. He showed that music can speak to everyone no matter the language, as long as the message is loud and compassionate. The Internet has allowed us to have access to any kind of music and in turn has made it possible for artists to come up with different fusions of genres, and a record like Clandestino was a blueprint for how to do it right. While cultural appropriation is (rightfully) denounced whenever someone profits off of music from an oppressed culture while ignoring its originators, Chao has made a career of showing that compassion is key when it comes to making music from different cultures. He learned this from busking, as he told NPR in 2011. “Mano Negra started playing in a subway in Paris before the band started to be known and selling records…The people using the subway in Paris were very eclectic. There were people from a lot of different countries, different cultures. So we have to be able to play all kind of music to please all the people in a subway.” Clandestino is the perfect encapsulation of that principle, giving us one of the most timeless records to be committed to tape.

Friday, October 5, 2018 at 2:18 PM EDT

#manu chao

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danceoftheday · 5 years

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Performed by: CountryVive (Rachael Allman, Olivia-Grace Beale, Laura Carvill, Paul Culshaw, Hannah Day, Beth Forsyth, Lauren Forsyth, Abbie Ingram, Lewis Jenkins, Nicola Lafferty, Shane McKeever, Emmy-Jo Munro, Daina Peters, Jodi Riddoch, Danielle Rowe, Jenny Stephenson, Nicola Tubman, and Fred Whitehouse)

Number: “Backwards”

Style: Line Dance

From: Britain’s Got Talent, Series 8 (2014)

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tempi-dispari · 3 years

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New Post has been published on https://www.tempi-dispari.it/2021/10/06/in-uscita-il-6-ottobre-la-prima-biografia-autorizzata-di-manu-chao/

In uscita il 6 ottobre la prima biografia autorizzata di Manu Chao

Esce in Italia “Clandestino – Alla Ricerca di Manu Chao”, la prima biografia autorizzata di Manu Chao, scritta dal giornalista inglese Peter Culshaw che ha seguito Chao per cinque anni durante i suoi viaggi.

Una storia che parte nei bassifondi di Parigi, per allargarsi in Colombia fra narcos e guerriglieri, e poi in Messico dal Sub Comandante Marcos, a Londra con Joe Strummer, fino al caldo G8 genovese a fianco di Don Gallo, per poi volare in Brasile, a Napoli per cantare con Maradona o in Argentina con i pazienti di Radio Colifata, in Spagna, Senegal, ancora e ancora, fino ad oggi.

Ma il libro non ripercorre solo la storia della Mano Negra, di Manu Chao solista, dei suoi viaggi, delle collaborazioni, l’impegno sociale e le lotte politiche, racconta anche l’uomo e le vicende personali che hanno formato l’artista di oggi.

Vengono svelati, infatti, retroscena politici, musicali e privati, come le richieste politiche dell’allora Ministro dell’Interno Scajola prima dei fatti di Genova, la rocambolesca genesi di Clandestino, inciso inizialmente con arrangiamenti per musica elettronica, fino alla crisi profonda che ha messo in discussione anche l’esistenza stessa di Chao.

Pubblicata in Italia da Castello Editore, nella collana Chinaski diretta da Federico Traversa, “Clandestino – Alla Ricerca di Manu Chao” non è sicuramente una biografia scritta e pubblicata velocemente, ma un resoconto dettagliato ed entusiasmante di uno degli artisti più iconici del nostro tempo, un tipo diverso, inafferrabile, tanto fedele al proprio spirito quanto lontano dalle politiche commerciali che oggi governano il mercato discografico.

Peter Culshaw è stato descritto da Malcolm McLaren come “l’Indiana Jones” della world music. La sua lunga collaborazione con The Observer, il Telegraph e la BBC Radio l’ha portato alla ricerca della musica più incredibile, dall’Africa alla Siberia, dall’Amazzonia all’America Latina.

Come musicista ha registrato con membri del Buene Vista Social Club e l’orchestra di Bollywood. È inoltre il fondatore del pluripremiato sito Theartsdesk.com.

Un libro grandioso e selvaggio, d’altronde Manu Chao in Europa e America Latina da tempo è un Dio sullo stesso livello di Bob Marley

Rolling Stone

Manu Chao è l’erede naturale di Bob Marley e Joe Strummer e questo libro un’avvincente storia brillantemente raccontata

Songlines

Un libro fantastico che parla di artista le cui canzoni significano davvero qualcosa

The Guardian

AUTORE: Peter Cushlaw

TITOLO: Clandestino – Alla ricerca di Manu Chao

Pagine: 320 circa

Prezzo: 18,00

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