there were technical problems, fuckin' big technical problems. in the back of the cab, flying at high speed, the weezle began to prod me. it stunned me out of me lovely, deranged moment, i was the count of monte cristo, spoon in hand desperately digging from tokyo to liverpool. once we had checked in we decided to investigate the local culture, dead fish, ankle socks, expensive imports. this man, him said "we don't have what you need, look somewhere else." the pair of us, eyes like saucers, heads like teacups found solace in the bassline from 96 tears, it was pumping out of the door of a car occupied by the smallest beautiful woman on earth. she uttered something to me, i ignored her, i was dazzled by her beauty. she shouted at the weezle, in japanese she said "you loooking in the wrong place, what you need is not here. leads and things. get your shit together, man." as the early stages of extreme hunger began to set in i was reminded of the dead fish. and something ghastly we'd seen in a window in kuala lumpur.
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Mike McCartney opens his Mini sixties exhibtion at the Beat Goes On exhibition at the Museum of Liverpool Life.
Ian Jackson form Artinliverpool.com asked him to talk about his work.
Dave Fleming at the MLL asked Mike to contribute to the Beat Goes On. One of the images is of Lisa Rosa one of the first Liverpool popstars with how much is that doggy in the window. The magic era of the 50's but the Beat Goes On with the popstars of today.
On his brothers trousers as they are currently on show somewhere in Liverpool he is staying stum on what Paul said.
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in the mad rush to get this week's show recorded and thus the more challenging job of actually getting into your minds, i forgot to mention the fa cup final. it's fourteen years since everton were last in a final and since then the nature of the game has changed so much. the fa cup in itself is contantly being held-up, scrutinised and shown to have been devalued by those with an interest in more lucrative matters.
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i have on occasion known to be wrong, i know you might find that hard to believe but it does show that i am human and feel the same things as you mere mortals. again, apparently the specials are the hottest ticket in town, they are not as i said a bunch of fiftysomething geezers shuffling around the stage like trenchfoot victims. they are instead spritely fortysomethings with all the energy and zeal of an amphetamine convert. again, it just goes to show how wrong you can be.
i draw these conclusions based on what? and following a long train journey today this is the theory i came up with: watching musicians from my youth perform their greatest hits for oodles of cash irks me because it reminds me of my own mortality and how utterly short a time we have on the carpet that flows beneath us. because we only have a finite amount of time and space in which to coloour our canvas accordingly you must tirelessly strive for new experiences and watching the heroes of your youth whoring themselves in middle-age is counter to this untried and not b=very well thought through point of view. or something.
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one of the things that irks me, you and everybody we know is the way culturally important things get hijacked by those who weren't there and feel the urge to illuminate themselves in a much brighter light. in the last year or so some class one bollocks has been written and said about the liverpool nightclub eric's, a sewer infested cellar that itself shone with all the energy of a 40 watt bulb in the late 70's
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Maggie Hambling is interviewed here about her current exhibition at the Walker Art Gallery - George Always.
She descibes George as "Lusche" - not the correct spelling. This is a great interview just to hear Maggie talk so passionately about someone she loved so much - a man sorely missed but who she has captured on canvas many times. Stick with the interview as it just gets better and better.
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Julian Brain recently won the peoples Choiice award for his work Special Relativity, which was one of the five shortlisted works in the John Moores 25 Show this year at the Walker Art Gallery.
Ian Jackson from ArtinLiverpool.com was lucky enough to be able to interview Julian straight after it was announced - a little taken aback by the decision here Julian explains how the idea for the work came about clearing a dead relatives home.