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CaptainCorella
And you can check out the story of his house being destroyed by a bomb (or more likely a V1) by looking here [www.dailymail.co.uk] [Edit: V1s didn't start until June 1944].
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jlowe
It did seem a bit modest in terms of 'credits'
No reference to ABKCO as the copyright holder?
Perhaps it's not required for TV brodcasts, unlike cinema releases.
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CaptainCorellaQuote
jlowe
It did seem a bit modest in terms of 'credits'
No reference to ABKCO as the copyright holder?
Perhaps it's not required for TV brodcasts, unlike cinema releases.
Copyright is copyright and should always be acknowledged. (Go tell The Verve!).
I'm more amazed that CD Thompson (The Beano) hasn't stomped on The BBC over this. They are astonishingly vigorous over their copyright of (eg) The Bash Street Kids.
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CaptainCorella
Very annoying errors right near the start of this.
Keith then goes on about his young life being disrupted by the German bombing raids. By late 1943/early 1994 there were very few German raids over England.
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Silver DaggerQuote
CaptainCorella
Very annoying errors right near the start of this.
Keith then goes on about his young life being disrupted by the German bombing raids. By late 1943/early 1994 there were very few German raids over England.
I can categorically confirm that there were no more German air raids over London in early 1994. Happy to put the record straight!
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matxil
This week, I finally got to see this documentary at the Beefeater music-documentary festival in Barcelona. I wasn't expecting tmuch but even so, I was very disappointed. There was hardly any focus on music and musical influences. Keith's anecdotes didn't lead anywhere, were neither funny nor particularly interesting, apart from a few that were already told in a much more interesting way in either Under The Influence or in his book. He basically came over as an old uncle going on and on about "the old times" ("Oh, and the OMO advertisments, hahaha"). Is it really interesting to know that once as a kid he burnt his neck while sitting behind on his parent's bike?
But who I really blame is Julien Temple. I can see what he tried to do. And he used more or less the same approach in The Filth and the Fury (where it worked a bit better): a collage of images and sounds to present and portray the atmosphere of "those days" and to give a feeling of what life was like then, before Keith would "escape" and go rise to fame. But it results in a chaos, without any script, without any order, a roller-coaster of short fragments of this and that, animations that were not funny, people unnecessarily acting out parts of anecdotes, and various close-ups of Keith's face in a cloud of sigaret-smoke because, hey, we have never seen that before. The music fragments sometimes lasted less than 10 seconds, from Chuck Berry to Louis Armstrong to detergent advertisements in half a minute. Pointless and uninspired. Julien Temple himself was in the audience (he gave a short introduction before the film) and I wondered whether he maybe felt a bit embarrassed himself at seeing it on a big screen for the first time.
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matxil
This week, I finally got to see this documentary at the Beefeater music-documentary festival in Barcelona. I wasn't expecting tmuch but even so, I was very disappointed. There was hardly any focus on music and musical influences. Keith's anecdotes didn't lead anywhere, were neither funny nor particularly interesting, apart from a few that were already told in a much more interesting way in either Under The Influence or in his book. He basically came over as an old uncle going on and on about "the old times" ("Oh, and the OMO advertisments, hahaha"). Is it really interesting to know that once as a kid he burnt his neck while sitting behind on his parent's bike?
But who I really blame is Julien Temple. I can see what he tried to do. And he used more or less the same approach in The Filth and the Fury (where it worked a bit better): a collage of images and sounds to present and portray the atmosphere of "those days" and to give a feeling of what life was like then, before Keith would "escape" and go rise to fame. But it results in a chaos, without any script, without any order, a roller-coaster of short fragments of this and that, animations that were not funny, people unnecessarily acting out parts of anecdotes, and various close-ups of Keith's face in a cloud of sigaret-smoke because, hey, we have never seen that before. The music fragments sometimes lasted less than 10 seconds, from Chuck Berry to Louis Armstrong to detergent advertisements in half a minute. Pointless and uninspired. Julien Temple himself was in the audience (he gave a short introduction before the film) and I wondered whether he maybe felt a bit embarrassed himself at seeing it on a big screen for the first time.