HOLLYWOOD BEYOND Whats The Colour of Money UK 7" 45

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I have a UMI system at home which is great for working on my own. With a band you can say 'OK, eight bars of this then we'll switch to this', but with the UMI I can chop my arrangements around and listen to them instead of having to imagine them. That's a very useful thing for arrangements, but it's no good plugging it in to write on and expecting it to do something itself. The most important factor in creativity is the exchange of ideas. On another, more technical level, Rogers also has his reasons for mixing and matching producers from both sides of the Atlantic. Figure 11. a. Poster for an academic talk, Hong Kong, 2011; b. McDonald's advertisement with the Golden Arches emplaced in the cityscape, Hong Kong, 2007 (photos by Adam Jaworski). So what exactly was the colour of money? Well, according to the lyrics, it was not green nor gold, but red, why? “Because there’s always a bit of sweat and toil in it, almost like a little bit of blood,” Mark stated in Smash Hits in 1986. “That’s what you have to give before you get money. The song has no solutions and it has no ending, it’s just asking why – why do you have to give up so much to get something which has relatively no value but which is so necessary?” What’s The Colour Of Money? was released in 1986 and reached number seven in the UK single charts but follow-up No More Tears stalled at 47. Two further singles were released ( Save Me and After Midnight) but neither troubled the charts. And that was it!

The sign did, however, begin with an outsized splash. Conceived as a billboard advertisement for a 1923 real estate development called ‘Hollywoodland’, the sign's letters—even larger than today's, costing the equivalent of a quarter-million US dollars—were lit by 4,000 twenty-watt bulbs, which in four separate bursts flashed ‘HOLLY’ – ‘WOOD’ – ‘LAND’ – ‘HOLLYWOODLAND’. Yet the first indication of the sign's future enregisterment came not with the billboard's cinematic grandiosity, but with the 1932 suicide of the actor Peg Entwistle, who allegedly jumped from the top of the ‘H’ to her death. The suicide and its subsequent reportage marked an initial, if grim, ‘symbolic’ perception of the sign (Braudy Reference Braudy2011:96) and the inaugural event in a ‘semiotic chain’ (Agha Reference Agha2006:205) of linked events through which the sign's enregistered meaning continues to circulate today ( Figure 5b). The suicide availed the sign's potential for mediatization (Agha Reference Agha2011) as a news spectacle of Hollywood-worthy drama, and—with morbid fascination trained on the ‘H’—drew attention to the sign's materiality as a potential semiotic repertoire. In 2010, he founded, and along with Mike Thorne, is the director of BANG (Birmingham Arts Non-profit Group) Foundation which assists, though contemporary art, disadvantaged young people between 16-25 years in socially deprived areas in inner city Birmingham. The ideas tend to come when I go walking or something. I like making rhythms with my feet and things like that.Figure 8. The HISINGEN sign printed on T-shirts for sale at a Hisingen market, on a tote bag in New York, tattooed on a woman's arm, and as huge letter objects being transported by helicopters (hotos from the HISINGEN sign's Facebook account). Footnote 10 But the sounds come as a secondary consideration to the songs. A sneak preview of If reveals a collection of refreshing pop songs where a classical cello may find itself alongside a koto and a collection of vocal samples, but only where the song demands it, not where it makes the kind of production sense that boosts record sales. The key lies in Rogers' approach to writing. As often as not, inspiration strikes when he's away from what he refers to as his 'tools'. Taking on a variety of material forms, language objects are symbolic resources performing a sense of place, time, or person. Typically decorative or commemorative, language objects such as personal names on tattoos, jewelry, or written in the sand on the beach, can permanently or fleetingly manifest recognition, affection, or commitment to a person. As Järlehed ( Reference Järlehed2015:179–80) further shows in the context of Basque Country and Galicia, language objects’ materialization of emotion can support not just consumerism, but the actualization of nationalist pride. Others observe that language objects feature prominently in processes of urban gentrification, such as Gonçalves ( Reference Gonçalves2019:53) finds in the emplacement of Deborah Kass's YO/OY sculpture in Brooklyn's DUMBO neighborhood, and Theng ( Reference Theng2021:6) notes in the predominance of neoliberal affect among the neon signage decorating upmarket cafes in Hong Kong and Singapore.

Nya Hovås ‘New Hovås’ is the unofficial name of a new neighborhood that, in 2014, began construction 12km south of the Gothenburg city center. According to city authorities the formerly unexploited rural land is called Brottkärr or Brottkärrsmotet ‘Brottkärr junction’, yet developer Next Step Group did not find this designation marketable and contracted an agency, Löfgren Branding, to create a new name. The agency came up with Nya Hovås, intertextually referencing the sense of luxury associated with the well-known and prestigious Hovås neighborhood some 3km north of Nya Hovås (interview with Löfgren Branding, October 2017). The developer's choice, however, has not been officially approved and adopted by Gothenburg's Naming Committee (Järlehed, Löfdahl, Milani, Nielsen, & Rosendal 2021). Although the name Nya Hovås is widely recognized and used by the general public, it has yet to feature on any city signage. Hollywood Beyond‘s time in the spotlight was so brief that they should really just be one of many forgotten eighties bands who never ‘made it’, but there is something rather memorable about the band’s hit single – What’s The Colour Of Money? – that despite it being their only hit, most people of a certain age will remember the song well. If is the 1987 album from which the single is taken, and it is being reissued next month as a two-CD deluxe edition.Two of Mark’s other claims to fame are that in 1987 he discovered soul singer Mica Paris and the following year became the first face on the Soul II Soul T-shirt. I have an album out at the moment – More More More, which is a collection of songs that I’ve done over 30 years. I also have three singles that I want to release. Depleted though the current live circuit may be, Hollywood Beyond intend taking full advantage of it, with an imminent tour and an aggressive use of visuals that will accompany it.

An album for Hollywood Beyond entitled If, followed on Warner Bros. Records in 1987, produced by Bernard Edwards, Mike Thorne and Stephen Hague. Former members include Andy Welch, Steve Elliott, Dean Loren, Mike Burns, Cliff Whyte, [1] Carol Maye and Maggie Smyth. [3] Discography [ edit ] Album [ edit ] One thing I like about the American approach to recording is that everything is laid-down with effects on it. That way, your picture starts taking form as soon as you press the button and go. Some producers record things flat and say it'll be alright in the mix, but that's bullshit. As soon as you put anything to tape it's got to be effective so that, by the time you've put your last part down, you know how well your song is working and where its inadequacies are. I want to do anything that's danceable and interesting, anything as long as it's not bland. Yes, I want hits, but I want them to be good enough songs to be singles, rather than songs that should be in the charts because they've been released as singles. I can't sit down and write a single. Having written a song I can say that's possibly a single, but I can't write overt pop music. It's a formula that would be very easy to follow, but I'd like to find my own formula. Music itself is endless, so there must be things we haven't dealt with in pop yet. At the moment I think we desperately need a new movement. England is a very small, if prestigious, market - perhaps it's time for people to start thinking global... Unfortunately, you need to have successful singles so that people know you're out there and will buy your album. We were discussing all the bands during the '70s that never used to sell many singles but had huge album sales. I can't think of how people got to know about them. I think it was because there was a much bigger gig circuit then."And though Rogers admits that New England Digital's finest helped him get the basis of a song together, it seems that in the midst of the latest state-of-the-art technology, it was human beings who provided the vital musical spark. When you have an idea, all you need is the ability to get that idea over. I believe everybody who loves music must be able to create music. All you need is something like this thing I'm talking into now to hum your melody line into. There are enough people out there that can play it for you — it's the ideas that are the important thing. People tend to forget that. What has the lead singer of Hollywood Beyond been up to these past three decades? Will Simpson finds out… But don't get the idea that Rogers is either arrogant or egotistical. He sits relaxed in a record company office, happy to talk about himself and his music. I ask a question, he pauses to consider his answer. Suddenly I know I'm talking to a man who is the product of the continual frustrations of playing in pop bands, but with ideas and ambitions he still needs to realise. Cue Hollywood Beyond.