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Crankdat - B. Roscoe Dash vs. Born in October , the only son of Helen and George Winner, Michael was a shy and sometimes lonely child.

Even as a very young boy he knew he wanted to be connected to the movie industry - projecting shadow pictures and devising his own commentary when he was only five years old.

At the age of fourteen he was given his own showbusiness column in his local paper - which was syndicated across more than two dozen titles. His first film,This is Belgium,was notable for being largely shot in East Grinstead.

He says that while he admires directors who tackle social issues, he always wanted to be part of the glamour of Hollywood, making films that weren't to be taken too seriously and that were just a bit of fun.

But his route into photography was circuitous. He began studying law and then economics in his native Peru but finished neither course. He had a short spell in America before arriving in London and he says he immediately loved it here.

But the early years were tough; he struggled to convince anyone at the glossy magazines to look at his work.

Half the trouble, he says, was that he was ringing people from call boxes - and they would hang up before he'd had time to put in any money.

But years of building contacts within the industry - and building trust among his models - have paid off and he is now as much as a celebrity as the women he photographs.

His most famous pictures are those he took of Princess Diana looking confident, relaxed and happy, just months before she died.

They have now been reprinted for a two-year long exhibition and he says that when he saw them again in the lab, it brought a knot to his throat.

But she says her route into classical music was far from straightforward. Her musical break-through came at the age of 29, when she was asked to stand in as the Countess in The Marriage of Figaro at the last minute.

Breakfast with Frost ran for twelve years until early Married to an Italian woman and with two young sons, he now divides his time between life in London and in Italy.

She is about to star in the play 'Whose Life is it Anyway? She was born in Liverpool but grew up in Canada and decided to be an actress at a young age.

She says a formative experience was appearing in a school play 'Piffle It's Only a Sniffle' when she took the role of a cold germ which had to infect the other children by tickling them with a feather until they sneezed.

She spent time in drama schools in Canada, Liverpool and New York and says now that her first love is theatre - and her film roles allow her to feed her theatre habit.

He is the first black principal dancer at Covent Garden; Tocororo, the show about his own life, that he wrote, choreographed and starred in, broke box office records at Sadlers Wells and in his homeland of Cuba he is a national hero.

But his extraordinary success has followed an even more remarkable journey from the impoverished back streets of Havana. He was the youngest of eleven children and, as a boy, his only ambition was to be a footballer.

At the age of nine, his father sent him to ballet school — inspired not by art, but by the promise of free school meals and the hope that his increasingly delinquent son would be brought into line by the strict regime.

Carlos hated it, was bullied by his friends and was twice expelled. The first time, his father persuaded the school to take him back; the second, his father found another ballet school and secured Carlos a place there as a boarder.

It was only there, at the age of 13, that he had an epiphany. Seeing the Cuban National Ballet perform he decided he did want to follow that path.

At the age of sixteen he travelled for the first time to Europe, he won four major dance competitions in one year and his career as an international ballet dancer was launched.

Piano Concerto No. Peter Maxwell Davies was born in Salford, near Manchester, in It was during the sixties that Max composed some of his most influential works - including often cacophonous, expressionist pieces like Vesalii Icones, St.

Thomas Wake and Worldes Blis. Music-theatre pieces like Eight Songs were groundbreaking in their use of drama, as well as music.

He is fascinated by the mathematical structures and patterns that exist in nature - and tries to replicate them in his music. For more than thirty years he has lived on and been inspired by the Isles of Orkney where, he says, the sounds that surround him creep into his music almost without him knowing it.

Part of the 1st movement of Symphony No. Unsure what career to pursue after a spell in the army, he fell into acting because a girlfriend was involved in amateur dramatics.

He was awarded an OBE in the new year honours list. Allegro assai from Symphony No. He was a child prodigy whose career as a conductor has survived - and thrived-beyond his early precocity.

His musical talent became apparent at the age of 5, when he began playing the violin while at 7 he was discovered conducting a piece by Haydn playing on his parents' record player.

He was the first American and youngest conductor, at the age of 30 , to conduct Lohengrin at Bayreuth.

Nocturne No. Patrick was born in Mirfield, Yorkshire, a town with a passion for amateur dramatics. The youngest of three brothers, he grew up watching performances by the all-female drama company to which his mother belonged.

After a disastrous stint as a reporter, Patrick went on to work in repertory theatre around Britain, and then to a successful career with the RSC, during which he won an Olivier for his portrayal of Shylock in The Merchant of Venice.

After seven series at the helm of the Starship Enterprise, he has returned to Britain and to his first love, the theatre.

Luxury: His beloved billiard table and a shed to keep it in. Musician Jarvis Cocker He formed the band Pulp in the late s and says that as a gawky, self-conscious teenager he felt pop music did not properly inform him about the disappointments and miseries of growing up - and he was determined to write songs that included "the messy bits and the awkward, fumbling bits".

Sorted for E's and Wizz and Common People. Betsy Blair Betsy Blair - She was an actress in Hollywood during its heyday and is best known for her role in Marty, the Oscar-winning tale of a shy butcher and lonely teacher who, against the advice of friends and family, fall in love.

Ruby grew up in Illinois, the only child of Jewish refugees who had fled Austria in From small beginnings the group has reached stratospheric heights.

Frank Allen, front man and bass player.. Do they bring a sound person and other "roadies" with them with or do they travel alone just the four of them?

Question 1. I would like to know what you thought of The Beatles, musically and personally. Frank's answer: They were a bit rough and raw, very exciting and inventive.

They were not great musicians but they had a personal style that was unique, although they were all quite different. They were lucky to have two budding songwriters who turned out to be the best around.

Question 2. Seeing that a lot of Sixties bands are touring now, if The Beatles where still a group, do you think they would join you in the tour?

Frank's answer: No. I think they would still be far above us. They'd still be a major stadium act on the level of Elton John and Bob Dylan.

They wouldn't think of doing nostalgia tours. They'd probably still be producing hit records, and would therefore still be major players on the current music scene.

Question 3: Do you feel that if you had written your own songs like The Beatles, that you may have become more popular? Frank's answer: Yes, I'm sure it would have helped.

We did write quite a few songs, but they never made the A-sides. There's no guarantee of course that writing your own songs helps you be more successful, the songs have got to be good.

Some of ours were not, whereas almost everything the Beatles wrote was good. We didn't take enough care in our songwriting at the time when we should have done so.

Question 4: What do you think made The Beatles stand out from every other? I mean, you all started off together in Liverpool and in The Cavern.

But what was it that they did? You became big, along side Gerry and the Pacemakers, but why The Beatles amazing fame? Many say that musically, The Beatles were rubbish.

If so, why are they still the band of the century today. Frank's answer: They were certainly not rubbish.

They weren't consummate musicians either. But as I've said they were unique, very personable, good songwriters and they knew how to implement their style and develop their personal characters.

Others were equally talented - the Bee Gees for instance, but they just didn't have the personal appeal. The Beatles were the best, they stood out above everyone else, and were just right for their time.

Question 1: Who works out the harmony parts, the composer of the song or the others?. I really find your "tight" harmonies to be a real standout compared to other groups.

I am interested in how much time and effort it takes to perfect these harmonies or whether it is now just a natural thing for all of you. Frank's answer: I work out all the harmony parts.

Harmonies come very naturally to me. John finds it much harder, so I give him "his" parts, and he learns them methodically. However, if he goes off naturally on a different harmony, I will alter it to what he finds easier.

Eddie is a very good harmony singer - he finds it very easy to pitch in, and it is a real bonus for us to have another set of vocals. He is a real bonus to the group altogether.

Now we have a singing drummer the harmonies are so much fuller. Even when Chris Curtis was singing whilst playing drums we normally only stuck to two-part harmonies most of the time.

These days we tend to use the three main notes that make up a full chord sung by Spencer, myself and Eddie in full voice plus an extra falsetto by John on top although John also sings in full voice a lot of the time.

This gives a whole new dimension to our vocals. Our original harmonies were not technically all that wonderful but there is always something fresh and enthusiastic about youth music that no amount of technical expertise can top or even equal.

These days we sing and play better. Our arrangements are tighter. And there is more power in the performance and quality in the sound.

But for many people nothing will ever compare with the simplicity of the original and I can understand that. Music is often more about memories than skill.

Question 2: I read in a Brian Epstein biography that he always regarded the Searchers as the ones that got away from his Merseybeat stable and that he would have liked to have been their manager.

It was also mentioned that he'd offered them "Things we said today" to record. We almost recorded "Here There And Everywhere" later on but decided against it.

I think the Fourmost were about to do it anyway. But it is true Brian wanted to manage us, but unfortunately we couldn't get out of our contract with Tito Burns.

Question 3: I would be interested to know what amplifiers the group plays through these days. We did use Vox for many years, then they stopped making them, and when they started again we didn't think they were as good as others available by then.

My bass amp is a Peavey TNT Question 4: I know you were not there at the start for The Searchers, how did you first get into music?

Frank's answer: I loved the pop music of the 50s when I was just a teenager. I bought a guitar and played skiffle which progressed to pop and rock and roll.

Question 5: What has been your biggest moment in the music world? Frank's answer: Performing at Wembley Stadium with Cliff Richard at his 30th anniversary concerts in We completely revamped it.

Someone came to us the other day and said that the difference was amazing and that he was astonished we had seen the potential from the way they had done it.

It was very straight with little drama. Again we revamped it, took the middle section from another version by Bette Midler which wasn't in Colin Rae's version.

Spencer and I both suggested The Rose as a showstopper, having heard it in the film of the same name with Bette Midler.

If you were, would you consider it? Answer: No, we've never been asked. That is just demeaning if you have a career that is still very much a going concern Question 1: How long did it take you to learn the words of the marvellous little ditty "The Wheelbarrow Song" so you could sing it without hesitation?

And have you ever got it wrong whilst performing? I first heard it way back in , when the Zombies used to sing it on the tour bus when we were touring the USA together.

For some strange reason I dredged it up a few years back and the lyrics must have been lodged in my brain. Yes, I have messed the lyrics, and forgotten a line, a couple of times.

Question 2: How do you keep your interest after all these years? Answer: I am sensible to realise just how lucky I am and to be grateful for it.

I try never to think of any bad points of touring, just what a great job it is. Question 3: Does it bother you when your level of music is not played on radio or TV very often, when some of today's artists are not of the same ability?

Most new acts these days are organised virtually by committee. It is now a science. We could do with a bit of enthusiastic amateurism to give it a bit of heart.

I would love a station that plays music I can listen to for long periods. My favourite period is the 50s and there is no national station that provides it.

I listened to a great station the other day and would you believe it was SAGA. They played 40s, 50s and 60s.

Unfortunately it only covers the East. Midlan ds. Emotion, sincerity, good performance, something else, or all of them? A: Enjoying what you do is probably the most important thing.

If you do, it shows. And if you don't, it also shows. Yes, you must put on a good performance but if you are enjoying yourself that naturally follows.

Every now and again you must stop and take an objective look at how you are conducting yourself, what the show looks like to people in the audience, the kind of material you are playing.

It's easy to just be automated, and we all need to adjust once in a while. Please tell about the song "Farmer John".

Why not? Is it not right for the show any more? Farmer John was only an album track, not a hit single. It is not one of our favourites, nor is it a favourite of most of our fans.

Very occasionally, if someone has shouted for it at the UK shows we have included it, but it's not possible to include it in Germany when we may only have 25 or 30 minutes on stage.

Thanks for the compliments. The bass and bass drum always have to fit in together though. Most of the time I keep it really simple, as 60s bass playing used to be.

I think it would be a mistake to be too modern. How about a follow up with more stories of your tours and meetings with sixties icons.

I would prefer to find a mass market subject that would bring attention to my writing right across the board. Travelling Man was very satisfying but has a very limited market.

Glad you like it though. People still bring it to shows for me to sign and are very complimentary, which means a lot to me. How long did it take to acclimatise, and how easy or difficult did they make it for you?

A: The Searchers may have been from a tough city but they were fairly quiet and reserved people so I got on with them very quickly.

I had no trouble fitting in with their style and their personalities, and they made me very welcome. Who listens and appraises the work?

Do you use tapes and listen in together? Or do you take time out one at a time and stand at the 'back of the room' to hear what the songs sound like?

A: Normally the suggestion comes from John McNally who is more positive and insistent and who listens to lots of new stuff and demos that might have been sent in.

A copy is made for each to learn the basics and then we choose a theatre where we can get in for an hour or so after the set-up and before showtime.

We run through, set patterns and arrangement and alter as we go along. We are all free to throw in suggestions, including the crew.

But again John is more definite in his ideas. Surely there are songs that you have been playing for ages, simply because they will almost always go down well with the audience.

But of all the songs you do, there must be some that you personally never tire of playing, where you simply enjoy the sound, the memories, and being in the middle of your colleagues' music.

Which are the top three or so songs that would fall into that category? And, conversely, are there songs that are still technically demanding, where you need to concentrate a bit more than on others, where a mistake could creep in if you didn't focus at that precise moment?

Answer: Not particularly. Once you have learned a song it becomes pretty automatic after a while. Have you ever spent much time in Liverpool apart from gigs , and what do you think of the place?

It was difficult in the early days as Scousers saw me as an interloper in a local group. The phrase 'that Cockney bastard', comes to mind.

Things have got much easier over the years. The Rebel Rousers never made much money, despite being an excellent band.

Nor did I have the educational qualities to do well in business. I was a not-very-good despatch clerk at Penguin Books for about 18 months before becoming a professional musician.

Question 2: How do you and John stay so fit and slim? Answer: We are both very controlled about these things. I would hate to go on stage looking out of shape.

I try to keep a constant watch on my weight although I do indulge when I can. But genes always have a lot to do with it. We also watch our alcohol intake.

Question 1: How much of your set is decided before the show, and how much is decided on stage? I have noticed that the band seem to respond to the mood of the audience, i.

Answer: The balance of the show depends on the situation and mood of the evening. If the venue is one where we are unlikely to get the quiet and attention that the ballads need then we tend to omit most of them and get a party atmosphere going.

But of course the solution is to go to the shows that suit you or just revel in the different types of show. We do decide a lot of things on stage.

We often leave out songs we had planned if it feels wrong and insert songs that were not intended. We always have to go with our own intuition which comes from years of experience.

We know each other so well that our minds are usually thinking along the same lines and I know just when John wants to alter something.

Question 2: I often overhear people after shows complimenting the band with comments like 'I never realised they were so good'. Does it become a chore to win over the audience every night?

Does the hardcore of Searchers Appreciation Society members help? Our regular fans certainly help to get the atmosphere going without a doubt, although sometimes I feel a little self conscious when they are sitting in front and I am saying the same old quips.

What happens is that I tend to keep a batch in all the time until I feel the need to change. It flows better that way. Where was that, and is there still footage of it?

Alas BBC wiped all the films that year so it no longer exists. Question 2: I remember taking my girlfriend to see the boys at Allinsons in Litherland in the mid 70's, when they did all the hits plus 'Solitaire' and I think they rocked out a bit on some Neil Young songs.

Is my memory playing tricks here? We did indeed do Solitaire at that time, with me playing piano. And the Neil Young song was a long version of Southern Man.

Without a doubt I would have taken much greater interest in seeing the Beatles for the first time and I would have made sure I got to know them really well.

The same goes with the Everly Brothers. But thanks for the compliment. Question 1: I have some video clips of the Searchers with John Blunt on drums - one I think in his first gig with you and the other doing Umbrella Man.

He was a bit chaotic and a little unreliable, although not maliciously so. There was no bad feeling on either side when we suggested he should leave us, although he was naturally disappointed at the time.

It sounds like for a long time, from the mid-seventies through to when Mike Pender left in the mid-eighties. Answer: A group is a bit like a marriage.

You spend a awful long time in each other's company and when the romance fades you exist with each other through good and bad times.

Sometimes, although you no longer communicate easily, what you have is such a big thing and the thought of the consequences of a split are so frightening that you carry on as best you can.

A divorce is not to be entered into lightly and neither is the break-up of a band. But when the decision is finally forced upon you as it was by Mike's decision to leave a great weight can be lifted from your shoulders.

That is how it was with us. We gained a new enthusiasm with the arrival of Spencer James and had a reason to improve again without a bad atmosphere preventing us from talking or discussing things.

Question 1: Do you still get the same buzz of excitement now as you did back in the 60s? You certainly seemed to be enjoying yourself at the shows I've seen recently.

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