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‘Common People’: Identity of slumming Greek socialite in Pulp song revealed at last?
05.07.2015
09:19 am

Topics:
Class War
Music

Tags:
Pulp


 
“She came from Greece / She had a thirst for knowledge.” So starts “Common People,” the epic 1995 song by Pulp that combined a glam/arena aesthetic, punk rock vitriol, and a nuanced understanding of the lived experience of class-based resentment that even Thorstein Veblen would envy.

The entire song is structured as an obliterating rebuke to a female Greek student who claims to “want to live like common people,” with the sly, cutting afterthought “like you.” Along the way, the narrator (or the song’s writer, Jarvis Cocker, if you prefer) succeeds in utterly dismantling the unnamed Greek woman’s blithe acceptance of class inequities, reminding her that when the project of pretending to live your life “with no meaning or control” gets too unpleasant, what with roaches climbing the wall and all, “if you call your Dad he could stop it all” but also emphasizing the authenticity that “common people” have that she never will; she is “amazed that they exist” and “burn so bright.” The song is the third track on Pulp’s breakthrough album Different Class.

It seems that the identity of the woman who inspired the Britpop classic may have been revealed on a Greek website—none other than video and installation artist Danae Stratou, who is also married to Greek finance minister Yanis Varoufakis. Cocker has been unhelpful bordering on coy, stating the following: “On that BBC Three documentary [The Story of “Common People”], the researchers went through all the people who were contemporaries of mine at St Martins and they tried to track her down. They showed me a picture and it definitely wasn’t her. I dunno. Maybe she wasn’t Greek. Maybe I misheard her.”
 

Danae Stratou—a picture from her Twitter page
 
Paul Farrell at Heavy helpfully explains:
 

The Athens Voice reports that Danae Stratou met Pulp’s lead singer Jarvis Cocker while they were both students at St. Martins College of Art Design in London. She attended the school between 1983 and 1988. Cocker had previously told Brit-music bible the New Music Express that the song was about a Greek girl he met at the school. He added later that the girl told him that she “wanted to move to Hackney and live like ‘the common people.’”

 
St. Martins is, of course, mentioned in the song.

Furthermore, according to Farrell, “Danae Stratou’s father was a millionaire Greek industrialist,” which means that she didn’t marry into money but was wealthy when she was a student as well.

So is Stratou the slumming Greek socialite? We can’t be sure—yet—but right now the signs look auspicious. 

If you haven’t heard the song lately, here’s your chance to have it in your head for the rest of today (and probably tomorrow, too):
 

 
via The Quietus

Thanks to Edward Angel Sotelo!

Posted by Martin Schneider | Leave a comment
‘Sick Drugs Stunt’: That time when Pulp were ‘Sorted for E’s & Wizz’

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There are not many pop lyricists as good as Jarvis Cocker. Listen to the best of his solo work or the songs written with Pulp and you’ll hear a man who eavesdrops on life and turns the everyday into poetic gold.

When he started, Jarvis had a romanticized view of the writer’s life—the noble poet ensconced in some distant high tower contemplating his own suffering and angst. This all changed after a brief spell in hospital when he tuned into the conversation of his fellow patients and found their lives and tales to be more fascinating than his own. It changed the way Jarvis wrote his lyrics—changing from songs of myself to songs of experience.

When Pulp headlined at Glastonbury in 1995, Jarvis explained his inspiration for the band’s new single:

“‘Sorted for E’s and Wizz’ is a phrase a girl that I met in Sheffield once told me… and she went to see The Stone Roses at Spike Island and I said “What do you remember about it?”. And she said, “Well there were all these blokes walking around saying ‘Is everybody sorted for E’s and wizz?’” And that’s all she remembered about it and I thought it was a good phrase.”

 
nmepulp260895.jpg
‘Drugs: Pulp Fiction’—NME fire an early warning shot about ‘Sorted…’.
 
When Pulp released the “Sorted for E’s & Wizz” as a double-A side with “Mis-Shapes” in September 1995, there was a sense that “Sorted…” would have the curtain-twitchers of Tunbridge Wells scratching angry letters to the papers. But as it turned out, it wasn’t the lyrics or the song’s title that saw a tabloid hate campaign launched against Pulp, but rather the single’s sleeve that caused a furore, as music paper Melody Maker explained at the time:

The cover of the single features a photograph of a page from a magazine folded into the shape of a speed wrap. No drugs are shown on the sleeve. The inside booklet features a series of origami-style diagrams showing how to fold a piece of paper to make a speed wrap. Again, drugs are neither mentioned nor shown. However, under pressure from retailers and Island Records, a new, plain white sleeve has been printed.

The press denounced the cover as a “sick drugs stunt,” and the Daily Mirror ran a campaign to ban the single claiming the band were “offering teenage fans a DIY guide on hiding illegal drugs.”

 
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Exhibit A: The offending drug wrap cover.
 
I think it fair to suggest that most teenagers or twenty-something Pulp fans in the 1990s already knew how to make a drug wrap, because everyone was sorted for E’s, wizz, coke and anything else you could get your jammy little mits on during that decade—and this includes a whole tier of hypocritical Fleet Street journalists and TV producers, who snorted in their executive toilets but damned users in print and picture. Right or wrong, it was just the way it was, and Pulp’s song reflected the ubiquitousness of that culture.

But the Daily Mirror wasn’t just content with keeping down some working class pop stars, their journalists cruelly phoned a father whose son had died from taking ecstasy, and used his experience to damn the band. Classy.
 
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It forced Pulp to change the single’s cover and opt for a clever and rather tasteful knitting pattern design for the song “Mis-Shapes.”

As Jarvis explained the change was more about giving people the chance to hear the song than just giving in to the ire of a few media pundits. In an interview with the Melody Maker, he discussed what happened:

When did you first become aware that the Mirror was going to run with the story?

Jarvis Cocker: It was about half past 10 on Tuesday night. It was my birthday. Usually I would be out on my birthday, but I wasn’t that particular night, and I got a call saying it probably was gonna happen. The next thing I heard about it was my mother calling up at quarter past 10 the next morning, saying breakfast TV and various people had been ringing her up trying to get my number and trying to get her to make a statement about it, and stuff. But me mum’s alright, she’s not daft, so she didn’t say anything to them.

It surprised me, cos the thing that I was anticipating having trouble with was getting the record played on the radio. I’d been told that, because it mentioned drugs, they wouldn’t touch it with a barge pole. They wouldn’t listen to it, and so they wouldn’t realise that it was just a song about drugs. It wasn’t saying drugs are fantastic. So, you know, I thought we were home and dry, but then they started taking exception to the sleeve. It’s stupid, cos that’s basically an origami diagram. Origami does not lead to drug addiction, as far as I know - I might be wrong. Nowhere on the sleeve does it say, ‘Put your drugs in this handy container’. People say it’s obvious what it’s for, but it’s them who’ve spelt it out. It’s like saying if you have a picture of a gun on a record cover, that means you’re gonna go out and shoot people. The subject matter of the song is about drugs, so it’s appropriate that it has drug related imagery.

Any road, the Daily Mirror took it upon themselves to ring up the Association Of Police Officers and get their opinion on it. It was kind of weird, cos they rang back and said they thought the song was great and they had no problem with it, but they thought the sleeve was bad. That was a problem for us, cos basically that could have led to it being banned from a lot of shops. So I thought to myself, I think it’s an important song for people to hear, and if the sleeve is gonna get in the way of people hearing the record, I don’t want that. I’ve been quite angry today cos there’s all this stuff to do with the chart people and all this daft formatting business, and they’re saying if you change the sleeve then it’s another format so it’s not eligible for the charts any more.”

 
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More from the Melody Maker:

Ironically, the pre sales on the single were already well over 200,000 before its release on Monday - the biggest advance figure in Island Records’ history, according to the label’s marketing director, Nick Rowe. Regardless of the tabloid reaction, with Sorted For E’s & Wizz, Pulp seem to have tapped into the wider debate going on in the media concerning drug use in Britain. Recent examples being Channel 4’s ‘Pot Night’ and the current series, ‘Loved Up’.

Jarvis Cocker: I’m not saying I did it cos I thought we could open up a forum for discussion, but I think the drugs thing in Britain now is something that people can’t ignore any more. So many people are doing it you can’t just say it’s these fringe elements and they should be rehabilitated. People are just doing it on a recreational basis and treating it in the same way as they treat drinking or having some fags, so you can’t just say everybody who does it is an evil monster, and you can’t just like shut your ears to it every time somebody mentions it. There’s got to be some kind of a change in attitude to it. That’s why I thought it was great that it got played on the radio, cos that to me showed that there had been a change in attitude to drugs.”

 
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Exhibit B: The offending diagram showing how to make a wrap.
 
Despite all the unnecessary hoo-hah about nothing much in particular, “Sorted for E’s & Wizz”/“Mis-Shapes” went on to hit the number two spot in the UK pop singles charts.

Below Pulp premiere “Sorted for E’s & Wizz” at Glastonbury 1995.
 

Posted by Paul Gallagher | Leave a comment
Pulp: A Film About Life, Death and Supermarkets
06.09.2014
11:41 pm

Topics:
Movies
Music

Tags:
Jarvis Cocker
Pulp


 
Greetings from the super fun Sheffield Doc/Fest!

After spending a delightful two days in Glasgow, where Tara and I met our friend and longtime DM ally Paul Gallagher in the flesh for the first time (and where we saw the Necropolis, the University of Glasgow and the beautiful West End district, plus ate some insanely good curries), we arrived in Sheffield shortly before the big hometown premiere of New Zealand-born director Florian Habicht’s Pulp: A Film About Life, Death and Supermarkets.

Habicht’s film is as much about the city of Sheffield as it is about the group it spawned. In the few hours before the screening began, I walked about the city center for a while to soak up, you know, the local atmosphere and found myself very charmed by the city and her residents. Young people out and about, laughing and having a good time, families with little children and plenty of old people milling around too (there are lots of older fellows, the type who wear wool caps and call you “guv’nor,” sitting on benches bullshitting all over Sheffield). The Kiwi filmmaker had parachuted into the city in a similar manner—he’d never been here before he started filming—but when he went around looking for local color (and finding it in spades!) he took along a film crew. The results, I thought, were magical, but I’ll get to why in a moment.

When the box office opened, there were probably a good 2,000 people milling around in front of Sheffield City Hall waiting to get in. You could tell that a situation was brewing whereby the whole town basically wanted to be involved. People from all walks of life were queuing up and there was—truly—a “special” feeling in the air. I was excited myself. I’ve been a huge Pulp fan for over twenty years, but sadly I was never in the same city as they were when they played America (which was almost never). When I got back to the hotel to collect my wife, I saw Jarvis Cocker and several of his family members in the lobby getting ready to walk over to the venue (where the band members greeted friends and fans alike on the steps outside City Hall).

Inside the venue, with both balconies packed to the gills, a palpable feeling of excitement was in the air. A huge neon PULP sign topped the screen. When the film started, everyone in that room seemed totally psyched. I know I was.

Pulp: A Film About Life, Death and Supermarkets did not disappoint. It’s not, strictly speaking, a “rockumentary.” It’s close to being one, but it expands on the form so much that the term becomes kind of meaningless to describe it. What it is is an affectionate portrait of a city and of a band that are that city’s favorite sons and daughter. Nominally “about” Pulp’s final hometown show, many of Sheffield’s quirkier denizens get as much screen time as the band. When the film ended, the locals in the movie were asked to stand up and take a bow, and nearly all of them had been sitting in the section we were sitting in. I felt that the film was a triumph—moving, funny, sweet, eccentric—and the reaction from the audience, well, it’s the kind of thing that makes you feel like you are smiling with your heart. Two people who I spoke with were moved to tears. How many rock docs can you say that about?

Well, you can say it about Pulp: A Film About Life, Death and Supermarkets, that’s for sure. There was a mediocre review of the film in The Guardian last week that complained about Habicht’s film that “you can’t help thinking he’s missed the point of Pulp. Their music denigrated the people [of Sheffield] as much as it celebrated them.”

BULLSHIT! Try telling this to anyone in the audience in Sheffield on Saturday night. Introducing “Common People” onstage in the film, Jarvis tells the hometown audience that although the song isn’t about Sheffield and doesn’t take place in Sheffield, it could only have been written by someone who is from Sheffield. I think it was The Guardian that missed the point. Entirely. Would that the reviewer had seen Terry, the newspaper seller who makes a few appearances in the film being treated like he was a celebrity at the afterparty, he might’ve had a different opinion.

PS: After writing this, but before posting it, I ran into director Florian Habicht in the hotel lobby, introduced myself and basically said everything to him in person that I have written above. 
 

Posted by Richard Metzger | Leave a comment
‘Live Forever: The Rise and Fall of Britpop’ with Oasis, Blur and Pulp
04.02.2014
10:04 am

Topics:
Music
Pop Culture

Tags:
Pulp
Blur
Oasis
Britpop


 
I have always thought Britpop was a bit like another famous British institution, the Carry On… movies. Both had likable and identifiable characters: Sid James, Kenneth Williams, Hattie Jacques, Joan Sims and Charles Hawtrey in the Carry Ons; and Damon, Jarvis, Noel and Liam in Britpop.

Both produced populist entertainment that was at once nostalgic and contemporary. The Carry Ons offered traditional music hall humor, poking fun at British institutions like the army, the National Health Service, education, unions and foreign holidays. While Britpop drew its influence from Sixties’ pop (Beatles, Rolling Stones, The Kinks), and mixed it up with a punk rock swagger.

The Carry Ons came out of drab, gray, post-war Britain, while Britpop was more of a media construction, a handy (or possibly lazy) way to categorize the very disparate talents (Oasis, Blur, Pulp, Powder, The Boo Radleys, Menswear, Elastica, etc) that appeared during the drab, dull years of Conservative political rule during the 1990s.

Britpop was pitched as a nineties reinvention of the “swinging Sixties,” with two bands—Oasis and Blur—dominating the pop charts (much like The Beatles and Rolling Stones once did). There was a much publicized “fight” for the number one spot in 1995. Blur won with the single “Country House,” Oasis came in second with “Roll With It”—they may have lost the battle but Oasis eventually won the war.

If you have ever wondered what all the fuss was about, or why those days back in the 1990s were an exciting time to be young, British and full of hope for a better future, then this documentary Live Forever: The Rise and Fall of Britpop will explain all. It’s a wonderfully made and very entertaining film that brings together Noel and Liam Gallagher, Damon Albarn, Jarvis Cocker, 3D (Massive Attack), Louise Wener (Sleeper) and artist Damien Hirst, amongst others, to discuss, pontificate and reflect on why Britpop was arguably the last great musical movement from the UK—which says much, as it is now twenty years ago. If you haven’t seen this documentary, it is certainly worth seeing, once. Enjoy.
 

Posted by Paul Gallagher | Leave a comment
A belated Britpop Xmas present: a brand new track by Pulp


 
Don’t blame the band for the late arrival of this brilliant new tune on Dangerous Minds, blame me (though they could have picked a better time to put this out than on December 26th when I’m on my hols, ferchrisakes.)

By far the best of the ‘Britpop’ bunch, you’ll probably be aware that Pulp got back together again, after a ten year absence, for a string of live dates last year.

Well they didn’t just tour. They also went into the studio with none other than LCD Soundsystem’s James Murphy, and laid down a brand new tune called “After You,” a power-disco-pop gem that fits snugly into the band’s canon of modern classics. It leans towards the band’s more uptight-funk sound—it’s even got a bongo breakdown—but as ever is carried along by Jarvis Cocker’s caustic with, and a delivery that combines hard-nosed snark with pure sexiness.

Here’s to more brand new Pulp tracks in 2013!

Pulp “After You”
 

 

BONUS! After the jump, the entire, two hour Pulp headline set from the 2011 Reading Festival.

Posted by Niall O'Conghaile | Leave a comment
Pulp’s unused James Bond theme, 1997
09.07.2012
02:25 pm

Topics:
Movies
Music

Tags:
James Bond
Pulp


 
Another disused James Bond theme, this time from Pulp. In 1997 the Britpop band submitted “Tomorrow Never Lies,” but the the film was re-titled and their song shelved in favor of a Sheryl Crow number, instead.

“Tomorrow Never Lies” came out as the B-side to “Help the Aged.”

Previously on Dangerous Minds:
‘Thunderball’ opening credits with the theme song that Johnny Cash submitted

Alice Cooper’s unused 1974 James Bond theme
 

Posted by Richard Metzger | Leave a comment
Pulp’s splendid performance on the Jimmy Fallon Show last night
04.10.2012
11:54 am

Topics:
Music
Television

Tags:
Jarvis Cocker
Pulp
Jimmy Fallon


 
Pulp performs “Common People” and “Like A Friend’ last night on the Jimmy Fallon Show.

Jarvis Cocker is a rock star at a time when there ain’t a lot of ‘em left.

Pulp is on tour and if you’d like to see Mr. Cocker and his band, here’s some upcoming tour dates:

10 April 2012 Radio City Music Hall New York, NY, USA
11 April 2012 Radio City Music Hall New York, NY, USA
13 April 2012 Coachella Indio, CA, USA
17 April 2012 Warfield San Francisco, CA, USA
19 April 2012 Fox Theater Pomona, CA, USA
20 April 2012 Coachella Indio, CA, USA
23 April 2012 Palacio de los Deportes Mexico City, Mexico
4 May 2012 SOS Festival Murcia, Spain
6 July 2012 Ruisrock Turku, Finland
8 July 2012 B’estfest Tunari, Romania
13 July 2012 Fiera della Musica

 

Posted by Marc Campbell | Leave a comment
Elmore Leonard: Rules for Writing

elmore_leonard_10_rules
 
The best advice for anyone wanting to be a writer is, Write. Sure, read books, learn from others, keep a notebook, but it always comes down to just one thing: you and a blank page.

Here Elmore Leonard explains his rules for writing, in this rather hastily edited package from the BBC Culture Show of 2006. As Leonard explains writing is mainly rewriting, and it takes the pulp fiction maestro 4 pages of hard graft to produce one finished page. Now you know, so get cracking.
 

 

Posted by Paul Gallagher | Leave a comment
Pulp: A lost interview with Jarvis Cocker and Russell Senior, from 1995

Pulp_1995
 
The sound quality is a bit rough and the picture rather watery, but there are still plenty of interesting things going on in this ‘lost’ interview with Pulp’s Jarvis Cocker and Russell Senior from 1995.

Recorded during Pulp’s first tour of Spain, the interview was conducted by writer and poet, Bruno Galindo, who asked Jarvis & Senior about the band, their career, their lives, the success of the album Different Class, and easy-listening music.
 

 
Previously on Dangerous Minds

This is Hardcore: Jarvis Cocker talks Pulp at Glastonbury 1995


 

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This is hardcore: Jarvis Cocker talks Pulp at Glastonbury, 1995
12.02.2011
11:10 am

Topics:
Heroes
Music

Tags:
Jarvis Cocker
Pulp


Photo by Rankin

DM pal Rod Stanley, editor-in-chief of Dazed & Confused magazine (who is getting married tomorrow, congrats Rod!) recently interviewed the world’s last proper rockstar, Jarvis Cocker, about the moment when Pulp triumphed at their legendary show at the Glastonbury festival in 1995.

Dazed: I watched you play in 1995, when you replaced the Stone Roses at Glastonbury… I remember you walking out on to the stage and taking a photograph of the crowd – do you still have that photo?

Jarvis Cocker: I don’t even remember taking it. When we played there, we were added to the bill very last-minute so we had to camp on site. The night before, I had real trouble sleeping because I was so nervous… and there are these photographs of me there with this haunted look. So, I wish I did have that photograph. There are certain things of that night that are burned into my memory, I can remember going on and I can remember the end, but the middle bit has just been erased.

Dazed: There were a lot of those fisherman hats in the crowd … John Squire had broken his arm… and there was a kind of “impress me” atmosphere – but you won them over. Was that gig an affirmation? You had been together for almost 15 years as a band at that point.

Jarvis Cocker: Yeah it definitely was, especially that particular concert, because the thing that changed things for Pulp was that ‘Common People’ was a big hit – that had happened in May, and we played Glastonbury in June. So, I think it was the first show we’d done since we had become popular… and it was quite a moment because everybody sang along, and you realized that you’d crossed over into a different kind of world. As you say, they weren’t throwing the Reni hats at us. Or stones, or roses… I think they threw more roses than stones.

Dazed: I saw you again at Glastonbury, 1998, when you headlined the main stage on the Sunday night.

Jarvis Cocker: Yeah… very wet.

Dazed: Absolutely mud-soaked. And you congratulated everyone for staying, shouting “You… Are… Hardcore!” And got pretty much the biggest cheer from any audience ever.

Jarvis Cocker: I’m always impressed by audiences… I’m such a poof I would just go home. Especially on Sunday, you know what Glastonbury can be like, it’s a psychic obstacle course – and if you’re wasted and wet and been there for three days and haven’t slept very much, you would be well in your rights to go home. So, the fact that people were still there, I was just grateful.

Read the rest at Dazed Digital.

Below, Pulp achieve lift-off at the Glastonbury Festival, 1995
 

Posted by Richard Metzger | Leave a comment
Will there ever be another John Peel?
08.30.2011
10:52 am

Topics:
Heroes
Music

Tags:
Jarvis Cocker
John Peel
Pulp


 
The great greatest British disc jockey, John Peel would have been 72-years-old today.

In the years since Peel’s death, there has been no one, absolutely no one, who has stepped into his shoes to do what he could do. You’d think that it would be the case that some new golden-eared music fanatic for a new generation would come along and tell us all what’s good to listen to, but clearly—and sadly—that’s not happened. This is a testament, of course, to just how culturally influential this one man truly was.

In the clip below, Jarvis Cocker tells a charming anecdote of a star-struck youthful meeting with Peel that led to a “Peel Session” for Pulp in 1982.
 

 
Via the awesome Sabotage Times

Posted by Richard Metzger | Leave a comment
Back to the nineties: Fabulous scans of ‘Select’ music magazine

image
 
Fuck me but pop music hasn’t changed much in 20 years. Headlining this year’s UK festivals is the very best of what the 1990s had to offer, Radiohead, Primal Scream, Pulp, The Prodigy, The Charlatan, and even, er, U2. Okay, the Gallagher brothers are unlikely to kiss-and-make-up, but there are still rumors about a Blur reunion, which means we can party like it’s 1995.

The very thought could make a fan weak-eyed and teary-kneed for the glorious UK music mag Select, which faithfully documented the very best of music during the decade.

Select‘s dedication to Brit Pop was only part of its appeal, for what made the magazine delightful, fun and certainly essential, was the quality of its writers who penned columns, interviews and reviews in its silky pages.

Now these names read like a Who’s Who of TV and pop culture, from the darkly handsome genius of Graham Linehan, through the grumbling brilliance of wit and wisdom from David Quantick, to the ever-smiling J. B.Priestly of pop, Stuart Maconie, and let’s not forget Miranda Sawyer, Alexis Petridis, Andrew Collins, Sarra Manning, and Caitlin Moran.

To jump start the memories, some kindly soul has scanned a damn fine selection of covers and some lovely features from Select magazine “to give random flashbacks to the 90s music scene.” How cool is that? Answers on a postcard, please.

Now check the Select scans here.
 
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Previously on dangerous Minds

David Quantick: The Music Industry Hates You


 
More groovy covers, after the jump…
 

Posted by Paul Gallagher | Leave a comment
For the love of the ‘Common People’: Fans cover Pulp

image
 
Following on from Bob Dylan’s suggestion we should write his autobiography, Pulp are currently running a competition to find the best cover version of one of their tracks:

During the process of learning to play the old songs again we have been consulting the cover versions posted on-line… Vote for your favorites by ‘liking’ them - or upload your own rendition if you think you can do better.

There’s even “a musical prize” for the winner.

As “Common People” is Pulp’s best known song and the one that appears to encourage most cover versions (will anyone surpass William Shatner’s version?) here are 8 covers of “Common People” - just a small selection of the many videos so far uploaded onto the site. If you want to see more, vote for your favorite, or think you can do better check here.
 

William Shatner’s cover of ‘Common People’ as a Lego animation by niblickthe3rd 
 
More Pulped versions after the jump…
 

Posted by Paul Gallagher | Leave a comment
The brilliant Pulp in ‘No Sleep Till Sheffield’ from 1995
05.14.2011
11:54 am

Topics:
Music

Tags:
Jarvis Cocker
Pulp
Festivals
Brit Pop

image
 
Made in 1995, at the height of “Brit Pop” (that much hyped re-imagining of the 1960s), Pulp: No Sleep till Sheffield follows the band on their tour of the UK, which culminated with a gig in Sheffield, the Pulp’s hometown.

While best known for its stainless steel, cutlery production and incredible greenery (with 2.5 million trees, the highest ratio of trees to people of any city in Europe), Sheffield is also famed for its wealth of musical talent, a list which includes Joe Cocker, Def Leppard, The Human League, Cabaret Voltaire, Heaven 17, ABC, Richard Hawley, The Longpins, Moloko, Arctic Monkeys, The Long Blondes and, of course, Pulp.

Though associated with “Brit Pop”, Pulp were formed in 1978, and had released 3 albums, by the time of their breakthrough record His ‘n’ Hers in 1994, which announced a band of talent, originality and wit. This was followed in 1995, by the equally brilliant Different Class, which delivered one of the decade’s greatest pop songs,  “Common People”.

This summer, Pulp tour the Festivals, starting on May 27 at Primavera Sound, Barcelona, followed by the Isle of Wight Festival on June 11, and T in the Park on July 10. For full details check here.
 

 
Previously on DM

Pulp set to reform for Summer 2011 Festival shows


Jarvis Cocker: ‘Cunts Are Still Running the World’


When jarvis Cocker Met Michael Jackson


Jarvis Cocker meets legendary ‘Top of the Pops’ DJ Jimmy Savile


 
Bonus clip of Pulp’s legendary performance of ‘Common People’ at Glastonbury 1995, after the jump…
 

Posted by Paul Gallagher | Leave a comment
Pulp set to reform for summer 2011 festival shows
11.08.2010
12:53 pm

Topics:
Music

Tags:
Jarvis Cocker
Pulp

image
 
Excellent news for Pulp fans: The band will be reforming for some live festival dates next summer, as reported on the Guardian website, including shows at London’s wireless festival and Spain’s Primavera Sound:

A press release distributed this morning said: “Pulp have decided to get together and play some concerts next summer. The shows will involve all the original members of the band (Nick Banks, Jarvis Cocker, Candida Doyle, Steve MacKey, Russell Senior and Mark Webber) and they will play songs from all periods of their career. Yes, that means they’ll be playing your favourites.”

Pulp formed in Sheffield in 1978, establishing a cult fanbase before breaking into the mainstream with their 1995 single Common People. They released seven albums, before going on hiatus in 2002. Their forthcoming shows will be the first time the classic Pulp lineup has played together since 1996.

Below, the video for “Something’s Changed,” probably the best love song of the 1990s not written by Nick Cave.
 

Posted by Richard Metzger | Leave a comment
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