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Derek was the other official photographer for the recent Ventura Music Festival concerts. He wore black to most all the concerts.....I suppose to make himself less conspicuous, to blend in better. I liked the combination of colors in this shot I did from the balcony.
He's a good photographer, and you can see his Flickr photostream here.
number four: derek jarman – super8, julia stoschek foundation e.v., duesseldorf, 11 september 2010 – 26 february 2011
the julia stoschek foundation e.v., in collaboration with james mackay, and as part of the quadriennale 2010 in duesseldorf, presents the first comprehensive retrospective of the experimental film works of derek jarman from his super8 archives. it represents the first solo exhibition of an artist in the julia stoschek collection.
the british painter, film maker, set designer and writer derek jarman (1942–1994) is best known to the wider public primarily as the director of stylistically influential feature films and music videos from the 1980s and early 1990s. less well-known, but vital to his oeuvre, are the over 60 super8 films that jarman filmed from 1970 until his death in 1994. taken from the subjective-personal perspective of his hand-held camera, the scenic arrangements mediate jarman’s artistic approach in which life and art constantly connect with one another as a matter of course. the often autobiographical film documents, which he himself called a “cinema of small gestures”, are defined by spontaneity and lightness on the one hand and symbolism and mythology on the other.
the 24 digitalised films from the super8 archive, complemented by a 16mm sound film and the blueray version of a 35mm feature film, are distributed over both floors of the exhibition space as well as in the basement cinema. to begin with the first floor contains 12 films covering the social and (sub)cultural world of jarman and his circle of friends. the overlapping of documentation and staging is constantly fluid here and this is further reflected stylistically in the works. two sound films, presented individually, break this sequence: in the first space “tg: psychic rally in heaven” (1980), an early music-video experiment, originally recorded on super8 for the british industrial-music group throbbing gristle, and in front of the second space, “imagining october” (1984), which will be shown – not least because of its references to sergei eisenstein and soviet film – in its original format, as a 16mm sound film.
on the second floor 11 films from the group of works covering rituals, mythology and landscape are displayed. the works are deliberately presented in the completely open space surrounding the centrally placed, boxed projection of “art of mirrors i-iii” (1973). between them, the various works from 1971 to 1978 generate panoramically stylistic and content-based references.
the exhibition ends in the cinema space in the basement where derek jarman’s final, elegiac feature film “blue” (1993) can be seen.
simon fisher turner, who was responsible for the soundtracks of many of jarman’s feature films from the 1980s onwards, has developed a special sound concept with atmospheric and space-specific soundscapes for the exhibition.
a catalogue has been published by verlag der buchhandlung könig, cologne to accompany the exhibition. it contains an essay by jon savage, which sets selected works in the context of their respective contemporary backgrounds. derek jarman himself speaks about his creative work in an interview with simon field and michael o’pray from 1985.
NEW YORK, NY - JULY 09: Derek Jeter #2 of the New York Yankees hits a single for career hit 2999 while playing against the Tampa Bay Rays at Yankee Stadium on July 9, 2011 in the Bronx borough of New York City. (Photo by Nick Laham/Getty Images)
According to Darek Rankins, there is a common misconception that image files saved directly from a scanner or digital camera are pristine or unmolested in terms of the image processing. For almost all image files this is simply untrue. Only “raw” files from scanners or digital cameras are unadjusted, all other digital image files have a range of image processing applied during scanning and prior to saving in order to produce digital images with good image quality.https://twitter.com/dereklrankins/
Brighter Brightest
March Break Tour with In Lights and Use as Directed
Hamilton Ontario Canada
The Casbah March 14th 2010
Derek (Aka Chapstique) on stage at lifest Wisconsin, finally doing some singing, after almost 9 years of FF5!
I'll tell more about my Lifest experience in the picture with the giraffe.
Derek Jarman spent time collecting drift wood and other items that were left on the beach by the sea to create this very unique garden.
Vintage autograph card.
British actor Derek Bond (1919-2006) enjoyed a brief period of stardom at Ealing Studios in the 1940s. He projected an urbane, gentlemanly image onto the screen. He was President of the trade union Equity from 1984 to 1986. His conservative views ultimately led to his downfall within the union.
Although always seeming very English, Derek William Douglas Bond was born in Glasgow, Scotland, in 1919. His parents were a commercial traveller and a beautician. Derek was educated at Haberdashers' Aske's Boys' School, then based in Hampstead, north London. Originally convinced that he was going to be a journalist, he followed his mother into amateur dramatics and bluffed his way into an understudying job in touring rep. He trained with the Finchley Amateur Dramatic Society and made his professional theatre debut with 'As Husbands Go' in 1937. He became a member of the Colchester Repertory Company, where he met his first wife. Bond played a number of both comedic and dramatic roles until his burgeoning career was interrupted by WWII. In 1939, he volunteered for the Grenadier Guards and was granted a commission. In his war memoirs, 'Steady, Old Man! Don't You Know There's a War On' (1990), he recalled being wounded in the thigh while serving in North Africa in 1942. He was awarded the military cross, though he had to endure a PoW (Prisoner-of-War) camp in Bavaria during the last months of the war, having been captured in Florence. After the war, he returned to his acting career and was picked up by Ealing Studios. His conventional good looks secured him many dramatic and light comedy roles. His Ealing phase began, fittingly, with the PoW drama The Captive Heart (Basil Dearden, 1946), starring Michael Redgrave. Then he had his breakthrough in the title role of the Charles Dickens adaptation Nicholas Nickleby (Alberto Cavalcanti, 1947), opposite Cedric Hardwicke as his cruel Uncle Ralph. However, according to Gavin Gaughan in The Guardian, "it was generally agreed that the film was inferior to David Lean's Great Expectations, which, released the previous year, overshadowed all other Dickens adaptations. The film critic George Perry, for example, wrote that Bond 'gave a bland but not unlikeable performance that at least provided some continuity through what amounted to a succession of cameos'." His best role was probably as the doomed Captain Oates in the adventure film Scott of the Antarctic (Charles Frend, 1948). In the film, John Mills stars as Robert Falcon Scott in his ill-fated attempt to reach the South Pole. The film more or less faithfully recreated the events that befell the Terra Nova Expedition in 1912. Throughout the late 1940s the staid, classically good-looking actor played lead and second lead roles alongside several leading ladies of British cinema, including Jean Kent and Googie Withers in The Loves of Joanna Godden (Charles Frend, Robert Hamer, 1947), Jean Simmons in Uncle Silas (Charles Frank, 1947), Phyllis Calvert in Broken Journey (Ken Annakin, Michael C. Chorlton, 1948), Ursula Jeans in The Weaker Sex (Roy Ward Baker, 1948), Susan Shaw in Marry Me (Terence Fisher, 1949) and Rona Anderson in Poet's Pub (Frederick Wilson, 1949).
Derek Bond could not sustain his stardom beyond the early 1950s. As an actor, he was relegated to drawing-room plays, B-movies and television. Bond also wrote several scripts for radio and TV and the stage play 'Akin to Death', written in 1954, which he took on tour in 1955. On tour in Cardiff, he accidentally bumped into a fellow POW from Stalag VII-A, resulting in an impromptu reunion. Bond's small screen debut was as a robot in the amateur TV play R.U.R. (1938). By the 1960s, he was presenting film programmes for the BBC and attempting to interview Tommy Cooper in Cooperama (1966). He was a regular in an unsuccessful soap, 199 Park Lane (1965), while guest roles included a testy Austrian emperor in William Tell, The Invisible Man, Dad's Army and Crown Court. He wrote, but did not appear in, an Armchair Theatre segment, Unscheduled Stop (Tony Robertson, 1968), which producer Leonard White felt was "just too theatrical at a time when television drama was aiming for close-up reality". Bond was among the first reputable actors to appear in sexploitation films, such as Saturday Night Out (Robert Hartford-Davis, 1963) with Heather Sears, and Secrets of a Windmill Girl (Arnold L. Miller, 1966), starring the young Pauline Collins. This notwithstanding, he was in the Cliff Richard musical Wonderful Life (Sidney J. Furie, 1964), as a late replacement for a bibulous Dennis Price. Appropriately enough, Bond worked in the Spy genre, being well cast as Edward Woodward's unsympathetic superior in the Spy television series Callan (1969). Ironically, both Bond and his political opposite, Corin Redgrave, supported Anthony Hopkins in When Eight Bells Toll (Étienne Périer, 1971). Though his episode of The Saint (1967) was set in Paris, he remained thoroughly British. On the lyric stage, he appeared in 1985 as Prince Leopold Maria in a production of Kálmán's 'The Gypsy Princess' at Sadler's Wells Theatre. Believing that his union had become dominated by the far left, in 1984 Bond successfully stood for election as president of Equity, representing Act For Equity, whose members tended to the right. Gavin Gaughan in The Guardian: "While claiming to 'abhor' apartheid, he believed that British actors were losing out on work by refusing to appear in South Africa, despite the cultural boycott and the United Nations blacklist of those who did go. Perhaps his views were influenced by the 'very pro-British' South Africans he had met during the war. Whatever his motivation, in July 1984, he survived a motion calling on him to resign on the eve of a scheduled stage appearance in South Africa. The move was backed by Kenneth Williams, who recorded in his diary, 'I spoke against Bond and said he should go as an individual, not as president of Equity.' On his return to Britain, Bond was condemned by former Equity president Hugh Manning, and there were protests outside the London theatre where he was playing. Following a referendum, a union ban on appearing in South Africa was imposed in 1986." Bond resigned as president and was replaced by Nigel Davenport. Derek Bond died in 2006 at St George's Hospital in Tooting, London. He was married three times, and was survived by his third wife Annie, a son, a daughter and a stepson.
Sources: Gavin Gaughan (The Guardian), Gary Brumburgh (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Derek Sanders of Mayday Parade at the Vans Warped Tour.
July 21, 2012 at the Nassau Coliseum in Uniondale, NY.
Aug 8, 2008 interview with Derek Webb in Nashville, TN. Pictured left to right is Trevin Wax, Derek Webb, Tony Kummer.
Lou Ann Barton with Derek O'Brien (guitar), Scott Nelson (bass) and Jay Moeller (drums). Photo by Ron Baker.
Derek Clark MEP and UKIP branch chairman Jim McArthur meet BLESMA charity walkers (Sheffield to London).
Derek Bell being interviewed by Amanda Stretton at the Goodwood Festival of Speed 2008.
Nikon D200
18-200mm f/3.5-5.6G VR