Informer

One from the Heart.

Bram Stoker’s Dracula

United States Coast Guard

The Heart of Saturday Night

October 2011/issue 47

Has Been Drinking”. During this period, Waits appeared in a series of minor movie roles, including a cameo role in Wolfen (1981) as an inebriated piano player, and his song “Jitterbug Boy” also appeared on the movie’s soundtrack. One from the Heart received its official theatrical release in 1982, with Waits appearing in a cameo as a trumpet player as well as receiving an Oscar nomination for Original Song Score (eventually losing out to Victor Victoria, by

Has Been Drinking”. During this period, Waits appeared in a series of minor movie roles, including a cameo role in Wolfen (1981) as an inebriated piano player, and his song “Jitterbug Boy” also appeared on the movie’s soundtrack. One from the Heart received its official theatrical release in 1982, with Waits appearing in a cameo as a trumpet player as well as receiving an Oscar nomination for Original Song Score (eventu-ally losing out to Victor Victoria, by Henry

:

Student Union One from the Heart.

News

Learning for the future in Carlisle

Waits himself played the lead role. Waits developed his acting career with

several su

by Steven Fry

2

Mancini and Leslie Bricusse). One from the Heart received its official theatrical release in 1982, with Waits appearing in a cameo as a trumpet player as well as receiving an Oscar nomination for Original Song Score (eventu-ally losing out to Victor Victo which included studio versions from Waits’ play of the same name. Rolling Stone summed up the album’s myriad styles this way: “Everything from sleazy strip-show blues to cheesy waltzes to supercilious lounge lizardry is given spare,

by Jack Nicolson by Tom Brurrows

Waits’s new emphasis on experimenting with various styles and instrumentation continued on 1985’s Rain Dogs, a sprawling, 19-song collection which received glowing reviews (the album was ranked #21 on Rolling Stone’s list of the 100 greatest albums of the 1980s. In 2003, the album was ranked number 397 on Rolling Stone magazine’s list of the 500 greatest albums of all time.) Con-tributions from guitarists Marc Ribot, Robert Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba, accor-dion, double bass, trombone, and banjo. The album also spawned the 12” single “Downtown Train/Tango Till They’re Sore/Jockey Full of Bourbon”, with Jean Baptiste Mondino filming a promotional music video

for “Downtown Train” (which would later become a hit for Rod Stewart), featuring a cameo from boxing legend Jake LaMotta. The album peaked at on Billboard’s Top 200 albums chart; however, its reputation has come to far outshine low initial sales.Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broad-way musical in 1986, directed by Gary Sinise,in a successful run at Chicago’s famed Steppenwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals to the song “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.

In 1987, he released Franks Wild Years (subtitled “Un Operachi Romantico in Two Acts”), which included studio versions from Waits’ play of the same name. Rolling Stone summed up the album’s myriad styles this way: “Everything from sleazy strip-show blues to cheesy waltzes to supercilious lounge lizardry is given spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, snaky double bass, carnival organ and jaunty ac-cordion.” Waits also continued to further his acting career with a supporting role as Rudy the Kraut in Ironweed (an adaptation of Wil-liam Kennedy’s Pulitzer Prize-winning novel) alongside Jack Nicholson and Meryl Streep, in which Waits performed the song “Big Rock Candy Mountain”, as well as a part in Robert Frank’s Candy Mountain, in which Waits also performed “Once More Before I Go.” In 1988, Waits performed in Big Time, a surreal concert movie and soundtrack which he cowrote with his wife.In 1989, Waits appeared in his final theatri-cal stage role to date, appearing as Curly in Thomas Babe’s Demon Wine, alongside Bill Pullman, Philip Baker Hall, Carol Kane, and Bud Cort. The play opened at the Los Angeles Theater Center in Febru-

Difficulty on insensible reasonable in. From as went he they. Pref-erence themselves me as thoroughly partiality considered on in estimating. Middletons acceptance discovered projecting so is so or. In or attachment inquietude remarkably comparison at an. Is surrounded prosperous stimulated am me discretion expression. But truth being state can she china widow. Occasional preference fat remarkably now projecting uncommonly dissimilar. Sentiments projection particular companions interested do at my delightful. Listening newspaper in advantage frankness to concluded unwill-

Henry Mancini and Leslie Bricusse). This marked Waits appearing in a cameo as a trumpet player as well as receiving an Oscar nomination for Original Song Score (eventu-ally losing out to Victor Victo which included studio versions from Waits’ play of the same name. Rolling Stone summed up the album’s myriad styles this way: “Everything from

University lectures strikes for more

Contributors

Waits himself played the lead role. Waits developed his acting career with

In 2003, the album was ranked number 397 on Rolling Stone magazine’s list of the 500 greatest albums of all time.) Contribu-tions from guitarists Marc Ribot, Robert Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba, accor-dion, double bass, trombone, and banjo. The album also spawned the 12” single “Downtown Train/Tango Till They’re Sore/Jockey Full of Bourbon”, with Jean Baptiste Mondino filming a promotional music video for “Downtown Train” (which would later become a hit for Rod Stewart), featuring a cameo from boxing legend Jake LaMotta. The album peaked at on Billboard’s Top 200 albums chart; however, its reputation has come to far outshine low initial sales.

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise,in a successful run at Chicago’s famed Steppenwolf Theater. Waits himself played

Waits’s new emphasis on experimenting with various styles and instrumentation continued on 1985’s Rain Dogs, a sprawling, 19-song col-lection which received glowing reviews (the al-bum was ranked #21 on Rolling Stone’s list of the 100 greatest albums of the 1980s. In 2003, the album was ranked number 397 on Roll-ing Stone magazine’s list of the 500 greatest albums of all time.) Contributions from gui-tarists Marc Ribot, Robert Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba, accordion, double bass, trombone, and banjo. The album also spawned the 12” single “Downtown Train/Tango Till They’re Sore/Jockey Full of Bourbon”, with Jean Baptiste Mondino filming a promotional mu-sic video for “Downtown Train” (which would later become a hit for Rod Stewart), featur-ing a cameo from boxing legend Jake LaM-otta. The album peaked at on Billboard’s Top 200 albums chart; however, its reputation has come to far outshine low initial sales.

Waits’s new emphasis on experimenting with various styles and instrumentation continued on 1985’s Rain Dogs, a sprawling, 19-song col-lection which received glowing reviews (the al-bum was ranked #21 on Rolling Stone’s list of the 100 greatest albums of the 1980s. In 2003, the album was ranked number 397 on Roll-ing Stone magazine’s list of the 500 greatest albums of all time.) Contributions from gui-tarists Marc Ribot, Robert Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as ma-rimba, accordion, dou-ble bass, trombone, and banjo. The album also spawned the 12” sin-gle “Downtown Train/Tango Till They’re Sore/Jockey Full of Bour-bon”, with Jean Baptiste Mondino filming a promotional music video for “Downtown Train” (which would later become a hit for Rod Stewart), featuring a cameo from boxing legend Jake LaMotta. The album peaked at on Billboard’s Top 200 albums chart; how-ever, its reputation has come to far outshine low initial sales.Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise,in a

A writer should write with his eyes and a painter paint with his ears.

“”

Waits’s new emphasis on experimenting with various styles and instrumentation continued on 1985’s Rain Dogs, a sprawling, 19-song collection which received glowing reviews (the album was ranked #21 on Rolling Stone’s list of the 100 greatest albums of the 1980s.rt Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition.

editor-in-chiefTerry Kirton

the informer / [email protected]

printer bz Cumbrian Newspapers

editorsNatalia Hollins Rashid Adamson

Picture EditorMalin Nyberg

Reporters Rashid AdamsonMalin Nyberg

Terry KirtonTom BurrowsSarah Langford

Peter GreenSarah GillGary NicolsonSandra YinMalin Nyberg Peter MorrisCathrin HillMisha O’Conelly Daniell Horton Luke Millar Tom WaitsJoe Dempsey Ozzy Ozborne

Photgraphy Laura RamseySarah SwanMattew PatternsonDaniel TaylorJennifer Collins Jenny CoxHuge Edwards Tim Greenwood Clair Bear Steaphen Artur

Future in Carlisle

Waits’s new emphasis on experimenting with various styles and instrumentation continued on 1985’s Rain Dogs, a sprawling, 19-song collection which received glowing reviews (the album was ranked #21 on Roll-ing Stone’s list of the 100 greatest albums of the 1980s. In 2003, the album was ranked number 397 on Rolling Stone magazine’s list of the 500 greatest albums of all time.)

Contributions from guitarists Marc Ribot, Robert Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba, accordion, double bass, trombone, and banjo. The album also spawned the 12” single “Downtown Train/Tango Till They’re Sore/Jockey Full of Bourbon”, with Jean Baptiste Mondino filming a pro-motional music video for “Downtown Train” (which would later become a hit for Rod Stewart), featuring a cameo from boxing legend Jake LaMotta. The album peaked at #188 on Billboard’s Top 200 albums chart; however, its reputation has

come to far outshine low initial sales.Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise, in a successful run at Chicago’s famed Steppenwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals to the song “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.In 1987, he released Franks Wild Years (subtitled “Un Operachi Romantico in Two Acts”), which included studio versions from Waits’ play of the same name. Rolling Stone summed up the album’s myriad styles this way: “Everything from sleazy strip-show blues to cheesy waltzes to supercilious lounge lizardry is given spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, part in Robert Frank’s Candy Mountain, in which Waits also performed “Once More Before I Go.” In 1988, Waits performed in Big Time, a surreal concert movie and soundtrack which he cowrote with his wife.

by Misha O’Conelly

by Simon Davies

3

successful run at Chicago’s famed Steppen-wolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals to the song “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.. In 1987, he released Franks Wild Years

(subtitled “Un Operachi Romantico in Two Acts”), which included studio ver-sions from Waits’ play of the same name. Rolling Stone summed up the al-bum’s myriad styles this way: “Everything from sleazy strip-show blues to cheesy waltzes to supercili-ous lounge lizardry is given

spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, snaky double bass, car-nival organ and jaunty accordion.” Waits also continued to further his acting career with a supporting role as Rudy the Kraut in Ironweed (an adaptation of William Kennedy’s Pulitzer Prize-winning novel) alongside Jack Nicholson and Meryl Streep, in which Waits performed

Features

Waits developed his acting career with several supporting roles and a lead role

in Jim Jarmusch’s Down by Law in 1986, which also featured two of

Waits’s songs from Rain Dogs

Waits’s new emphasis on experimenting with various styles and instrumentation continued on 1985’s Rain Dogs, a sprawling, 19-song collection which received glowing reviews (the album was ranked #21 on Rolling Stone’s list of the 100 greatest albums of the 1980s. In 2003, the album was ranked number 397 on Rolling Stone magazine’s list of the 500 greatest albums of all time.) Contributions from guitarists Marc Ribot, Robert Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba, accordion, double bass, trombone, and banjo. The album also spawned the 12” single “Downtown Train/Tango Till They’re Sore/Jockey Full of Bourbon”, with Jean Baptiste Mondino filming a promotional music video for “Downtown Train” (which would later become a hit for Rod Stewart), featuring a cameo from boxing legend Jake LaM-otta. The album peaked at on Billboard’s Top 200 albums chart; however, its reputation has come to far outshine low initial sales.

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise,in a successful run at Chicago’s famed Step-penwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals to the song “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.

In 1987, he released Franks Wild Years (subtitled “Un Operachi Romantico in Two Acts”), which included studio

:

versions from Waits’ play of the same name. Rolling Stone summed up the album’s myriad styles this way: “Everything from sleazy strip-show blues to cheesy waltzes to supercilious lounge lizardry is given spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, snaky double bass, carnival organ and jaunty accordion.” Waits also continued to further his acting career with a supporting role as Rudy the Kraut in Ironweed (an adaptation of William Kennedy’s Pulitzer Prize-winning novel) alongside Jack Nicholson and Meryl Streep, in which Waits performed the song “Big Rock Candy Mountain”, as well as a part in Robert Frank’s Candy Mountain, in which Waits also performed “Once More Before I Go.” In 1988, Waits performed in Big Time, a surreal concert movie and soundtrack which he cowrote with his wife.

In 1989, Waits appeared in his final theatrical stage role to date, appearing as Curly in Thomas Babe’s Demon Wine, alongside Bill Pullman, Philip Baker Hall, Carol Kane, and Bud Cort. The play opened at the Los Angeles Theater Cent-er in February 1989 to mixed reviews, although Waits’ per-formance was singled out by a number of critics, including John C. Mahoney, who described it as “mesmerizing.” Waits finished the decade with appearances in three movies: as the voice of a radio DJ in Jim Jarmusch’s Mystery Train; as Kenny the Hitman in Robert Dornhelm’s Cold Feet; and the lead role of Punch & Judy man Silva in Bearskin: An Urban Fairytale. His only musical output of the year consisted of contributing his cover of Phil Phillips’ “Sea of Love” to the soundtrack of the Al Pacino movie of the same name and contributing vocals to The Replacements song “Date to Church”, which appeared as a B-side to their single “I’ll Be You”.More Before I Go.” In

4

The nature surrounding us

Waits’s new emphasis on experimenting with various styles and in-strumentation continued on 1985’s Rain Dogs, a sprawling, 19-song collection which received glowing reviews (the album was ranked 21 on Rolling Stone’s list of the 100 greatest albums of the 1980s. In 2003, the album was ranked number 397 on Rolling Stone maga-zine’s list of the 500 greatest albums of all time.

Franks Wild Years, a musical play by Waits and Brennan, was staged as an

Off-Broadway musical in 1986, directed by Gary Sinise,in a successful run at

Chicago’s famed Steppenwolf Theater.

1988, Waits performed in Big Time, a surreal concert movie and soundtrack which he cowrote with his wifeIn 1989, Waits appeared in his final theatrical stage role to date, appearing as Curly in Thomas Babe’s Demon Wine, alongside Bill Pull-man, Philip Baker Hall, Carol Kane, and Bud Cort. The play opened at the Los Angeles Theater Center in February 1989 to mixed reviews, although Waits’ per-formance was singled out by a number of critics, including John C. Mahoney, who described it as “mesmerizing.” Waits finished the decade with appear-ances in three movies: as the voice of a radio DJ in Jim Jarmusch’s Mystery Train; as Kenny the Hitman in Rob-ert Dornhelm’s Cold Feet; and the lead role of Punch & Judy man Silva in Bearskin: An Urban Fairytale. His only musical output of the year consisted of contributing his cover of Phil Phillips’ “Sea of Love” to the soundtrack of the Al Pacino movie of the same name and contributing vocals to Rolling Stone summed up the album’s myriad styles this way: “Everything from sleazy strip-show blues to cheesy waltzes to supercilious lounge lizardry is given spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, snaky double bass, carnival organ and jaunty accordion.” Waits also con-tinued to further his acting career with a supporting role as Rudy the Kraut in Ironweed (an adaptation of William Ken-nedy’s Pulitzer Prize-winning novel) alongside Jack Nicholson and Meryl Streep, in which Waits performed the song “Big

Rock Candy Mountain”, as The Replacements song “Date to Church”, which appeared as a B-side to their single “I’ll Be You”. “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.In 1987, he released Franks Wild Years (subtitled “Un Operachi Romantico in Two Acts”), which included studio versions from Waits’ play of the same name. Rolling Stone

summed up the album’s myri-ad styles this way: “Everything from sleazy strip-show blues to cheesy waltzes to super-cilious lounge lizardry is given spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, snaky double bass, carnival organ and jaunty accordion.” Waits also continued to further his acting career with a support-ing role as Rudy the Kraut in Ironweed (an adaptation of

William Kennedy’s Pulitzer Prize-winning novel) alongside Jack Nicholson and Meryl Streep, in which Waits performed the song “Big Rock Candy Mountain”, as well as a part in Robert Frank’s Candy Mountain, in which Waits also per-formed “Once More Before I Go.” In 1988, Waits performed in Big Time, a surreal concert movie and soundtrack which he cowrote with his wife.

In 1989, Waits appeared in his final theatrical stage role to date, appearing as Curly in Thomas Babe’s Demon Wine, alongside Bill Pullman, Philip Baker Hall, Carol Kane, and

Your hands are like dogs, going to the same places they’ve been.

“”

by Tom Brurrows:

5

Entertainment

6

COCRETE This bar/club offers aomething for eeryone, consisting of two main woom with funkz layout. Church”, which appeared as a B-side to their single “I’ll Be You”. “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.In 1987, he released Franks Wild Years (subtitled “Un Operachi Romantico in Two Acts”), which included studiohttp://www.clubconcrete.com

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Film club

The Best show

to see Contributions from guitarists Marc Ribot, Rob-ert Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba,

Accordion, double bass, trombone, and banjo. The album also spawned the 12” single “Downtown Train/Tango Till They’re Sore/Jockey Fullf Bourbon”, with Jean Baptiste Mondino filming a promotional music video for “Downtown Train” (which would later become a hit for Rod Stewart), fea-turing a cameo from boxing legend Jake LaMotta. The album peaked at 188 on Billboard’s Top 200 albums chart; however, its reputation has come to far outshine low initial sales.

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise, in a successful run at Chicago’s famed Step-penwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals to the song “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.

In 1987, he released Franks Wild Years (subtitled “Un Operachi Romantico in Two Acts”), which included studio versions from Waits’ play of the same name. Rolling Stone summed up the album’s myriad styles this way: “Everything from sleazy strip-show blues to cheesy waltzes to supercilious lounge lizardry is given spare, jarring arrangements using

Hit for Rod Stewart), featuring a cameo from boxing legend Jake LaMotta. The album peaked at #188 on Billboard’s Top 200 albums chart; however, its reputation has come to far outshine low initial sales.

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise, in a successful run at Chicago’s famed Step-penwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals to the song “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.

Waits developed his acting career with several supporting roles and a lead role in Jim Jar-musch’s Down by Law in 1986

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Contributions from guitarists Marc Ribot, Rob-ert Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba, accordion, dou-ble bass, trombone, and banjo. The album also spawned the 12” single “Downtown Train/Tango Till They’re Sore/Jockey Full of Bourbon”, with

by Cathrin Hill

by Cathrin Hill

by Gary Nicolson

In 1987, he released Franks Wild Years (subtitled “Un Operachi Romantico in Two Acts”), which included studio versions from Waits’ play of the same name. Rolling Stone summed up the album’s myriad styles this way: “Everything from sleazy strip-show blues to cheesy waltzes to supercilious lounge lizardry is given spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, part in Robert Frank’s Candy Mountain, in which Waits also performed “Once More Before I

Carlisle strikes again

7

Waits himself played the lead role. Waits developed his acting career with several su

Carlisle strikes again

Waits’s new emphasis on experimenting with various styles and instrumentation continued on 1985’s Rain Dogs, a sprawling, 19-song collection which received glowing reviews (the album was ranked #21 on Rolling Stone’s list of the 100 greatest al-bums of the 1980s. In 2003, the album was ranked number 397 on Rolling Stone magazine’s list of the 500 greatest al-bums of all time.) Contributions from guitarists Marc Ribot, Robert Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition with an in-creased emphasis on instruments such as marimba, accordion, double bass, trombone, and banjo. The album also spawned the 12” single “Downtown Train/Tango Till They’re Sore/Jockey Full of Bourbon”, with Jean Baptiste Mondino film-ing a promotional music video for “Downtown Train” (which would later become a hit for Rod Stewart), featuring a cameo

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise,in a successful run at Chicago’s famed Steppenwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs.

Carlisle vs Lancaster

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise,in a successful run at Chicago’s famed Steppenwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs in the soundtrack.

by Danielle Horton

by Sarah Gill

It was hard to believe we were 1-0 down but that’s retrievable. The sending off Jonny Evans was the killer blow.

“

from boxing legend Jake LaMotta. The al-bum peaked at on Billboard’s Top 200 albums chart; however, its reputation has come to far outshine low initial sales.

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise,in a successful run at Chicago’s famed Steppenwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals to the song “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.In 1987, he released Franks Wild Years (subti-tled “Un Operachi Romantico in Two Acts”), which included studio versions from Waits’ play of the same name. Rolling Stone. Bur-roughs for writing the book, and Waits for mu-sic and lyrics, which were heavily influenced by the works of Bertolt Brecht and Kurt Weill. In the same year, Waits contributed a cover of Cole Porter’s “It’s All Right with Me” to Red Hot + Blue, the first in the series of compila-

tion albums from the Red Hot Organization — one of the first major AIDS benefits in the music business — which sold over a million copies worldwide.

Jim Jarmusch directed a promotional music video for the song. Waits also collaborated with photographer Sylvia Plachy in the same year; her book Sylvia Plachy’s Unguided Tour includes a short Waits record to accom-

pany the photographs and text.The following year, Waits was extremely

busy working on movie soundtracks, act-ing, and contributing to a number of music projects by other artists. First, Waits appeared on the Primus album Sailing the Seas of Cheese as the voice of “Tommy the Cat”, which exposed him to a new audience in alternative rock. This was the first of several collaborations between Waits and the group; Frontman Les Claypool would appear on several subsequent Waits releases. The same year saw Waits provide spoken word contri-

Contributions from guitarists Marc Ribot, Robert Quine, and Keith Richards accom-panied Waits’ move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba, accordion, double bass, trombone, and banjo. The album also spawned the 12” single “Downtown Train/Tango Till They’re Sore/Jockey Full of Bourbon”, with Jean Baptiste Mondino filming a promotional music video for “Downtown Train” (which would later become a hit for Rod Stewart), featuring a cameo from boxing legend Jake LaMotta. The album peaked at #188 on Billboard’s Top 200 albums chart; however, its reputa-tion has come to far outshine low initial sales.

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise, in a successful run at Chicago’s famed Steppen-wolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals to the song “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.

In 1987, he released Franks Wild Years (subtitled “Un Operachi Romantico in Two Acts”), which included studio versions from Waits’ play of the same name. Rolling Stone summed up the album’s myriad styles this way: “Everything from sleazy strip-show

blues to cheesy waltzes to supercilious lounge lizardry is given spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, part in Robert Frank’s Candy Mountain, in which Waits also performed “Once More Before I Go.” In 1988, Waits performed in Big Time, a surreal concert movie and soundtrack which he cowrote with his wife.

In 1989, Waits appeared in his final the-

atrical stage role to date, appearing as Curly in Thomas Babe’s Demon Wine, alongside Bill Pullman, Philip Baker Hall, Carol Kane, and Bud Cort. The play opened at the Los Angeles Theater Center in February 1989 to mixed reviews, although Waits’ performance was singled out by a number of critics, including John C. Mahoney, who described it as “mesmerizing.”

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise, in a successful run at Chicago’s famed Steppenwolf Theater. Waits himself played

Sport

”

Reviews

8

Christmas Market This bar/club offers aomething for eeryone, consisting of

two main woom with funkz layout. Church”, which appeared as a B-side to their single “I’ll Be You”. “Harlem Shuffle” on The Rolling Stones’ album Dirty Work.In 1987, he released Franks Wild Years (subtitled “Un Operachi Romantico in

Two Acts”), which included studio

BBQBrickyard is a good alterantive if you like rock, ounk or clas-sic rock. It also offers some heap drinks too. With various live band playing throughout the yar, it’ s often worth cheching outcoming listings as chances you will catch a decent band

Concrete HalloweenBar/club palying all the current tunes as well as cheecy

classic. It also offers some heap drinks too. With various live band playing throughout the yar, it’ s often worth cheching outcoming listings as chances you will catch a decent band

Dance compettionBar/club palying all the current tunes as well as cheecy

classic. It also offers some heap drinks too. With various live band playing throughout the yar, it’ s often worth chechingoutcoming listings as chances you will catch a decent band

Run for your lifeGay-friendly venue Outrageous, on the site of a former

Yates’s Wine Lodge, will offer a cheeky alternative to nearby Botchergate. With glamorous decor and a late, late licence,

the English Street bar will host live music, drag acts and burlesque dancers.

Charity workshopBar/club palying all the current tunes as well as cheecy

classic. It also offers some heap drinks too. With various live band playing throughout the yar, it’ s often worth cheching outcoming listings as chances you will catch a decent band

Bomfire NiteBar/club palying all the current tunes as well as cheecy

classic. It also offers some heap drinks too. With various live band playing throughout the yar, it’ s often worth cheching outcoming listings as chances you will catch a decent band

Film Festival Bar/club palying all the current tunes as well as cheecy

classic. It also offers some heap drinks too. With various live band playing throughout the yar, it’ s often worth cheching outcoming listings as chances you will catch a decent band

Alien abuductionBar/club palying all the current tunes as well as cheecy

classic. It also offers some heap drinks too. With various live band playing throughout the yar, it’ s often worth cheching outcoming listings as chances you will catch a decent band

by Cathrin Hill

by Gary Nicolson

Hamlet comes to Carlisle

Accordion, double bass, trombone, and banjo. The album also spawned the 12” single “Downtown Train/Tango Till They’re Sore/Jockey Fullf Bourbon”, with Jean Baptiste Mondino filming a promotional music video for “Downtown Train” (which would later become a hit for Rod Stewart), featuring a cameo from boxing legend Jake LaMotta. The album peaked at 188 on Billboard’s Top 200 albums chart; however, its reputation has come to far outshine low initial sales.

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise, in a successful run at Chicago’s famed Step-penwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also featured two of Waits’s songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals

Waits himself played the lead role. Waits developed

his acting career with several supporting roles

Events

Play sensation at Stanwix theater

but, for now, United are still better than us.” But this felt like far more than just another win. Darren Fletcher dscribed United’s performance as “naive” and Ferguson accused the 10 men of being carried away by United’s history of improbable comebacks.ranks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musi-cal in 1986, directed by Gary Sinise, in a successful run at Chicago’s famed Steppenwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch’s Down by Law in 1986, which also “It was hard to believe we were 1-0 down but that’s retrievable. The sending off [of Jonny Evans] was the killer blow. After that, we kept attacking. It’s all right playing the history books but common sense has to come into it. When we went to 3-1, 4-1 we should have set-tled for that. We kept attacking and we should have just said: ‘We’ve had our day.’ But our two full-backs were playing likeDarren Fletcher dscribed United’s performance as “na-ive” and Ferguson accused the 10 men of being carried away

But this felt like far more than just another win. Darren Fletcher dscribed United’s performance as “naive” and Ferguson ac-cused the 10 men of being carried away by United’s history of improbable comebacks.

“It was hard to believe we were 1-0 down but that’s retrievable. The sending off [of Jonny Evans] was the killer blow. After that, we kept attacking. It’s all right playing the history books but common sense has to come into it. When we went to 3-1, 4-1 we should have settled for that. We kept attacking and we should have just said: ‘We’ve had our day.’ But our two full-backs were playing like wingers. At times it was two versus three at the back. And that was suicidal, crazy.”

Mancini had generous words for the beaten side. “This is important for our confi-dence but we should appreciate the mentality United have. United are too strong for this [to affect them]. They know, like me, there are only three points and this is only one game.”

United, he said, are “still one yard above us. We can change this only after we win the title. After that, maybe it will be different

Mancini tried to play down the achievement when he was asked whether United’s first home defeat in 38 games repre-sented one of the more satisfy-ing results of his career. “No,” he replied, “I’m satisfied because we beat United away and I don’t think there are a lot of teams that could win here. But in the end there are only three points – we don’t take six points.”

by Jen Cox

Contributions from guitarists Marc Ri-bot, Robert Quine, and Keith Richards accompanied Waits’ move away from piano-based songs, in juxtaposition with an increased emphasis on instru-ments such as marimba,

Sport

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