Monty Williams Quotes

Exeter was a walled city and on his arrival William found the rebels manning the whole circuit of its ramparts. In a final attempt to induce a surrender he ordered one of the hostages to be blinded in view of the walls, but, says Orderic, this merely strengthened the determination of the defenders. Indeed, according to William of Malmesbury, one of them staged something of a counter-demonstration by dropping his trousers and farting loudly in the king’s general direction.

My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.

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Wood Music: A Playlist Foals, ‘Birch Tree’, 2015 Arnold Bax, November Woods, 1917 The Beatles, ‘Norwegian Wood’, 1965 Igor Stravinsky, ‘Berceuse’, from The Firebird, 1910 A Woodland Reading List William Boyce and David Garrick, ‘Heart of Oak’, 1760 George Butterworth, The Banks of Green Willow, 1913 ——, ‘Loveliest of Trees’, from ‘A Shropshire Lad’, 1911 Editors, ‘I Want a Forest’, 2009 Edward Elgar, String Quartet in E minor, Op. 83, 1919 ——, Quintet in A minor, Op., 84, 1918 ——, Cello Concerto in E minor, Op. 85, 1919 ——, Owls: An Epitaph, Op. 27, 1907 Keane, ‘Somewhere Only We Know’, 2004 Lindisfarne, Dingly Dell, 1972 Oasis, ‘Songbird’, 2002 Pink Floyd, ‘Careful with That Axe, Eugene’, 1969 Camille Saint-Saëns, ‘Le Coucou au Fond des Bois’ (‘The Cuckoo in the Depths of the Wood’), 1886 Pablo Casals, ‘El Cant dels Ocells’ (‘Song of the Birds’), 1961 Antonín Dvořák, Waldesruhe (‘Silent Woods’) for cello and orchestra, Op. 68, no. 5, 1894 Edvard Grieg, Lyric Pieces, Op. 43, no. 4, ‘Little Bird’, 1886 Franz Liszt, Legende S.175 no. 1, St Francis of Assisi preaching to the birds, 1863 Monty Python, ‘The Lumberjack Song’, 1975 Van Morrison, ‘Redwood Tree’, 1972 Wolfgang Amadeus Mozart, ‘Der Vogelfänger bin ich ja’ (‘The Bird- catcher, that’s me’), from Die Zauberflöte (The Magic Flute), 1791 George Perlman, ‘A Birdling Sings’, from ‘Ghetto Sketches’, 1931 Pulp, ‘The Trees’, 2001 Radiohead, King of Limbs, 2011 Robert Schumann, ‘Jäger auf der Lauer’ (‘Hunters on the Lookout’), from Waldszenen (Forest Scenes), Op. 82, no. 2, 1850–51 ——, ‘Freundliche Landschaft’ (‘Friendly Landscape’), from Waldszenen (Forest Scenes), Op. 82, no. 5, 1850–51 Jean Sibelius, ‘The Aspen’, no. 3, ‘The Birch’, no. 4, ‘The Spruce’, no. 5, from Op. 75, ‘The Trees’, 1914–19 Trad., ‘The Trees They Do Grow High’ ——, ‘The Willow Tree’ The Verve, ‘Sonnet’, from Urban Hymns, 1997 Paul Weller, ‘Wild Wood’, 1993