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PEOPLE - Oscars 2025: Press Room
Mandatory Credit: Photo by David Fisher/Shutterstock (15168315iq)
Sound, Dune: Part Two, Gareth John, Richard King, Ron Bartlett and Doug Hemphill
97th Annual Academy Awards, Press Room, Los Angeles, California, USA - 02 Mar 2025
(c) Dukas -
DUKAS_169422009_EYE
No birdsong, no water in the creek, no beating wings: how a haven for nature fell silent. Sugarloaf Ridge state park.
As the soundscape of the natural world began to disappear over 30 years, one man was listening and recording it all.
30 years ago, Bernie Krause made his first audio clip in Sugarloaf Ridge state park, 20 minutes' drive from his house near San Francisco.
As a soundscape recordist, Krause had travelled around the world listening to the planet. But in 1993 he turned his attention to what was happening on his doorstep.
Silent spring in Sugarloaf Ridge Park in Sonoma county, California: Desirai Harp: Sugarloaf Educator and member of the local Mishawel Wappo tribe, who can give you a perspective on the natural history and cultural history of the area..
Cayce Clifford / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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(FOTO: DUKAS/EYEVINE)
Copyright Cayce Clifford 2023 -
DUKAS_169421993_EYE
No birdsong, no water in the creek, no beating wings: how a haven for nature fell silent. Sugarloaf Ridge state park.
As the soundscape of the natural world began to disappear over 30 years, one man was listening and recording it all.
30 years ago, Bernie Krause made his first audio clip in Sugarloaf Ridge state park, 20 minutes' drive from his house near San Francisco.
As a soundscape recordist, Krause had travelled around the world listening to the planet. But in 1993 he turned his attention to what was happening on his doorstep.
Silent spring in Sugarloaf Ridge Park in Sonoma county, California. : Bernie Kraus where he did his recording, including the fallen Grandmother oak & the creek.
Cayce Clifford / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Copyright Cayce Clifford 2023 -
DUKAS_169422010_EYE
No birdsong, no water in the creek, no beating wings: how a haven for nature fell silent. Sugarloaf Ridge state park.
As the soundscape of the natural world began to disappear over 30 years, one man was listening and recording it all.
30 years ago, Bernie Krause made his first audio clip in Sugarloaf Ridge state park, 20 minutes' drive from his house near San Francisco.
As a soundscape recordist, Krause had travelled around the world listening to the planet. But in 1993 he turned his attention to what was happening on his doorstep.
Silent spring in Sugarloaf Ridge Park in Sonoma county, California. : Bernie Kraus where he did his recording, including the fallen Grandmother oak & the creek.
Cayce Clifford / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Copyright Cayce Clifford 2023 -
DUKAS_169422015_EYE
No birdsong, no water in the creek, no beating wings: how a haven for nature fell silent. Sugarloaf Ridge state park.
As the soundscape of the natural world began to disappear over 30 years, one man was listening and recording it all.
30 years ago, Bernie Krause made his first audio clip in Sugarloaf Ridge state park, 20 minutes' drive from his house near San Francisco.
As a soundscape recordist, Krause had travelled around the world listening to the planet. But in 1993 he turned his attention to what was happening on his doorstep.
Silent spring in Sugarloaf Ridge Park in Sonoma county, California. : Bernie Kraus where he did his recording, including the fallen Grandmother oak & the creek.
Cayce Clifford / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Copyright Cayce Clifford 2023 -
DUKAS_169422014_EYE
No birdsong, no water in the creek, no beating wings: how a haven for nature fell silent. Sugarloaf Ridge state park.
As the soundscape of the natural world began to disappear over 30 years, one man was listening and recording it all.
30 years ago, Bernie Krause made his first audio clip in Sugarloaf Ridge state park, 20 minutes' drive from his house near San Francisco.
As a soundscape recordist, Krause had travelled around the world listening to the planet. But in 1993 he turned his attention to what was happening on his doorstep.
Silent spring in Sugarloaf Ridge Park in Sonoma county, California. : Bernie Kraus where he did his recording, including the fallen Grandmother oak & the creek.
Cayce Clifford / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Copyright Cayce Clifford 2023 -
DUKAS_169422024_EYE
No birdsong, no water in the creek, no beating wings: how a haven for nature fell silent. Sugarloaf Ridge state park.
As the soundscape of the natural world began to disappear over 30 years, one man was listening and recording it all.
30 years ago, Bernie Krause made his first audio clip in Sugarloaf Ridge state park, 20 minutes' drive from his house near San Francisco.
As a soundscape recordist, Krause had travelled around the world listening to the planet. But in 1993 he turned his attention to what was happening on his doorstep.
Silent spring in Sugarloaf Ridge Park in Sonoma county, California. : Bernie Kraus where he did his recording, including the fallen Grandmother oak & the creek nearby.
Cayce Clifford / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Copyright Cayce Clifford 2023 -
DUKAS_169422016_EYE
No birdsong, no water in the creek, no beating wings: how a haven for nature fell silent. Sugarloaf Ridge state park.
As the soundscape of the natural world began to disappear over 30 years, one man was listening and recording it all.
30 years ago, Bernie Krause made his first audio clip in Sugarloaf Ridge state park, 20 minutes' drive from his house near San Francisco.
As a soundscape recordist, Krause had travelled around the world listening to the planet. But in 1993 he turned his attention to what was happening on his doorstep.
Silent spring in Sugarloaf Ridge Park in Sonoma county, California: : Bernie Kraus where he did his recording.
Cayce Clifford / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Copyright Cayce Clifford 2023 -
DUKAS_169422025_EYE
No birdsong, no water in the creek, no beating wings: how a haven for nature fell silent. Sugarloaf Ridge state park.
As the soundscape of the natural world began to disappear over 30 years, one man was listening and recording it all.
30 years ago, Bernie Krause made his first audio clip in Sugarloaf Ridge state park, 20 minutes' drive from his house near San Francisco.
As a soundscape recordist, Krause had travelled around the world listening to the planet. But in 1993 he turned his attention to what was happening on his doorstep.
Silent spring in Sugarloaf Ridge Park in Sonoma county, California: E. Breck Parkman, Retired California State Parks archeologist He lived at the park for many years and is familiar with the fire history and overall history of the area..
Cayce Clifford / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Copyright Cayce Clifford 2023 -
DUKAS_169422012_EYE
No birdsong, no water in the creek, no beating wings: how a haven for nature fell silent. Sugarloaf Ridge state park.
As the soundscape of the natural world began to disappear over 30 years, one man was listening and recording it all.
30 years ago, Bernie Krause made his first audio clip in Sugarloaf Ridge state park, 20 minutes' drive from his house near San Francisco.
As a soundscape recordist, Krause had travelled around the world listening to the planet. But in 1993 he turned his attention to what was happening on his doorstep.
Silent spring in Sugarloaf Ridge Park in Sonoma county, California: Jack Hines.
Cayce Clifford / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Copyright Cayce Clifford 2023 -
DUKAS_169422011_EYE
No birdsong, no water in the creek, no beating wings: how a haven for nature fell silent. Sugarloaf Ridge state park.
As the soundscape of the natural world began to disappear over 30 years, one man was listening and recording it all.
30 years ago, Bernie Krause made his first audio clip in Sugarloaf Ridge state park, 20 minutes' drive from his house near San Francisco.
As a soundscape recordist, Krause had travelled around the world listening to the planet. But in 1993 he turned his attention to what was happening on his doorstep.
Silent spring in Sugarloaf Ridge Park in Sonoma county, California: Steve Lee, Manager, Sonoma Ecology Center Research. He is familiar with the creeks and aquatic creatures (especially the Salmon) in the park and the area..
Cayce Clifford / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Copyright Cayce Clifford 2023 -
DUKAS_166168997_REX
77th British Academy Film Awards, Press Room, Royal Festival Hall, London, UK - 18 Feb 2024
Mandatory Credit: Photo by Dave Hogan/Hogan Media/Shutterstock (14351069ag)
Johnnie Burn and Tarn Willers pose with the Sound Award for 'The Zone of Interest' in the Winner's Room at the EE BAFTA Film Awards 2024, on February 18, 2024 in London, United Kingdom. (Photo by Dave Hogan/Hogan Media/Shutterstock)
77th British Academy Film Awards, Press Room, Royal Festival Hall, London, UK - 18 Feb 2024 -
DUK10156580_023
NEWS - Illustration: Social Media User
The Viber logo is seen in this photo illustration on 22 August, 2023 in Warsaw, Poland. (Photo by Jaap Arriens/NurPhoto)
(c) Dukas -
DUK10156580_012
NEWS - Illustration: Social Media User
The Viber logo is seen in this photo illustration on 22 August, 2023 in Warsaw, Poland. (Photo by Jaap Arriens/NurPhoto)
(c) Dukas -
DUKAS_157437860_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437884_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437886_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437883_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437867_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437879_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437859_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437894_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437866_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437887_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437898_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437870_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
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DUKAS_157437882_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
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DUKAS_157437899_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
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DUKAS_157437891_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
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© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437892_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
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DUKAS_157437868_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
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DUKAS_157437861_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
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http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
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DUKAS_157437880_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
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http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437858_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437885_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
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DUKAS_157437869_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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http://www.eyevine.com (FOTO: DUKAS/EYEVINE)
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DUKAS_157437890_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
(Left to Righ)Michael "Bami" Rose and Tony Uter photographed outside The Effra Hall Tavern before they played their gig as part of Jamaican Jazz band. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland. Tony Uter is 92 and plays percussion. Tony ‘Groco’ Uter on conga drums, just a mere 92 years old, he has played with just about everyone on the British Blues n Jazz and Carribbean scene, including Ronnie Scott, Dizzy Gillespie, Bob Marley, Rico Rodriguez and currently the poet Linton ‘Kwesi’ Johnson.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
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DUKAS_157437856_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
(Left to Righ)Michael "Bami" Rose and Tony Uter photographed outside The Effra Hall Tavern before they played their gig as part of Jamaican Jazz band. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland. Tony Uter is 92 and plays percussion. Tony ‘Groco’ Uter on conga drums, just a mere 92 years old, he has played with just about everyone on the British Blues n Jazz and Carribbean scene, including Ronnie Scott, Dizzy Gillespie, Bob Marley, Rico Rodriguez and currently the poet Linton ‘Kwesi’ Johnson.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437871_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
(Left to Righ)Michael "Bami" Rose and Tony Uter photographed outside The Effra Hall Tavern before they played their gig as part of Jamaican Jazz band. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland. Tony Uter is 92 and plays percussion. Tony ‘Groco’ Uter on conga drums, just a mere 92 years old, he has played with just about everyone on the British Blues n Jazz and Carribbean scene, including Ronnie Scott, Dizzy Gillespie, Bob Marley, Rico Rodriguez and currently the poet Linton ‘Kwesi’ Johnson.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437857_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
(Left to Righ)Michael "Bami" Rose and Tony Uter photographed outside The Effra Hall Tavern before they played their gig as part of Jamaican Jazz band. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland. Tony Uter is 92 and plays percussion. Tony ‘Groco’ Uter on conga drums, just a mere 92 years old, he has played with just about everyone on the British Blues n Jazz and Carribbean scene, including Ronnie Scott, Dizzy Gillespie, Bob Marley, Rico Rodriguez and currently the poet Linton ‘Kwesi’ Johnson.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437893_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
(Left to Righ)Michael "Bami" Rose and Tony Uter photographed outside The Effra Hall Tavern before they played their gig as part of Jamaican Jazz band. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland. Tony Uter is 92 and plays percussion. Tony ‘Groco’ Uter on conga drums, just a mere 92 years old, he has played with just about everyone on the British Blues n Jazz and Carribbean scene, including Ronnie Scott, Dizzy Gillespie, Bob Marley, Rico Rodriguez and currently the poet Linton ‘Kwesi’ Johnson.
© Antonio Olmos / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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© Guardian / eyevine. All Rights Reserved. -
DUKAS_157437862_EYE
'We'll play until our teeth drop out!' The long, remarkable lives of Britain’s Windrush-era musicians.
Now in their 80s and 90s, having faced down racism and neglect, musicians of Caribbean heritage are still centre stage in the adopted country where they've enriched music in so many ways.
When the Empire Windrush docked at Tilbury in 1948, passengers disembarking included Trinidadian calypsonians Lord Beginner, Lord Woodbine, Monica Baptiste and Lord Kitchener, the latter serenading the Pathé News film crew with an a cappella version of his song London Is the Place For Me. Until the Commonwealth Immigrant Acts (1962, 1968, 1971) produced a hostile environment for Caribbean nationals wanting to emigrate, many West Indian musicians would follow them, introducing everything from ska to soca. A handful of them would achieve international success; others would be broken by their experiences. Most were overlooked and would endure many privations, but they all enriched British music in myriad ways.
Michael "Bami" Rose as he reflects on their legacy ahead of this week's Windrush 75 commemorations. Bami is preparing for tonight's residency at Brixton's Effra Tavern with Jamaican Jazz, an ensemble formed in the early 1990s that paired veterans - Rose, the late trombonist Rico Rodriquez, percussionist Tony Uter, trumpeter Eddie "Tan-Tan" Thornton - with younger Black British players.
(Left to Righ)Michael "Bami" Rose and Tony Uter photographed outside The Effra Hall Tavern before they played their gig as part of Jamaican Jazz band. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland. Tony Uter is 92 and plays percussion. Tony ‘Groco’ Uter on conga drums, just a mere 92 years old, he has played with just about everyone on the British Blues n Jazz and Carribbean scene, including Ronnie Scott, Dizzy Gillespie, Bob Marley, Rico Rodriguez and currently the poet Linton ‘Kwesi’ Johnson.
© Antonio Olmos / Guardian / eyevine
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https://www.theguardian.com/music/2023/jun/22/well-play-until-our-teeth-drop-out-the-long-remarkable-lives-of-britains-windrush-era-musicians
Michael "Bami" Rose playing saxophone with the Jamaican Jazz Band at the Effra Hall Tavern in Brixton. Michael Bami Rose is 80 years old and has played for many other musicians including Jools Holland. (FOTO: DUKAS/EYEVINE)
©Antonio Zazueta Olmos info@antonioolmos.com +44-771-729-6351 www.antonioolmos.com -
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'The Bacharach Sound' TV Programme. - 1965
Editorial use only
Mandatory Credit: Photo by ITV/Shutterstock (3530813e)
The Merseybeats, Burt Bacharach and Dusty Springfield
'The Bacharach Sound' TV Programme. - 1965 -
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ITV ARCHIVE
Editorial use only
Mandatory Credit: Photo by ITV/Shutterstock (992397as)
'The Bacharach Sound' TV Programme - Burt Bacharach
ITV ARCHIVE -
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NEWS - Schulmassaker in Uvalde: 18-jährige Todesschütze Salvador Ramos nähert sich der Schule
Rex Features Ltd. do not claim any Copyright or License of the attached image
Mandatory Credit: Photo by Shutterstock (12955812g)
Eye-witness video footage which appears to capture the moment 18-year-old shooter Salvador Ramos approaches the school and enters the building carrying what appears to be an automatic weapon and kills 14 students and a teacher at Robb Elementary School in Uvalde, Texas. What sound like gunfire can be heard on the footage going off in the background. The video was shared on an "open" Facebook page by Elsa G Ruiz who captioned the video footage: "What my girls just sent me this is at Robb. Prayers for the kids and staff."
Salvador Ramos who killed 14 students and a teacher at Robb Elementary School, Uvalde, Texas, USA - 24 May 2022
(c) Dukas -
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NEWS - Schulmassaker in Uvalde: 18-jährige Todesschütze Salvador Ramos nähert sich der Schule
Rex Features Ltd. do not claim any Copyright or License of the attached image
Mandatory Credit: Photo by Shutterstock (12955812h)
Eye-witness video footage which appears to capture the moment 18-year-old shooter Salvador Ramos approaches the school and enters the building carrying what appears to be an automatic weapon and kills 14 students and a teacher at Robb Elementary School in Uvalde, Texas. What sound like gunfire can be heard on the footage going off in the background. The video was shared on an "open" Facebook page by Elsa G Ruiz who captioned the video footage: "What my girls just sent me this is at Robb. Prayers for the kids and staff."
Salvador Ramos who killed 14 students and a teacher at Robb Elementary School, Uvalde, Texas, USA - 24 May 2022
(c) Dukas -
DUK10149753_002
NEWS - Schulmassaker in Uvalde: 18-jährige Todesschütze Salvador Ramos nähert sich der Schule
Rex Features Ltd. do not claim any Copyright or License of the attached image
Mandatory Credit: Photo by Shutterstock (12955812e)
Eye-witness video footage which appears to capture the moment 18-year-old shooter Salvador Ramos approaches the school and enters the building carrying what appears to be an automatic weapon and kills 14 students and a teacher at Robb Elementary School in Uvalde, Texas. What sound like gunfire can be heard on the footage going off in the background. The video was shared on an "open" Facebook page by Elsa G Ruiz who captioned the video footage: "What my girls just sent me this is at Robb. Prayers for the kids and staff."
Salvador Ramos who killed 14 students and a teacher at Robb Elementary School, Uvalde, Texas, USA - 24 May 2022
(c) Dukas -
DUK10149753_001
NEWS - Schulmassaker in Uvalde: 18-jährige Todesschütze Salvador Ramos nähert sich der Schule
Rex Features Ltd. do not claim any Copyright or License of the attached image
Mandatory Credit: Photo by Shutterstock (12955812f)
Eye-witness video footage which appears to capture the moment 18-year-old shooter Salvador Ramos approaches the school and enters the building carrying what appears to be an automatic weapon and kills 14 students and a teacher at Robb Elementary School in Uvalde, Texas. What sound like gunfire can be heard on the footage going off in the background. The video was shared on an "open" Facebook page by Elsa G Ruiz who captioned the video footage: "What my girls just sent me this is at Robb. Prayers for the kids and staff."
Salvador Ramos who killed 14 students and a teacher at Robb Elementary School, Uvalde, Texas, USA - 24 May 2022
(c) Dukas -
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Noises off: the battle to save our quiet places
Sounds of silence: a recording device used by Gordon Hempton.
We wouldnÕt condone litter in our parks and countryside, so why do we put up with sound pollution? Alex Moshakis meets the people tasked with Ôsaving quiet for the benefit of all lifeÕ and hears their stories.
© Cameron Karsten / Guardian / eyevine
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(FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
