Climate activist and writer JANE ROGERS introduces her new collection, Fire-ready, and examines the connection between life and fiction
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Memorable communion with audience
A worthy trip down a memory lane of musical innovation, principles and messages that still matter in our current austere times, writes MIK SABIERS
IRREPRESSIBLE: Heaven 17 in action
[Andrew Hurley/flickr]
ELEANOR DOBSON reflects on a stark visual record of the violent desecration of Tutankhamun’s mummified remains
RUTH AYLETT appreciates the rich blend of poetry and music that accompanied the launch of the Morning Star’s anthology of poetry, Who We Are
WANJA KIMANI explores the many bonds of community experience expressed in in the bold and colourful imagery of a new mural
New releases from Keeley, Lucinda Williams and Ye Vagabonds
JAN WOOLF ponders the works and contested reputation of the West German sculptor and provocateur, who believed that everybody is potentially an artist
Heaven 17
London Roundhouse
WHEN the BBC banned Heaven 17’s debut single Fascist Groove Thang for its left-wing lyrics in 1981, it took two more years before the band’s most well-known single – Temptation – almost hit the top spot.
This slow burn mirrored that of The Human League, who formed back in 1977 but only saw commercial success with Don’t You Want Me once founding members Ian Craig Marsh and Martyn Ware had left the band to form Heaven 17.
The Human League’s first two albums, co-written by Ware, may have been innovative, but weren’t necessarily commercial with tracks like Circus of Death, Life Kills and Being Boiled.
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