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Post by nonrabbit on Sept 1, 2013 12:54:32 GMT
Now in their second year, the awards take place on Tuesday in Kew Gardens, again hosted by BBC Newsnight presenter (and progressive rock fan) Gavin Esler. Other nominated acts include Steve Hackett, Steven Wilson and The Enid. Jethro Tull's Ian Anderson is to be honoured with the Prog God Award.
www.bbc.co.uk/news/entertainment-arts-23881382Could someone please photoshop any picture of Ian and stick a crown on it?
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Post by JTull 007 on Sept 1, 2013 17:32:00 GMT
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Post by maddogfagin on Sept 3, 2013 11:09:20 GMT
Gavin Esler on meeting Jethro Tull's Ian Anderson: I'm a progressive-music fanatic - and proud of itNewsnight's Gavin Esler has been a lifelong progressive-music fan. He reveals his passion for the unfashionable genre, and why he's thrilled to give an award to his hero, Jethro Tull frontman Ian Anderson www.independent.co.ukDon't meet your heroes. People say that in person they are never as impressive as you think. I never have met any heroes – except one. The exception is Ian Anderson, flute player extraordinaire, creative musical talent for more than 40 years, and the man most associated with the band Jethro Tull. As a teenager growing up in Edinburgh, my parents were suspicious of Cream and Led Zeppelin, and Tull was the first big band they allowed me to see live with my friends. I suspect that my father assumed a band named after an 18th-century agricultural reformer with a flute player who stood on one leg, was most definitely safer than Eric Clapton, Jack Bruce and (especially) Ginger Baker. A Jethro Tull album was – along with Cream and Led Zeppelin – one of the first I ever bought. We listened to them, Murray and Jack and I, in my friends' homes drinking terrible instant coffee and generally looking down on those lesser mortals who preferred Fleetwood Mac. Flared trousers and bad haircuts were also involved, but let's skip the details. Many, many years later, I found myself on a plane bound for London from the Middle East. I struck up a conversation with the passenger sitting next to me, a woman violinist called Anna Phoebe who had been playing at a concert in the Arabian desert along with the likes of Placido Domingo. She mentioned that when she reached London, she was heading off on tour as a guest artist with Ian Anderson and Jethro Tull. I was impressed. "Bringing down the average age of the band by a few decades," I thought. More politely I said, "So what's he like, Ian Anderson?" I expected to hear – at the very least – that Ian was as crazy as a loon, perhaps that he practised standing on one leg playing the flute while howling at the moon at three o'clock in the morning. "He's lovely," was the disappointing response. "A real inspiration." The hero of my teenage years was described as a great guy, an extraordinary musician, endlessly creative, professional, demanding, a perfectionist who got the best out of those around him, and yet who lived in the real world, whereas I was expecting a pastiche of "Je Suis un Rock-star". Damn. I liked the sound of Ian Anderson, although I liked the violinist even better, which is why I eventually married her. (Though that's another story.) Today, I'm delighted to say, Ian Anderson's outstanding 40-year-plus career will be publicly recognised by his peers and fans. I will be hosting the Progressive Music Awards, and will be handing over to Ian the 2013 Prog God award for a lifetime achievement in the music industry. The creation of the awards last year is itself a miracle of survival. Progressive music was proclaimed dead in the 1970s and several times since, but – as anyone listening to the recent Pink Floyd tributes will have noticed – whatever the prejudices of the occasional critic, and the difficulties of radio producers playing six or 10-minute tracks, audiences love the music. Even though I have known Ian for years now, and watched his sound-checks and shows in venues and festivals from Potsdam and Canterbury Cathedral to most recently the Royal Albert Hall, it's a bit odd to interrogate your friends. But one result of being asked to present the awards is that I have had the chance to ask one of the fathers of progressive music all the impertinent questions about prog. Wasn't it killed off by its own arrogance, not to mention the 10-minute drum solos? "Pomp and arrogance went with the genre," Ian says. "But most of the musos engaged with prog did have a self-awareness and sense of humour, not always associated with the genre." But those musicians took themselves so seriously that the term "Prog" was used only as abuse, yes? "Prog didn't really go away," Ian replied. "Just took a catnap in the late Seventies. A new generation of fans discovered it and a whole new array of bands and solo artists took it on into the new millennium. The showing-off era has largely been replaced with careful, thoughtful, arranged playing and all drum solos consigned to the far horizons. Although their usefulness as a welcome pee-break for the proper musicians should never be entirely disregarded." Ah, yes. The old rock riddle: What do you call a guy who hangs out with musicians? A drummer. But why the flute? In the Sixties and Seventies, everyone (including me) wanted to play the guitar. In my childhood, I heard the flute at Orange marches when I visited my grandmother in Glasgow or when the BBC televised the Proms and some lady in evening dress waggled it around to no particular effect. Ian admitted that he, too, wanted to be a guitar hero but he played the instrument badly as a teenager. When Eric Clapton appeared "as THE gunslinger guitar hero in 1967", Ian "part-exchanged my Sixties Fender Strat (worth a good £25,000 today) for a £30 student flute and a microphone. I played the flute but still thought guitar." He was self-taught on what has to be one of the least likely rock instruments, but adapted it for rock. "I wasn't the best flute player in town, by a long way, but I was probably the loudest." But what is it that after more than 40 years in the business that motivates Ian Anderson to be not just the creative centre of one of the world's longest-lasting rock bands but also artistic director, manager, and travel agent? I mention that Debbie Harry once admitted to me in an interview that she really had not a clue where the money came from for Blondie – or where it went. After a string of hits, she woke up one day and realised the money had gone, the five-star hotels and corporate jets did not pay for themselves, and she needed to start touring again. Ian Anderson is precisely the opposite. His self-management means he and his family know everything you can imagine about the profession of being a musician, including the 80-100 shows he plays on tour every year. "Touring is what you make it. I like to organise as much as possible myself." Control freak, I suggest. "Not to be a control-freak. To take the stress out of the job." It's less stressful booking your own tickets? Ian thinks so, compared to tours in the distant past when the band was herded like sheep, whereas nowadays "at least I hop on the plane knowing where I am going and when I am coming back. We all sit separately in aisle seats. Never together. Otherwise, it really would get too cosy for a long tour." But why tour at all? I persist. You don't need to. Oh yes he does. "Me caveman," Ian says. "Go hunt woolly mammoth. Bring meat for children....(It's) imprinted in the genes. Why stop when you're having fun?" The schedule takes the latest Thick as a Brick tour to Belarus, Russia, Finland, Denmark, and the US. Then it's the release of a new album in 2014 plus a full 20-date UK tour. Are we talking prog here, I wonder. In 2014? "A new concept album ... In the ... er ... folk-prog-metal genre. You know the one. The assault on the inner ear. The banshee wail of the rusty flute. But also with hopefully thought provoking lyrics on the subject of the itinerant, restless, migratory soul of our species. Which fits me perfectly." I have watched Ian perform along with artists including Iron Maiden's Bruce Dickinson, Deep Purple's Jon Lord, Soft Cell's Marc Almond and the Moody Blues' Justin Hayward. On the face of it, this peculiar eclectic tribe of musicians have nothing much in common, until confronted with a live audience, and then the "restless, migratory souls" are at home. "I was always more interested in the ultimate live performance rather than the recording for its own sake," Ian says. "And, for the audience too, that thrill of – just being there." As record sales collapse, and record shops close, live performance continues. All over the world, in the teeth of the worst economic crisis of our lifetimes, people still find money to go to hear the musicians they love. "The concert hall, theatre and arena are the Sunday church of today," Ian says. "Not in the sense of idol-worship, but to meet in that cultural gathering point and to share social experience. It's the willingness to fall for a moment under the spell, not of the priest, but of the musician, actor, singer. Our politicians may fail us, but Status Quo always deliver on the promise." And so does Ian Anderson, live, in the Sunday church of today. Not a bad place for the 2013 Prog God. For UK tour dates, see jethrotull.com
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Post by nonrabbit on Sept 3, 2013 16:57:35 GMT
Aww isn't that sweet. Didn't realise Ian was the "cupid" that brought then together or that Gav's granny came from Glesca
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Post by jackinthegreen on Sept 3, 2013 20:15:32 GMT
Nice interview that........ Is the awards televised Would love to see Ian get his GOD award........
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Post by nonrabbit on Sept 3, 2013 21:57:13 GMT
Hope it's been televised! i39.images obliterated by tinypic/652x75.jpg[/IMG] www.music-news.com/shownews.asp?H=Ian-Anderson,-Marillion-and-Steve-Hackett-win-at-Progressive-Music-Awards&nItemID=69989 "Ian Anderson says, 'The innocent voyage of restless souls: that's prog rock. Sometimes bombastic, self-indulgent and worse, it is also an honest, gut-felt reaction to the often simplistic and repetitive nature of much of pop and rock. It is, indeed, an honour to receive this illustrious Prog award and dwell in such lofty heights amongst the good and the great of the last forty-plus years. I remain very happy to inhabit the progressive rock world, as both performer and listener. And where else could a self-taught, mediocre but extremely loud flute player make a decent living? Not in country and western, I would suppose. But, hey: if the boots fit and the buckskin-fringed coyote crooner calls, then count me in cowboy! Brokeback Mountain could never sound sweeter.'
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Post by nonrabbit on Sept 4, 2013 6:39:13 GMT
He's giving One Direction a run for their money this month - he's everywhere i44.images obliterated by tinypic/2pziouh.jpg[/IMG]
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Post by nonrabbit on Sept 4, 2013 6:46:46 GMT
Steven Wilson gets the award for the best prog album the excellent The Raven That Refused To Sing (and other Stories) i39.images obliterated by tinypic/2sbvacy.jpg[/IMG] 2013 Progressive Music Award winners Band Of The Year: Marillion Album Of The Year: Steven Wilson – The Raven That Refused To Sing (And Other Stories) Event Of The Year: Steve Hackett – Genesis Revisited II at Hammersmith Apollo Anthem: Von Hertzen Brothers – Flowers And Rust Storm Thorgerson Grand Design: Family – Once Upon A Time box set Breakthrough: Big Big Train Limelight: Sound Of Contact Guiding Light: Thomas Waber, founder, InsideOut Records Virtuoso: Mike Portnoy (Winery Dogs, Transatlantic, PSMS, ex-Dream Theater) Visionary: Steve Hillage (Gong, System 7) Lifetime Achievement: Dave Brock (Hawkwind) Prog God: Ian Anderson (Jethro Tull)
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Post by nonrabbit on Sept 4, 2013 7:13:40 GMT
i42.images obliterated by tinypic/j63mud.jpg[/IMG] "What's really happening with Jethro Tull"
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Deleted
Deleted Member
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Post by Deleted on Sept 4, 2013 14:15:06 GMT
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Post by JTull 007 on Sept 4, 2013 15:15:03 GMT
Prog Awards 2013 - RESULTS Ian Anderson Rules!... Always a Winner
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Post by nonrabbit on Sept 4, 2013 16:49:07 GMT
He really does look like Walter White from Breaking Bad in that pic Maybe someone shouted that?
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Post by maddogfagin on Sept 5, 2013 8:48:41 GMT
He really does look like Walter White from Breaking Bad in that pic Maybe someone shouted that? Some drunken audience member probably shouted "Aqualung". It has been known to happen
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Post by nonrabbit on Sept 5, 2013 17:00:43 GMT
I've just bought my copy of Prog mag - £7.99 !! had the usual moan in the newsagents with the boy that works there however he informed me that his Ipad mag costs £12.99 !! Then we discussed music/vinyl and he told me he plays in a band ............etc etc
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Post by maddogfagin on Sept 5, 2013 17:40:46 GMT
I've just bought my copy of Prog mag - £7.99 !! had the usual moan in the newsagents with the boy that works there however he informed me that his Ipad mag costs £12.99 !! Then we discussed music/vinyl and he told me he plays in a band ............etc etc It was on special offer at WH Smith - £5.99. Maybe the boss of the magazine dept. at Smiths is a Tull fan.
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Post by Tull50 on Sept 5, 2013 20:16:57 GMT
2013 Progressive Music Awards: The Story Of The Nightwww.progrockmag.com/news/2013-progressive-music-awards-the-story-of-the-night/The second Progressive Music Awards, presented by Orange Amplification, brought the great and the good of the prog world together in the gorgeous surrounds of Kew Gardens. The first port of call for the evening was an hour-long Champagne and Boodles Gin reception in the Nash Conservatory – also the luxurious venue for an earlier ProgRocks! roundtable featuring Steve Hillage, Steve Rothery, Mike Portnoy, Mikko Von Hertzen and the Safety Fire’s Dez Nagle, which you will be able to read much more about in the upcoming issues of Prog. The aforementioned should give an idea of the social strata of the evening as celebrated seniors such as Marillion and Hawkwind mingled with newer talent like Amplifier and Touchstone while celebrity prog fans Bill Oddie, Matthew Wright and Gavin Esler also enjoyed the bubbly. While Champagne and cocktails in the sunshine is nothing to be sniffed at, the three-course fine dining experience that followed was exceptional. The wine flowed as a goat’s cheese starter, sumptuous rare breed main and chocolate peanut butter fondant dessert led to much merriment. There was a buzz in the air as old friends reconnected and new acquaintances were made, all to the sound of clinking glasses. Once the last of the food was devoured, Steve Hackett took the stage for a couple of acoustic numbers including Horizons from Foxtrot and an excellent rendition of Ripples with Amanda Lehmann. Then it was time for the main event – The Progressive Music Awards 2013. With Prog magazine editor Jerry Ewing comfortably placed behind a suitably sturdy lectern – imagine the heavyweights that were to lean on it later – his speech outlined exactly why the awards are so important and how far progressive music has come in the last few years (“It all goes to show that in its many varied guises, progressive music remains the most compelling of rock genres”) as well as a few hilariously cheeky digs before introducing the host, Newsnight presenter Gavin Esler, who lent his expert public speaking qualities – and prog knowledge – to proceedings. The first award of The Progressive Music Awards 2013 was Limelight, sponsored by Kscope. This award reflects the new blood in the magazine and went to Sound Of Contact who stormed to victory in the reader voting. The award was collected on their behalf by Jerry as the sole attendee from the group, frontman Simon Collins, was sadly taken ill earlier in the day. Get well soon, sir! The second award of the evening for Anthem of 2013, sponsored by Roadrunner Records, went to The Von Hertzen Brothers for Flowers And Rust. All three of the Finnish brothers cut a classy Nordic dash – Mikko making their effusive acceptance speech, saying “We’re officially part of the lineage now!” and Kie wearing what he called his “summer beard”. The newly renamed Storm Thorgerson Grand Design award, in remembrance of the iconic artist who passed away this April, was sponsored by Alchemy, presented by his artistic partner Peter Curzon and the won by the superb 14-disc Family Once Upon A Time box set. The host of The Prog Magazine Radio Show on TeamRock Radio, Philip Wilding presented the Breakthrough award and he highlighted exactly why that honour has been bestowed on him with an hilarious intro based on schoolboy rivalry between Gavin Esler and Jeremy Paxman. The award was won by Big Big Train who were clearly very pleased with their achievement as three members of the band – Greg Spawton, David Longdon and Andy Poole – paused to thank everyone who had helped them. It’s important to remember who’s helped you get to where you are, of course! The award for the Live Event was sponsored by Esoteric and Cherry Red Records and presented by Gavin Esler to Steve Hackett for his terrific Genesis Revisited show at Hammersmith Apollo. Steve’s speech was very touching; he mentioned his father who had recently died and who was his musical inspiration. The award for album of the year was sponsored by InsideOut and picked up by Steven Wilson for his gothic epic The Raven That Refused To Sing (And Other Stories). This year Steven came prepared – after last year’s appearance in a T-shirt he had a suit, shoes and Nuclear Blast MD Mark Palmer’s glasses. Band Of The Year was sponsored by Boodles Gin and won by the mighty Marillion, who all took to the podium where a super-chuffed Steve Hogarth also pointed to the nearby-seated Ian Anderson, thanking him for writing Life Is A Long Song “cos that’s a f**king great tune!”. Neal Morse then bounded onstage in a black suit and gold lame tie to present the Virtuoso award to his Transatlantic bandmate, Mike Portnoy. Mike was nearly speechless – a first for him! – but he did mention that he was wearing his Dark Side Of The Moon Converse sneakers especially for the night, and especially for Storm Thorgerson. Nice touch, sir. The Visionary award was sponsored by Eagle Rock and presented by one of Britain’s greatest naturalists – yes, there was a slip-up with that word earlier on the red carpet – Bill Oddie, who told the room he missed the days when people in the room dressed as wizards and bananas before giving the award to a proud and humbled Steve Hillage. The next award was for Guiding Light, honouring the people who keep the prog beacon alight. Presented by flowery-shirted Flower Kings chap Roine Stolt, he gave a rousing emotional recollection of his first experience of meeting the rather shocked winner, Thomas Waber, owner of InsideOut Records, who somewhat fttingly celebrate 20 years this year. The Lifetime Achievement award was sponsored by USM and excitedly presented by Channel 5 magazine show host Matthew Wright with plenty of anecdotes, a nod to a dapper-looking Robert John Godfrey on the table in front of him, and the admission that he’s still a cosmic fanboy from Croydon. The recipient could be none other than Hawkwind main man Dave Brock, looking very distinguished in his pinstripe suit (and sandals), with his partner Kris and bandmates cheering him on from their table. And so to the biggie: The Progressive Music Awards Prog God of 2013, sponsored by Orange Amps and presented by outgoing God Rick Wakeman to Ian Anderson. Regaling us with tales of codpieces and sequinned capes, Anderson promised to make us all cower during the next 52 weeks of his reign with a growl of “you’re not worthy!”. It’s true, we’re not! Please don’t hurt us… With the official proceedings wrapped up, it was off to Soho for a bit more jollity in Soho’s “trendy” Crobar. Thanks to all for voting, attending or even just supporting the event. Needless to say, the Progressive Music Awards will be back in 2014 – and who knows what will happen next year?!
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tullist
Master Craftsman
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Post by tullist on Sept 6, 2013 4:18:48 GMT
That prog rock award is kind of a nasty looking thing, isn't it. I cannot imagine a room that it would fit in. Maybe one of those 1971 teenage American guy's basements with the Satan Overlooks Paradise blacklight poster and black light, maybe a Jimi Hendrix one too. Having been given tiny glimpses of Ian Anderson's house in that short video on LWTP, and a few other spots, I really cannot imagine it being put on display.
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Post by nonrabbit on Sept 6, 2013 6:12:09 GMT
That prog rock award is kind of a nasty looking thing, isn't it. I cannot imagine a room that it would fit in. Maybe one of those 1971 teenage American guy's basements with the Satan Overlooks Paradise blacklight poster and black light, maybe a Jimi Hendrix one too. Having been given tiny glimpses of Ian Anderson's house in that short video on LWTP, and a few other spots, I really cannot imagine it being put on display. It is however remember he has seven bathrooms.
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Post by steelmonkey on Sept 6, 2013 15:52:49 GMT
I think he'll put it in his driveway...P for parking ?
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Post by nonrabbit on Sept 6, 2013 19:24:45 GMT
I think he'll put it in his driveway...P for parking ? Yeah but parking for family and friends not nosy fans!
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Post by nonrabbit on Sept 7, 2013 8:57:27 GMT
I have read the mag and I'll post some snippets from his four(?) page feature in a bit however a letter from a prog fan about the magazine in general made me laugh. He asks,with heartfelt angst why fill the magazine with new prog bands when all us oldies want features on the originals from the great prog era of the 70'S. He has a point to a certain extent as the mag is choc a block with new bands so maybe they could give more coverage to the oldies however how many of us don't listen to new bands ...and should really.. to "enhance our musical experience" and to promote the new talent that takes it's influence from the bands we listened to from the past. I reckon the mag has to appeal to a wide range and it is great to see prog music coming back from the almost dead so to speak. On that note ... jethrotull.proboards.com/thread/2476/bands-influenced-prog-era
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Post by JTull 007 on Sept 13, 2013 20:13:32 GMT
Got my fresh Prog King 2013 issue of Prog Magazine on Friday the 13th 2013 !
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Post by maddogfagin on Sept 14, 2013 7:14:24 GMT
Got my fresh Prog King 2013 issue of Prog Magazine on Friday the 13th 2013 ! Now that is an impressive Tull Cave Jim. I've put you down as a "must visit" place if I ever get to your side of the pond. Out of interest, how much was the Prog magazine in $ ?
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Post by JTull 007 on Sept 14, 2013 13:09:09 GMT
Out of interest, how much was the Prog magazine in $ ? $14.99 plus tax = $15.89 at Barnes & Noble includes a cd as well. It's a work of art that will last forever....................... Also the 2 issues I got were in mint condition and fresh from the box in the stock room. Friday the 13th Fresh
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Post by maddogfagin on Sept 14, 2013 17:42:01 GMT
Out of interest, how much was the Prog magazine in $ ? $14.99 plus tax = $15.89 at Barnes & Noble includes a cd as well. It's a work of art that will last forever....................... Also the 2 issues I got were in mint condition and fresh from the box in the stock room. Friday the 13th Fresh Not too bad a price in $. Obviously less here in Blighty but nonetheless a rather fine magazine for everybody's archives
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Post by nonrabbit on Sept 15, 2013 8:19:03 GMT
Jim that's not a Tull Cave that's a Tull Museum worthy of full admission charges (paid gladly) and a mention in your local tourist guide. Also your "Cave" is bigger than my living room. Remember we live in pokey wee houses here in Britland
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Post by JTull 007 on Sept 15, 2013 12:37:51 GMT
Jim that's not a Tull Cave that's a Tull Museum worthy of full admission charges (paid gladly) and a mention in your local tourist guide. Also your "Cave" is bigger than my living room. Remember we live in pokey wee houses here in Britland Here's a place where we could all hang out and have a great time... "Tull Abbey"
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Post by nonrabbit on Sept 15, 2013 13:03:47 GMT
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Post by JTull 007 on Sept 15, 2013 13:42:41 GMT
While it must be historically true that the Upper Class ( Landed gentry) has lived off the renting of land, perhaps we could entice a BBC Documentary about the diversity of Tull Fans throughout the world. Any place can become a "Tull Cave" with artwork printed from the internet. I do that quite a bit, and it makes things more economical. No matter where I live now, Tull Rules!
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Post by maddogfagin on Sept 15, 2013 14:57:15 GMT
Tull Cave - UK style "House! You were lucky to live in a house! We used to live in one room, all twenty-six of us, no furniture, 'alf the floor was missing, and we were all 'uddled together in one corner for fear of falling."
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