
Brian James, Pioneer of Punk Rock, Is Dead at 70
Brian James, who helped spark the punk-rock revolution in Britain in the 1970s as the lead guitarist and chief songwriter of the British band the Damned, bringing a rare degree of musicality to a genre known for its chain-saw attack, died on March 6. He was 70.
His death was announced on his Facebook page. The announcement did not cite a cause or say where he died.
Mr. James formed the Damned in London in 1976 with Dave Vanian, a former gravedigger, on lead vocals; Captain Sensible on bass, and Rat Scabies on drums. The band was part of Britain's original punk vanguard.
The Damned never shook British society, or the rock world at large, like the Sex Pistols, who sneered at the queen, hurled obscenities on television talk shows and had pundits mulling the collapse of Western values. Nor did they play the part of political revolutionaries like the Clash, who were billed as 'the only band that matters.'
Nevertheless, the Damned made history. They were the first British punk band to release a single: 'New Rose,' written by Mr. James, in October 1976 (the Sex Pistols' anthemic 'Anarchy in the U.K.,' soon followed); the first to release an album, 'Damned Damned Damned,' in 1977; and the first to tour the United States.
Mr. James was a cornerstone of the Damned's early sound. He wrote most of the songs on the band's first two albums — their second, 'Music for Pleasure,' was released in late 1977 — and his guitar playing earned the praise of one of rock's most hallowed guitar gods, Jimmy Page of Led Zeppelin.
'We used to call Brian the riff-meister,' Captain Sensible (born Raymond Ian Burns) recalled in a 2017 interview with Rolling Stone. 'That's why Jimmy Page was such a fan of the band at the time.'
Writing 'New Rose' was a marked achievement in itself. On the surface, it was a conventional enough love song, if a vaguely sinister one. ('I got a feeling inside of me/It's kind of strange like a stormy sea.')
But that song, delivered with flamethrower intensity, 'was the absolute redefinition of all that rock 'n' roll held dear,' the British music journalist Dave Thompson wrote in 1992, 'a stunning return to basics which threw every last iota of expertise and experience to the winds.'
Brian Robertson was born on Feb. 18, 1955, in the Hammersmith district of West London. (He adopted the surname James in 1976 to avoid confusion with the guitarist Brian Robertson of the band Thin Lizzy.)
Growing up in Crawley, about 30 miles south of London, he played in bands from an early age, drawing influences from the Rolling Stones and Chuck Berry and later from British blues guitar virtuosos like Peter Green, the founder of Fleetwood Mac.
In his midteens, he left the Hazelwick School in Crawley and doubled down on music, starting a band called Train that released a single, 'Witchi Tai To,' in 1969. He later fell under the sway of American punk progenitors like the Stooges (he would gig with their lead singer, Iggy Pop, in the late 1970s) and formed a more hard-edged band called Bastard.
'We wanted an in-your-face name to go with the in-your-face music that we were playing,' he said in a 2007 interview with Penny Black Music, a music site, 'but unfortunately not a lot of people in Britain understood that or wanted to try and get into us. It was the age of the glitter thing.'
The band found some success after moving to Belgium, but they split upon returning to England and Mr. James joined London SS, whose other members included Mick Jones, the future Clash guitarist, and the bassist Tony James, who went on to found the band Generation X with Billy Idol.
London SS failed to take off, but it did set the stage for Mr. James's career-defining next step when Rat Scabies (born Christopher Millar) impressed him at an audition for the band. 'It was like 'I've got no choice here,'' Mr. James told Penny Black Music. ''I'm going off with this guy to do my thing.''
The Damned rode high for a time, joining the Sex Pistols on their infamous tour of Britain in late 1976 — although many of those shows were canceled because of the Pistols' penchant for chaos.
The band's second album was a rush job, Mr. James later said, and had an unlikely producer: Nick Mason, the drummer of Pink Floyd, a band that punks of the era routinely assailed as pompous corporate rock. (Nick Lowe, a label mate at the independent Stiff Records, produced the first one.)
The album was generally dismissed by critics, and Rat Scabies left shortly afterward, followed by Mr. James. (The original three members, minus Mr. James, soon reunited with a new lineup. The Damned continued to tour and release albums with various members for decades.)
Mr. James created a short-lived band called Tanz der Youth and then, in 1981, teamed with Stiv Bators, the former lead singer of the Cleveland punk band the Dead Boys, to form the Lords of the New Church. The group, with Mr. Bators as its singer, lasted for nearly a decade, earning airplay on MTV and achieving minor chart success with songs like 'Open Your Eyes' (1982) and their cover of the Grass Roots' 1967 hit 'Live For Today' (1983).
Mr. James stayed busy over the years, releasing five solo albums. In 2001, he released an album with a supergroup called Racketeers, which also featured Wayne Kramer (MC5), Clem Burke (Blondie), Stewart Copeland (the Police) and Duff McKagan (Guns N' Roses). He joined the other original members of the Damned for a series of gigs in Britain in 2022.
Mr. James's survivors include his wife, Minna, and a son, Charlie.
'New Rose,' which was later covered by the likes of Depeche Mode and Guns N' Roses, lived on. So did Mr. James's legacy. In 2020, the punk magazine Vive Le Rock gave him its Pioneer Award for lifetime achievement.
'They describe me as a pioneer,' he said of the award in an interview with the British newspaper The Observer. 'A pioneer! Does that mean I have to wear a Davy Crockett hat to the ceremony?'
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‘Somebody hug me!' 7 Emmy hopefuls on staying calm, hitting their marks and more
The Emmys' limited series/TV movie acting categories have come to represent some of the best and most-talked-about shows on television, and this year's crop of contenders is no exception. 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The Times' news and culture critic Lorraine Ali spoke to the group about the emotional fallout of a heavy scene, the art of defying expectations and more. Read highlights from their conversation below and watch video of the roundtable above. Many of you move between drama and comedy. People often think, 'Drama's very serious and difficult, comedy's light and easy.' Is that true? Banks: I think the degree of difficulty with comedy is much higher. It's really hard to sustainably make people laugh over time, whereas [with] drama, everyone relates to loss and pining for love that's unrequited. Not everybody has great timing or is funny or gets satire. Henry: There's something fun about how closely intertwined they are. In my series, I'm playing a heroin addict running for my life, and I have this codependency with this friend … There's a scene where I've been looking for him, and I'm high out of my mind, and I find him in my attic, and all he's talking about is how he has to take a s—. 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I don't want to do that, and I certainly don't want to do that now. So it was really nice to meet her again in this place of what she's experiencing in the moment, which is bereavement and the loss of her great love, and being a mom, and trying to be responsible, and reevaluating what she values, and how she comports herself, and what's important and all of that, because, of course, I relate to that in this moment. Stephen, 'Adolescence' follows a family dealing with the fallout of their 13-year-old son being accused of a brutal murder. You direct and star in the series. What was it like being immersed in such heavy subject matter? Did it come home with you? Graham: We did that first episode, the end of it was quite heavy and quite emotional. When we said, 'Cut,' all of us older actors and the crew were very emotional. There were hugs and a bit of applause. And then everyone would be like, 'Where's Owen?' [Cooper, the teenage actor who plays Graham's character's son]. 'Is Owen OK? 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You put everything into it when they say, 'Action,' and when you're out, you just leave it behind. Otherwise, it's too much. Certain scenes, certain moments stay with you because we work with what we are. But I think it doesn't make you a better actor to really stay in character, as they say, for 24 hours. That doesn't work for me. It actually makes me feel very confused if I do that. On the show 'Monsters' I tried to protect Cooper [Koch] and Nicholas [Alexander Chavez], the actors who play the children, because they were carrying the heavy weight on the show every day. I was trying to make them feel protected and loved and accompanied by us, the adults, and let them know that we are there for them and that this is fiction. Because they were going really deep into it, and they did an amazing job. Elizabeth, in 'The Better Sister,' you portray Nicky, a sister estranged from her sibling who's been through quite a bit of her own trauma. Banks: I play a drunk who's lost her child and her husband, basically, to her little sister, played by Jessica Biel. She is grappling with trauma from her childhood, which she's trying not to bring forward. She's been working [with] Alcoholics Anonymous, an incredible program, to get through her stuff. But she's also a fish out of water when she visits her sister, who [lives in a] very rarefied New York, literary, fancy rich world. My character basically lives in a trailer park in Ohio. There's a lot going on. And there's a murder mystery. I loved the complication … but it brought up all of those things for me. I do think you absolutely leave most of that [heaviness] on set. You are mining it all for the character work, so you've got to find it, but I don't need to then infect my own children with it. Sacha, you have played and created these really gregarious characters like Ali G or Borat. Your character in 'Disclaimer,' he's not a character you created, but he is very understated. Was that a challenge? Cohen: It took me a long time to work out who the character was. I said to [director] Alfonso [Cuarón], 'I don't understand why this guy goes on that journey from where we see him in Act 1.' For me it was, how do you make this person unique? We worked a lot through the specificity of what words he uses and what he actually says to explain and give hints for me as an actor. A lot of that was Alfonso Cuarón saying, 'Take it down.' And there was a lot of rewriting and loads of drafts before I even understood how this guy reacts to the news and information that he believes about his wife. Jenny, 'Dying for Sex' is based on a true story about two friends. One has terminal cancer, and the other — your character — supports her right up until the end. Talk about what it was like to play that role in a series that alternates between biting humor and deep grief. Slate: Michelle Williams, who does a brilliant job in this show, her energy is extending outward and [her character] is trying to experiment before she does the greatest experiment of all, which is to cross over into the other side. My character is really out there, not out there willy-nilly, but she will yell at people if they are being rude, wasteful or if she feels it's unjust. [And she's] going from blasting to taking all that energy and making it this tight laser, and pointing it right into care, and knowing more about herself at the end. I am a peppy person, and I felt so excited to have the job that a lot of my day started with calming myself down. I'm at work with Michelle Williams and Sissy Spacek and Liz Meriwether and Shannon Murphy and being, like, 'Siri, set a meditation timer for 10 minutes,' and making myself do alternate nostril breathing [exercises]. Brian, many people came to know you from your role as Paper Boi in 'Atlanta.' The series was groundbreaking and like nothing else on television. What was it like moving out of that world and onto other projects? Henry: People really thought that I was this rapper that they pulled off the street from Atlanta. To me, that's the greatest compliment … When I did 'Bullet Train,' I was shocked at how many people thought I was British. I was like, 'Oh, right. Now I've twisted your mind this way.' I was [the voice of] Megatron at one point, and now I've twisted your mind that way. My path in is always going to be stretching people's imaginations, because they get so attached to characters that I've played that they really believe that I'm that person. People feel like they have an ownership of who you are. I love the challenge of having to force the imaginations of the viewers and myself to see me in a departure [from] what they saw me [as] previously. Because I realize that when I walk in a room, before I even open my mouth, there's 90 different things that are put on me or taken away from me because of how I look and how I carry myself. Javier, since doing the series are you now frequently asked about your own opinions on the Menendez case? The brothers claim their father molested them, and that is in part what led to them murdering their parents. Bardem: I don't think anybody knows. That's the point. That was the great thing about playing that character, is you have to play it in a way that it's not obvious that he did those things that he was accused of, because nobody knows, but at the same time you have to make people believe that he was capable. I did say to Ryan [Murphy] that I can't do a scene with a kid. Because in the beginning, they do drafts, and there were certain moments where I said, 'I can't. It's not needed.' The only moment that I had a hard time was when [Jose] has to face [his] young kid. It was only a moment where Jose was mean to him. That's not in my nature. Henry: I discovered, while doing my series, 'My body doesn't know this isn't real.' There's an episode where I'm shot in the leg, and I'm bleeding out and I'm on all this different morphine and drugs and all this stuff, and I'm literally lying on this ground, take after take, having to mime this. To go through the delusion of this pain ... in the middle of the takes, it was just so crazy. I would literally look at the crew and say, 'Somebody hug me! Somebody!' Stephen, that scene where you confront the boys in the parking lot with the bike, I was just like, 'Oh, my God, how many times did he have to do that?' This kid gets in your face, and I was like, 'Punch the kid!' My heart went out to you, man, not just as the character but as you being in there. Graham: Because we did it all in one take, we had that unique quality. You're using the best of two mediums. You've got that beauty and that spontaneity and that reality of the theater, and then you have the naturalism and the truth that we have with film and television. So by the time I get to that final bit, we've been through all those emotions. When I open the door and go into [Jamie's] room, everything's shaken. But it's not you. It's an out-of-body experience and just comes from somewhere else. Bardem: Listen, we don't do brain surgery, but let's give ourselves some credit. We are generous in what we do because we are putting our bodies into an experience. We are doing this for something bigger than us, and that is the story that we're telling. What have been some of the more challenging or difficult moments for you, either in your career or your recent series? Zellweger: Trying not to do what you're feeling in the moment sometimes, because it's not appropriate to what you're telling. That happens in most shows, most things that you do. I think everybody experiences it where you're bringing something from home and it doesn't belong on the set. It's impossible to leave it behind when you walk in because it's bigger than you are in that moment. Banks: I would say that the thing that I worked on the most for 'The Better Sister' was [understanding] sobriety. I'm not sober. I love a bubbly rosé. So it really did bring up how much I think about drinking and how social it is and what that ritual is for me, and how this character is thinking about it every day and deciding every day to stay sober or not. I am also a huge fan of AA and sobriety programs. I think they're incredible tools for everybody who works those programs. I was grateful for the access to all of that as I was making the series. But that's what you get to do in TV. You get to explore episode by episode. You get to play out a lot more than just three acts. Stephen, about the continuous single shot. It seems like it's an incredibly difficult and complex way to shoot a series. Why do it? Graham: It's exceptionally difficult, I'm not going to lie. It's like a swan glides across the water beautifully, but the legs are going rapidly underneath. A lot of it is done in preparation. We spend a whole week learning the script, and then the second week is just with the camera crew and the rest of the crew. It's a choreography that you work out, getting an idea of where they want the camera to go, and the opportunity to embody the space ourselves. Cohen: That reminds me of a bit of doing the undercover movies that I do because you have one take. ... I did a scene where I'm wearing a bulletproof vest. There were a lot of the people in the audience who'd gone to this rally, a lot of them had machine guns. We knew they were going to get angry, but you've got to do the scene. You've got one time to get the scene right. But you also go, 'OK, those guys have got guns. They're trying to storm the stage. I haven't quite finished the scene. When do I leave?' But you've got to get the scene. I could get shot, but that's not important. Henry: There's a certain level of sociopathy. Slate: I feel like I'm never on my mark, and it was always a very kind camera operator being like, 'Hey, Jenny, you weren't in the shot shoulder-wise.' I feel like such an idiot. Part of it is working through lifelong, longstanding feelings of 'I'm a fool and my foolishness is going to make people incredibly angry with me.' And then really still wanting to participate and having no real certainty that I'm going to be able to do anything but just make all of my fears real. Part of the thing that I love about performance is I just want to experience the version of myself that does not collapse into useless fragments when I face the thing that scares me the most. I do that, and then I feel the appetite for performance again. Do you see yourself in roles when you're watching other people's films or TV show? Graham: At the end of the day, we're all big fans of acting. That's why we do it. Because when we were young, we were inspired by people on the screen, or we were inspired by places where we could put ourselves and lose our imaginations. We have a lot of t— in this industry. But I think if we fight hard enough, we can come through. Do you know what I mean? It's people that are here for the right reasons. It's a collective. Acting is not a game of golf. It's a team. It's in front and it's behind the camera. I think it's important that we nourish that. Henry: And remember that none of us are t—. Bardem: What is a t—? I may be one of them and I don't know it. Graham: I'll explain it to you later.
Yahoo
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