Archive for April, 2012

Derek & Clive

Between 1973 and 1978, Derek [Dudley Moore] & Clive [Peter Cook] recorded three albums of unscripted comedy dialogue that were not only breathtakingly obscene but also disconcertingly erudite ….. and exceptionally funny.

No taboo was left intact. Their material plumbed depths that have never since been approached by popular prime-time celebrities.

The pure, free-flowing vulgarity of Derek & Clive may now be relived through the transcriptions of their legendary works, provided below:

Peter Cook and Dudley Moore were appearing on Broadway in the show “Good Evening” when they first happened upon two brilliant new talents. Derek and Clive were working at the time in the toilets of the British Trade Centre. Cook and Moore were quick to see that they had made a major discovery and after much persuasion, including a packet of Craven A and a bottle of Tizer, Derek and Clive agreed to perform at the Electric Lady Studios. With growing assurance they appeared in front of a small, invited audience (Dudley Moore). The record you have bought is a mixture of the two evenings. Once they had mastered which end of the microphone to talk into, Derek and Clive gained enormously in confidence. Their method is basically a stream of unconsciousness, a mixture of Dylan Thomas and Mae West, with overtones of Goethe. At a time when British influence is declining throughout the world, Derek and Clive represent welcome evidence of what this great country could be. They are a ray of hope on a darkening horizon. Their philosophy is both an inspiration to youth and hope for the senile. On this record they discuss fully and frankly the major problems confronting a confused world. Not since Isaac Newton sat in a bath and discovered that apples could stun Archimedes, has such a fully fledged Weltanschauung emerged. Since the recording, Derek and Clive have been besieged by offers, Vegas, The London Palladium, Fiji but they prefer the simple, natural life of the toilets. “There’s a certain rhythm there”, says Derek. “You know where you stand”, states Clive. One cannot but sympathise with them. The seemingly glittering world of ‘Show business’ with its broken marriages, drugs and enormous rewards leaves them uninterested. We can only admire their straightforward point of view. Poets? satirists? philosophers? comedians? social commentators? Derek and Clive sum it up more succinctly. “Just a couple of cxxts” is their frank self-appraisal.

Recorded at Electric Lady Studios New York City And the Bottom Line (Live) Late 1973

Engineer   Eddie Kramer Produced by Peter Cook and Dudley Moore Executive Producer Christopher Blackwell Cover Design by Cook & Moore Graphic Arts 382 5908

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The Clive Festival

The Clive Festival will be here before you know it and we are working hard to continually make it better as we head into our 36th year. As one of the best community festivals in the Des Moines Metro area, we have built upon a nature theme to celebrate our beautiful Greenbelt Trail. This year’s schedule is packed with activities for both kids and adults to provide a well rounded event for the entire Clive community.

The Clive Festival has once again joined with Metro Arts Jazz in July to bring popular local recording artists to the stage. The popular Kid’s Corner will return on Saturday with expanded crafts, story-telling, tug-of-war, inflatables, a giant slip-and-slide hosted by the Clive Fire Department, and a free Saturday night swim at the Clive Aquatic Center for Clive residents (reduced fee for non-Clive residents).

And this year’s Clive Festival will highlight our city’s theme of “Distinct by Nature” by offering a variety of nature-related activities. The Pella Wildlife Company will provide an up-close look at numerous wildlife ambassadors such as a bobcat and lynx. SOAR (Saving Our Avian Resources) will exhibit endangered birds such as eagles, hawks, osprey, and raptors and will provide educational programs on their unique lives. Mathew’s Snake World will have live pythons, boa constrictors, and native Iowa bull snakes. The Iowa Department of Natural Resources will provide a fishing & casting program for children of all ages interested in learning more about proper fishing methods. And a guided nature tour of the popular Greenbelt Trail will be provided to highlight the natural plant and wildlife found in Clive’s most prominent attraction.

The tradition of the Mayor’s Bike Ride continues with a 17.5 mile ride around much of the city starting at 9 a.m. on Saturday at the Aquatic Center parking lot. This year’s Festival will also feature an art contest for local school children from many of the local area schools. Art will be judged by the Clive Arts Commission with winning artwork from each age group proudly displayed in Clive’s City Hall.

The Iowa Pork Producers will provide food Friday evening; while Saturday will feature a special Taste of Clive with local restaurants providing food and refreshments.

The fun will wrap up Saturday evening around 9:30 p.m. with the 9th annual “Thunder Over Clive” fireworks celebration.

All proceeds from the Clive Festival go to deserving local charities and municipal services including the fire and police departments.

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Clive Mohan

Clive Mohan – Motion Graphics Artist/Editor at Imagine Entertainment Editing – Clive has been working professionally in post-production for over 10 years, and loves his job. With the right equipment you can create anything, just imagine. Clive has a long background at Fox but prefer the independent world. Clive is rather shy and prefers to go unnoticed

Author Clive Cussler

Please allow me the honour and privilege of welcoming you to the new Official Web Site for my books. I have never considered myself as much a writer as an entertainer. I’ve sincerely felt that my job was to entertain you the reader in such a manner that when you reached the end of the book you felt that you had got your money’s worth.

When I created Dirk Pitt, Al Giordino and all their friends in the NUMA books and the characters in the other series I had no idea how many people I would eventually reach around the world. Even now I cannot express anything other than humility for being lucky enough to do so.

Pacific Vortex was the first book that introduced the main characters. All of them are a figment of my imagination except for Al Giordino. He was based on an old Air Force buddy of mine who is still a good friend after almost fifty-five years.

My son Dirk and I dedicate ourselves to maintaining the quality and creativity for your reading pleasure. We believe you will find the novels a great summer reading escape and an everyday, anyday adventure. Stay up to date by joining our Facebook Fan Club Page; where you will find the latest events, book signings, NUMA expeditions(, a variety of discussion groups and many photos from around the world.

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Clive R. Tyler

Clive R. Tyler doesn’t just paint landscapes—he studies them, reconsiders them, inhabits them and paints the whole experience.

By Tom Zeit

from Pastel Journal Magazine Feb. 2008

Painting en plein air is clearly Clive R. Tyler’s passion, but otherwise it can be a little difficult to pin him down as an artist. He primarily paints landscapes, but there are also a lot of wild animals in his paintings. This is a circumstance beyond his control—when he’s painting outdoors, animals just tend to show up, becoming a part of the landscape. He feels it would be dishonest to leave them out.

“Someone once told me it’s an ‘environment’ style of painting,” Tyler says. “The landscape is there, and when the animals appear, I have to ask myself: Am I really just painting a stream, or am I painting a whole experience of something that’s happening in the world, something that happens all the time and nobody gets to see it? So, I incorporate the animals because they’re what’s really there.”

“Environment painter” is a title that suits Tyler’s drive to immerse himself in his locales so that he can represent them as best he can. The Ft. Collins, Colo., resident paints outdoors as much as possible. “I have to be there; then I can paint,” he says. Even his larger pieces, done in the studio, are based on his plein air painting experiences.

More of a Good Thing

According to Tyler, his paintings aren’t literal. “I’m trying to recreate the experience I had, personally, when I was outside. It’s more about the emotional state, or something that seemed new to me even though I’ve probably seen it all my life,” he says. His style is realistic, but only up to a point; he uses a subtle but exciting combination of sharp, clean edges and loose, painterly passages. “I only represent my subjects to a certain level,” he says, “I deliberately don’t finish them off because I don’t want to deny the viewer his or her imagination. When viewers come up to the painting, it’s there but it’s not all there, so they get to think about what they see, open up their minds a little bit and really get involved.”

Tyler finds that one of the most effective ways to get the most out of a subject—and really represent the environment— is to paint in a series. For example, he recently painted about 15 different scenes from the headwaters of the Colorado River, each one informing the next and exploring a different aspect of the landscape. “I really fell in love with that area,” he says. “There are so many wonderful design elements there to work with to create a painting, like the way the river wriggles through the trees next to these wide open spaces. And so many painting challenges, like painting green on green on green.”

Tyler uses the series as a means of exploring the concept in as many different ways as he can: at different times of the day, from different angles and with different sizes and orientations. “I just keep asking: What else can I do with this?” he says. “Usually, it’s when I’m pushing myself like this that I hit on the one painting, that gem that makes me say, ‘Wow, that really works.’”

The largest painting Tyler has ever executed is about 29×40 inches. It’s a scene near Aspen, Colo., that he spent almost a year painting because he felt he had to incorporate, in the painting, all of the work he’d done leading up to that point. “I did some plein air river studies, and then I worked them up to 16×20 inches, and then I thought that there were such good dynamic qualities to the scene that I could tell the story a little bit better if it were larger. All of this was a part of that final painting,” he says.

How It’s Done

Tyler occasionally paints in oils, but he prefers working in pastel, and all of his plein air pieces begin with a number of different ideas that he works out in a sketchbook. He sometimes does a very detailed drawing on buff-colored paper, and then uses an underpainting process somewhat like that of an oil or watercolor painter. Rather than using a wash, he puts down fields of lightly applied color that establish the right values and temperatures.

“Often, other pastelists are intrigued by how I lay the pastel down,” he says. “I just swipe it in. It’s not so much a drawing technique; I just place it there and let it be. It helps create a feeling of movement, and a more emotional painting.” One of Tyler’s maxims is to go light. “I only go heavy near the end,” he says, “Or, if I need to cover something up, make a statement or create a sharp edge. I’ve like glazing, where you let the other colors shine through by not covering them up all the way.” He uses only Sennelier pastels and cherishes the way he’s gotten to know their characteristics, such as the difference in hardness and feel among the colors.

“Some people have said that at first they thought my paintings were photographs,” Tyler says. “A lot of artists don’t want to hear that, but I take it as a compliment because it means they connected with the painting, and it gave them a picture in their heads. At that point, I usually walk them right up to the painting and show them how loose and abstract it is up close.” As he paints, Tyler steps back constantly, first to just a few feet away and then farther back, to see what effect his strokes have had at each viewing distance.

Starting With Design

Tyler has had a successful career as a graphic designer, and he’s been surprised by how much that experience has informed his painting. “Being a designer allowed me to be constantly creative,” he says. “I know it’s a cliché, but I always had to think outside the box and find some new way of doing things, whether it was coming up with a product or a way to package something or an identity for a company. I’d start with the typical view, and then find a way to look at it a little differently. That’s exactly what I do with my painting.”

In his journey from his design career to fine art, Tyler began taking workshops with such teachers as Lorenzo Chavez (see page 00) and Skip Whitcomb at the Loveland Art Academy. Although he’d studied art along with graphic design in college, he hadn’t painted much since, and he adopted the pastel medium mostly because someone gave him a pastel set for Christmas that year. Also, he had confidence in his drawing skills and liked the suggestion of drawing in the use of pastel sticks.

For Tyler, a strong composition is of utmost importance to a painting, so he carefully considers choices like an S-curve or a “U” shape or a tunnel. He says he’s read Edgar Payne’s Composition of Outdoor Painting (DeRu’s Fine Arts), originally published in 1941, four or five times, cover to cover. “That’s the designer in me,” he says. “I wanted to know what other artists had worked out over the centuries, not mathematically, but things such as pleasing concepts of shape and space. Although it can be a hard read, that’s really a great book, and it led me to try all sorts of compositions for my paintings.”

The Lay of the Land

Tyler and a friend are scheduled for a trip to Thailand, working with an orphanage to do painting demos and some teaching, and it has him thinking a lot about portraits lately. “I used to paint figures a lot, and it would be a nice break from landscapes,” he says. But he’s not a multi-tasker when it comes to subject matter and he’s enjoying landscapes too much to quit. “I almost feel that if I started doing portraits, I’d give up doing landscapes and become a portrait artist,” he says, “because I get really passionate about my subjects and want to stay with them. I’m still in love with landscapes, and I’ve decided that it’s all about being outside. As a kid, I’d take a walk in the woods or go play away from the house just to be in the wilderness. That’s where my love is, so that’s where my art is.”

Tyler’s work has become rapidly more popular, and he’s noticed his work changing in recent years as his artistic growth accelerates. It’s become more colorful, more dynamic and allaround gutsier. “When I first started it was almost timid,” he says. “A much softer approach to things. I think that has to do with confidence and where you are in life, because I don’t know if you can really control your style in the early stages.”

Now he sees as work as part of an effort to expand the artistic possibilities and the stature of the pastel medium, and he feels he’s not alone in this ambition. “True realism has been mostly done in oil,” he says, “but taking pastel and using it to create a whole new feeling, getting beyond the soft, Easter-color look that most people consider pastel, and using black and dark purples and blues and the full range of values that show the true richness of the material itself—that’s what I’m exploring now.”

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Clive Historical Society

2011 Holiday Open House December 8th, 2011

5 – 7 PM. 

Honoring the Good Idea Club

Clive Women – Celebrating 100 years of “Good Ideas”


Kicking off their Centennial Year 1912 – 2012

Come meet the ladies of the Oldest organization in Clive and hear some “good” stories.


Hors d’oeuvres and Beverages served.

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Clive Stafford Smith

is the founder of Reprieve and has spent 25 years working on behalf of defendants facing the death penalty in the USA.

After graduating from Columbia law school in New York, he spent nine years as a lawyer with the Southern Center for Human Rights, working on death penalty cases and other civil rights issues. In 1993 he moved to New Orleans and launched the Louisiana Crisis Assistance Center, a non-profit law office specialising in the defence of death penalty cases for impoverished defendants.

In 1999 Clive founded Reprieve and, the following year, he was awarded an OBE for “humanitarian services”. He moved back to the UK in 2004 where he is focusing on achieving due process for the detainees being held by the US in Guantánamo Bay, as well as continuing his work on death penalty cases. He was made a Rowntree Visionary and Echoing Green Fellow in 2005 and was previously a Soros Senior Fellow. As legal director, Clive is responsible for Reprieve’s casework programme