Blue Bank

Collection Contents

#		Title	Length
1		8 Mile High	1:15
2		Autoroute	1:06
3		Music I	1:26
4		Verb	0:42
5		New Mills	1:26
6		Hands	1:10
7		Scabby Queen	1:35
8		Legs	1:29
9		Bus Park	2:18
10		Dirty Pop	1:31
11		Etiam Disiecti Membra Poetae	2:15
12		Ustitled	1:31
13		Crosshatch	2:25
14		Hymns Ancient & Modern (Revised)	1:07
15		Rhythm Rebel	5:20

Items may be purchased individually.

Contributors

Details

Royalties

See the payment distribution when this media is bought.

Description	Amount
Bitmunk Marketplace Service	USD $0.98
CD Baby Artist Royalty	USD $5.97
CD Baby 9% Digital Distribution Cost	USD $0.54
Bitmunk Download Service	USD $0.30
Bitmunk MicroPayment Service	USD $0.01
Total	USD $7.78

Bitmunk uses a micropayment system that is accurate to 7 monetary digits.
Mouse over an individual amount to see its exact value.

Description

Penny Broadhurst is a 24 year old spoken word performer from the north of England. Her work draws on the life she lives and sees around her, expressing its frustrations, joys and insights. Intelligent, belligerent and opinionated, her driving passion is more an open embrace of possibilities available rather than a trawl through the usual groans of modern complaint. She mixes popular TV and music culture with theatrical performance and poetic form to create a unique voice for a generation of intelligent, regional and clued-up youth.

She has performed all over the UK in the past seven years. These performances have taken in literary festivals, an Arts Council conference, music gigs, clubs, open mic, slams, fanzine events, Ladyfest and a comedy/spoken word event arranged by BBC Radio 4 alongside Malika Booker, Francesca Beard, Stephen K Amos and Curtis Walker.

Blue Bank is her first album, a mixture of spoken word and music that draws in people for whom poetry is a dirty word and combines the flow, grit and lyrical style of the Streets with the Northern wit and attention to voice and detail of Alan Bennett and Victoria Wood. She has been compared with Mike Skinner, John Cooper Clarke and Joyce Grenfell.

WHAT OTHERS SAY:

BBC ONLINE:

"The crowd have barely regained normal conciousness before Penny Broadhurst takes her bespectacled figure onto the stage.

A gesticulating delight, she engages the crowd with an intense set of poetry, but not before disclaiming 'I do apologise, all poetry is s***', and immediately dashing any misconceptions that there will be any drab pretentious recital.

She gives down to earth and often amusing stories behind each of her poems before performing them, getting the crowd involved in her topics which include a touchingly funny account of suffering dyspraxia, a rhythmic attack on bad twee indie bands, and a stunning display of the post-gig adrenaline feeling.

Beating herself in an orgasmic frenzy of words and sounds she has everybody transfixed, stealing the entire show and leaving a tough act to follow." - Danni Jay for BBC Tees


AESTHETICA MAGAZINE:

"Penny Broadhurst was first published in Aesthetica in early 2004. Her work presents insight of a modern young woman understanding the congested world around her. Her themes, rhythm, style, grace, and elegance define a moment of today. She is feisty, charismatic, and inspiring to read but more so in the flesh. She has presence on the stage. In light of her performances, she has stopped the room. The murmur of a crowded pub has been drawn to silence by Penny's words and performance. She speaks truths about everyday life, draws on the unconscious and pulls it all together with definitive questions. She engages with the audience and brings a new dimension to our space. Penny enters our reality through her words, gestures, silences, and outbursts. She makes us realise that we are human. She is one of today's best performance poets in the North." - Cherie Federico, Editor, Aesthetica Magazine

MICHAEL RICHARDSON (JOURNALIST AND WRITER):

"I really like the message behind '8 Mile High', a poem about poets not writing for writers, but writing for people. I hate writers who concentrate so wholly upon being literary that their writing becomes alienating drivel. I, like Penny Broadhurst, want to speak to the people. And I want to kick arse.

Listening to Penny's voice reminds me of just why I could never be a performance poet. Penny's voice is booming and loud and angry and funny - it rattles the speakers on my laptop (which wouldn't be so much of an achievement, piddly as the speakers on my laptop are, if it weren't for the fact that The Polyphonic Spree - a whole f*cking orchestra - don't make them rattle).

I like 'Music I', for obvious reasons. I like 'Hands', it's very beautiful. I like 'Bus Park', even though Penny's 'Loooooser' made my dog leap off the couch, a poem about chavs, and looking like a dyke but not being one, and wearing glasses, and having your own teenaged lynch mob (something I can definitely relate to!).

But I love 'Etiam Disiecti Membra Poetae', even though I haven't a clue what the title means. It's raining men, P.I.S.S.I.N.G down. A poem about classifications, and modern culture, and finding yourself. It's very good. I'd like you all to hear it.

Sometimes I think that everything is sh*t, that there aren't any real arists anymore, that everything is p*ss-poor, pre-packaged, watered-down version of something that has gone before. But then I hear something like Lycanthropy, by Patrick Wolf. I find out that the Scissor Sisters have had a number one album (one in the eye for the people who - like myself - dismissed them as a parade of tw*ts making crap electroclash). I listen to Penny Broadhurst practically biting my nuts off through the speakers...

And everything is right in the world."