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Episode 3 of 5. In an interview for Soul Music she describes the emotional connection she felt to the lyrics, having emerged from an abusive marriage shortly before recording it.
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Also contributing to the programme is the song's original producer, Mike Hurst. He describes how he achieved the huge 'wall of sound' production using double drums, a huge string section, and a harp instead of a guitar to play the signature riff at the the start of the track. There are many personal stories associated with the track: Carsten Knauff recalls a childhood sweetheart - his first true love - and explains why the Cat Stevens' version brings back bitter-sweet memories for him. Never before had she seen such a heartfelt, emotionally charged performance.
CDN publishes Diamond – The First Cut – Creative Diversity Network
It's something she's never forgotten. The Sheryl Crow version reminds Rachel Batson of a very difficult phase in her life; it's a song she says reflects her own faith journey. It was the first time 'First Cut' reached No. See all episodes from Soul Music. This clip is related to UK Singles Chart number-one singles. This clip is related to singles. Watch the animation - Professor Mary King describes how the song became a symbol of hope.
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Loveridge is sitting beside her. MIA and Loveridge have been friends since they were art students in London 20 years ago; two outsiders drawn together, albeit from very different backgrounds. No one had heard a peep out of him.
On the one hand, hers is the story of a self-made artist whose abrasive, lo-fi rap tunes and neon guerrilla stylings encapsulated a global cultural moment, especially via her ubiquitous hit Paper Planes. Yet none of these angles quite captures the brash, fearless, defiant personality who has routinely energised and scandalised pop culture: Many have settled for the latter, but that was never an option for Loveridge.
Putting the film together took Loveridge nearly 10 years, including several false starts and a few crises of his own. But by , frustrated by the lack of progress or funds, Loveridge had had enough.
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Would rather die than work on this. However, after a few personnel changes MIA seems to go through managers like Spinal Tap went through drummers , Loveridge started afresh, ditching the celebrities and drawing instead on the extensive archive footage MIA had handed over to him. There was more than hours of it, including those domestic scenes, suggesting that MIA had started work on her own bio-doc before her career had even begun. This was the pre-digital era, when students learned on 16mm cameras and edited by hand.
The college had one newfangled digital camera, MIA explains. So when I got access to that camera, which was massive, I just filmed everything, cos you just never knew when you were going to get it again.
No, not even There was other footage as well as the Keeping Up With the Arulpragasams material: