Celebrity news & gossip from the world’s showbiz and glamour magazines (OK!, Hello, National Enquirer and more). We read them so you don’t have to, picking the best bits from the showbiz world’s maw and spitting it back at them. Expect lots of sarcasm.
AT the moment, Kanye and Daft Punk (above) are so hot. Everything they do is leapt on, prompting furious debate, fandom and craziness. And then there’s Jay Z. Jay Z’s pretty much past it, but he won’t care because he’s fantastically wealthy and married to Beyonce. Like he’d care what anyone thinks about anything.
And now, with clickbait catnip, there’s a tune featuring all three artists on the same song!
The track, which you can hear below, is called ‘Computerized’ and a lot of people are having kittens. It was leaked onto a Yeezy fansite as an unreleased track. As this writer has previous in fooling the world’s press with music parodies and hoodwinkery, alarm bells went off before hearing a second of the track.
IT is usually indie fans who mock the rest of music for not being ‘real’ or doing anything worthwhile, when funnily, it is usually their favourite bands who are the most guilty of giving nothing to the world.
While everyone looks to rock music for protest, everyone’s missed the small fact that pop and hip hop have been the prime champions of hitting out against injustice. Guitar bands complain about Spotify or illegal downloads, concerned only for what they’re owed while pop and rap support Justice For The 96, hit out against corrupt police, call bullshit on the way media portrays women, stands up against bullying and berates corrupt politicians.
The latest is One Direction, who have urged their army of fans to lobby the Chancellor to hold the UK’s international aid budget steady and go after those guilty of corporate tax avoidance.
IN 1975, Mel Brooks appeared on Imperial College’s TV station Stoic to talk about his 1975 films Blazing Saddles andYoung Frankenstein. He sat opposite Mark Caldwell. He offers the insight that cowboys “do not make love to women in Westerns”:
“People say I am in questionable taste, you know what I mean? Well, I must tell you that I used the utmost discretion [and] I did not tell the whole truth about the Western, because they do not make love to women, you know that. They are very straight, very Christian and very with it, you know. They do make love to their horses. They do, they do. They don’t marry them, there is no formal ceremony, but they go off somewhere in the night with their horses.”
Colin Grimshaw writes on this video:
You can see that I have left the original countdown clock at the front because he couldn’t resist being funny even before we had started to record.
THE problem with songs about food is that, well, they’re never really about food. Tasty as brown sugar is, the Stones weren’t really singing about sucrose. And when Robert Plant sings “Your custard pie, yeah, sweet and nice. When you cut it, mama, save me a slice” he’s not talking about pastries. You might say it’s a time honored tradition for rock and pop musicians to use food as symbols of sex and drugs.
We certainly can’t go through them all, so let’s narrow it down and focus just on songs with fruit in the title. Here’s a playlist that not only is interesting and fun, but also rich in Vitamin C.
1. “Apples and Oranges” by Pink Floyd
The setting is the produce section at the grocery store; however, apples and oranges are also an allusion to the differences between Syd and a girl he sees there (who, according to Syd himself, he’d been stalking for hours).
In this video, Floyd makes an appearance on American Bandstand. Syd looks absolutely stoned out of his mind, and you can tell the cameraman takes care to avoid him as much as possible.
2. “I Am a Tangerine” by Tommy James and the Shondells
Tommy has admitted that he was hopelessly wasted when he wrote this song, and that it makes no sense whatsoever. Don’t go reading clever allusions and metaphors into this one, folks. When Tommy screams “Hello Banana”, he was genuinely introducing himself to a piece of fruit.
3. “Peaches’ by The Stranglers
“Peaches” is a simple song about walking up and down the beach staring at the ladies. However, the fruit acquired a gynecological connotation by the line:
“Will you just take a look over there. Is she tryin’ to get outta that clitares?
“Clitares” being a French word for bathing suit, and I’m sure The Stranglers were well aware of how the word would get misinterpreted. Clever bastards.
4. “Tangerine” by Led Zeppelin
Led Zep were no strangers to fruity music – let’s not forget “The Lemon Song”. Page wrote this one during his Yardbirds days, purportedly about singer-songwriter Jackie DeShannon. The false start at the beginning begat an interesting urban legend – that the intro was the remnant of the “the greatest song ever recorded” but the tape was destroyed, and both Plant and Page couldn’t remember how it went. This snippet at the beginning (not in the video above) is all that remains.
It’s total bulls**t, but nonetheless it’s an urban legend that should be fostered and encouraged. Of course, when it comes to fruit-centered urban legends, nothing will compare to the “Cranberry Sauce/I Buried Paul” conspiracy.
5. “Raspberry Beret” by Prince
Theories abound regarding the meaning of this song. Many feel it’s just a simple story about a young nobody who becomes captivated by a woman who enters the store where he works. Prince was under fire from Tipper Gore over his racy lyrics for “Darling Nikki”, so he wanted to tone things down a bit. But the fact that the store is owned by “Old Man Johnson” belies a dirty subtext. After all, this is the same guy that brought you “Soft and Wet” and “Cream”.
So, what does it mean? Some think the “raspberry beret” refers to an uncircumcised penis. Others say it’s menstrual blood. I say this is may be best left unanswered.
6. “Blackberry Way” by The Move
Very much in the vein of “Penny Lane”; sort of a downbeat answer to the peppy McCartney classic. Personally, I cannot get past the “ooh-wah” bridge (at about the 1:45 mark in the video) which is lifted directly from Harry Nilsson’s “Good Old Desk”. It’s stolen so exactly, the song is ruined for me.
7. “Cherry, Cherry” by Neil Diamond
Speaking of plagiarism, “What I Like About You” by the Romantics features a guitar riff pretty damn similar to Diamond’s “Cherry, Cherry”. Of course, there’s always some borrowing and cross-pollination in pop music. In fact, you could argue “Cherry, Cherry” owes some of its melody to “Dirty Water” by The Standells.
Whatever its roots, I’m inclined to agree with Rolling Stone in calling this one of the greatest three-chord songs of all time. You’ll notice no horns or drums; that’s because this hit was actually a demo version. Adding drums, horns and other polish detracted from the energy, so they kept the original.
8. “Dear Delilah” by Grapefruit
I could have ended this playlist on top with “Strawberry Fields”, “I Heard It Through the Grapevine” or “Blueberry Hill”. Instead, I’ll invalidate the entire premise of this article and offer up a song without any fruit at all in its title. The band’s name is certainly fruity enough, though. Grapefruit was of the hallowed 60s tradition of bands naming themselves after fruit (ex. Moby Grape, The Lemon Pipers, Strawberry Alarm Clock… not to mention Apple Records). In Grapefruit’s case, John Lennon actually named them after Yoko’s awful 1964 book.
Grapefruit’s singer is a member of the amazing Young family – the same clan that spawned AC/DC (Malcolm and Angus Young) and The Easybeats (George Young). Grapefruit had the full support of The Beatles, but couldn’t achieve the success they no doubt expected.
You might say that everything was going peachy keen at Apple, but they wanted to be top banana, and ended up with sour grapes.
(insert sounds of crickets chirping)
Sorry. A fruit pun was bound to happen at some point. My sincere apologies.
FEMINISTS are really, if we’re being honest here, only truly great at one thing – and that’s picking holes in people’s arguments. That would be the arguments of the patriarchy, sexists and bigots and, most importantly, the arguments of other feminists.
Throwing a match on the kindling is Lily Allen, who thinks feminism shouldn’t even be a thing in 2014, stating that “everyone is equal” in the modern world.
Good news for all those children who have been victims of FGM, the women who are denied rights by backward governments and the rest.
WHEN Kurt Cobain met Courtney Love, it made it into this biography:
Already infamous in Portland, Love was holding court in a booth when she saw Kurt walk by a few minutes before his band was set to appear onstage. Courtney was wearing a red polka-dot dress. “You look like Dave Pirner,” she said to him, meaning the remark to sound like a small insult, but also a flirt. Kurt did look a bit like Pirner, the lead singer of Soul Asylum, as his hair had grown long and tangled — he washed it just once a week, and then only with bar soap. Kurt responded with a flirt of his own: He grabbed Courtney and wrestled her to the ground.
SHARON Stone wants us to know:
“There was a point in my forties when I went into the bathroom with a bottle of wine, locked the door and said, ‘I’m not coming out until I can totally accept the way I look right now.’ ”
Sharon takes one bottle into the shower…
CELEBRITY Quote of the week came form the mouth of Victoria Beckham who was talking about her surgically enhanced breasts:
”I don’t have them anymore. I think I may have purchased them.”
JUICEBOXXX might want to cut down on the Thunderzone.
Who is the Milwaukee Talkee?
Juiceboxxx is an American artist, producer and performer. Since the age of 15, he has been barn burning all over the world with little regard for convention and a lot of guts and tension. In a world of bullsh*t, JB puts it all on the line, every time. What’s more, Chuck D from Public Enemy once called Juiceboxxx “the Buddy Holly of Hip Hop.”
He “brings to mind Bruce Springsteen splattered through a punk rap lens”
Take him away, Jukeboxxxxed….
ANYONE who saw England play against Denmark last night or, indeed, have ever seen England play in any tournament of any kind, will know that everyone’s going to be treated to some spectacularly dull football.
In Brazil, it is pretty obvious that the English will wilt like old salad in the tropical heat. It’ll be a marvel if they even get out of their group, which features Luis Suarez’s Uruguay, the mighty Italy and Costa Rica.
With England’s Crapenaccio on offer, we need a song that will befit England’s laboured performances.
So step forward Gary Barlow – the dowdiest of popstars – alongside Mel C and Emma Bunton, Kimberley Walsh and Gary Lineker – who together, will record England’s official 2014 FIFA World Cup single.
BIOPICS are problematic at the best of times, but get it right and you can cement a person’s place in history forever. Especially tricky are rock biopics because, half the time, the person or people they celebrate, are still alive. Or at least, they were around not that long and you can remember if they were horrible or not.
However, some rock films are better than the actual careers of the artist they pay tribute to.
Have you seen The Doors film? That’s a daft romp through 60s fluff and nonsense with some hilarious mystical sequences and leather trousers. 10,000% better than actually having to sit down and listen to anything The Doors ever committed to record. We can whip the horses eyes? C’mon! You’d much rather see one of Meg Ryan’s boobs and laugh at Billy Idol in a hippie wig!
With a biopic of Jimi Hendrix due to drop any minute now, played by Andre 3000 from Outkast, it seems like a perfect time to look at some of the finer performances in the oeuvre.
Let us start with the newest and most exciting biopic in a while. ‘All is By My Side’ features Andre Benjamin as the late Hendrix. We knew he was a man who could pull off Hendrix’s wild attire, but the footage doing the rounds shows that Benjamin is more than adept at doing an impression of Jimi. Have a look.
IN the disco era there began a phenomenon of immense historical insignificance: the emergence of all female musical trios. Sure, there had been The Supremes, and there were various disco/soul trios that genuinely kicked ass (etc. The Three Degrees, Labelle), but these bands were different. This new breed was basically talentless, and exuded an overt sexuality (i.e. they couldn’t sing, but at least they were hot). Every song in their entire catalog (with 0.00 exceptions) was about sex, and every performance and music video operated unflinchingly to the “sex sells” approach.
The trend extended into the 1980s, paving the way for groups like Destiny’s Child (who were less one-dimensional). Largely forgotten in the annals of pop history, all that remains are the vinyl relics which I hereby dub “Three Chick Discs”. Here are a few examples
“Make Love Whenever You Can” by Arabesque
Make love: Do it today, don’t wait until tomorrow
Make love: The only way to wipe away your sorrow, love
ALTHOUGH Alfonso Cuaron’s blockbuster film Gravity (2013) earned a whopping seven Academy Awards last Sunday night, one crucial supporting player didn’t pick up the Honorary Oscar it so clearly deserved: NASA’s space shuttle.
For thirty-five years now, this durable “space truck” — known officially as the “Space Transportation System” — has appeared in many space movies of the contemporary or realistic variety.
IGGY Pop, star of one of the greatest rock photos of all time, the man who faked Lou Reed’s death, Richard Wilson look alike, ToTP teddy molester, performer of the most revered failed stage dive, the man for whom the show did not always go on, has created one of the most memorable tour riders for his shows.
ROBERT Ashley (1930-2014). The composer was 83.
Kyle Gann, who recently wrote a biography said of the Michigan-born composer, who in 1958 created the Cooperative Studio for Electronic Music , a pointer to his eperiments with audio synthesis.
“Bob was one of the most amazing composers of the 20th century, and the greatest genius of 20th-century opera. I don’t know how long it’s going to take the world to recognize that.”
Thanks to the internet, the past never goes away. You can hear some of Ashley’s work in full.
In 1997, he spoke to Furious:
PSF: How did you decide to make your works as all being operas?
In 1975, there were no operas in America. I was interested in opera and it seemed to me that the only possible theatre for contemporary opera would be television. So I started working towards a kind of television kind of opera. I started designed the work so that it would be usable on television. I think it’s still true.
PSF: How did you see television as an ideal medium for operas?
It’s contemporary. It’s new. Many more people watch television than go to opera houses. There aren’t any opera houses in the United States. The possibilities for contemporary opera are very small. I thought when I started, it looked more promising (to work with television). Now, in the last few years, television has become much more conversative. But I still think there’s going to be a marriage of television and some form of opera. It might not happen in my lifetime but I still think it’s inevitable. The whole idea of the opera house is so dated anyway. It’s such a nineteenth century idea. Because of that probably, there aren’t any to speak of (maybe 3 or 4). It doesn’t really allow the idea of opera to really grow. I thought if I could get television interested in opera, it would make a kind of new thing that would allow composers to build a whole new repertoire.
It was more promising fifteen or twenty years ago than it is now. The first opera I did, Music With Its Roots in Ether (1976), has been broadcasted a lot. The next one I did, Perfect Lives (1980), was produced by Channel 4 in Great Britian and was shown there for two years and then throughout Europe but only parts of it have been broadcast in the United States. Now in ’97, television is so conserative that it doesn’t look promising. But I think it’ll change back. I think it’ inevitable that there has to be some new genre in television. Television goes through these periods of incorporating new things. First there was live comedy then there were soap operas then there was news and now there’s a lot of television about sports. We went through a period of MTV with pop music videos too. Television always needs new materials and it’s just a matter of time until there’s the right audience for new work that’s not just pop music. When that happens, it’ll be a very good time for composers to do serious big, narrative pieces.
PSF: Why do think there has been resistance to this kind of idea in American television?
Because they’re stupid I guess. Opera on television in Europe is very important. If you think about it in the broadest sense: a lot of the dramas made in India with music are practically operas. They’re not sung but they have a very big appeal. I don’t know why American television people are so stupid but at the moment, they just seem to have some sort of a block. They just do what they do and they do it for a certain number of years. Then it wears out and they try something else. It’s just a matter of time I think.
Brian Robison, of Cornell University, has posted on YouTube 4 American Composers, directed by Peter Greenaway in New York in 1985.
Compared to Meredith Monk and Robert Ashley, John Cage and Philip Glass are household names, yet their relative fame frequently turns on the persistence of misconceptions. All too often, even scholars who might be expected to know better portray Cage as either charlatan or nihilist. Critics in the 1980s tagged Glass’s music as “classical music for people who don’t like classical music,” suggesting his shrewd exploitation of the yuppie market. Director Peter Greenaway and producer Revel Guest weave representative musical excerpts with interviews to present the personalities more accurately, and, in so doing, establishes a broader context for listening. Perhaps the most striking revelation of these documentaries is that such notorious iconoclasts are so soft-spoken in person (compared to the shy, halting Ashley, the loquacious Monk seems downright assertive).
Ashley’s TV opera Perfect Lives was reviewed by Frieze:
As living and breathing musicology in practice, Perfect Lives explores how storytelling creates music and – tangentially – how American social models grew in tandem with musical forms from Europe and Africa. Built into the very structures of how it was written and is performed – there is no definitive score, only the libretto, some diacritic and harmonic indications, and a set of intricate time signatures to follow – Perfect Lives is about the sociability of music. Ashley realized Perfect Lives over a period of years with a number of close collaborators. (‘I only work with geniuses,’ he says. ‘In the end it pays off.’5) In a documentary made by Peter Greenaway in 1983, as part of his ‘Four American Composers’ series, Ashley said he wanted to ‘allow the performers to make musical statements as unpremeditated as speech itself’.
Ashley spoke with Alex Waterman:
What distinguishes traditional opera from any other form of narrative—like religious dramas, for example—is that most operas have a political landscape. This is especially true in Italian and German opera. You get a version of a landscape that has political meaning. I thought about that when contemplating the architecture of the opera house and how it makes those landscapes possible. Of course, that architecture is not available to me, nor would I want it to be. But the landscape has to be there however the opera is presented.
In the best of circumstances, the architecture and the music–for the people—match. But what’s happened in the last 50 to 100 years is that the music has outgrown the architecture. The instruments are old, the ideas are old—everything’s so old; it’s boring, you know? There is no architecture to deal with what we’re talking about here. I thought, There’s got to be one. And it occurred to me that our architecture might be the imaginary space behind the surface of the television screen. In other words, when you watch TV, you see whatever you see, but behind that there’s an imaginary space and maybe that’s the place for the music of our time.
It’s interesting how you can manipulate landscapes with television so that they have meaning. It’s different from having a person singing here, in my living room, which is something of a landscape. If you go outside of the personality of this room, the landscape is all of a sudden dramatically political—it’s a visual demonstration of how things work for everybody. That’s what opera is about. You’re trying to put the story in an appropriate place so that when you see it you say, Oh, that’s what the story is about!…
The landscape in Perfect Lives starts as big as possible, in The Park, and it’s described quite precisely in political terms. And then it goes to The Supermarket, which is not totally indoors. Then you get the ride through the landscape with the lovers eloping and the bank robbers driving to Indiana in The Bank episode, where you are dealing with mixed outdoors and indoors. Next, you enter the most close-range landscape, in The Bar with Rodney and Buddy talking. Then you move out again to a bigger space in The Living Room, which has more imaginary space. At the beginning of that episode, the characters talk about the Sheriff’s Wife as if she were on the South Pole and the Earth were revolving around her.
It is relentless. And mesmeric.
I.The Park (Privacy Rules)
II. The Supermarket (Famous People)
III. The Bank (Victimless Crime)
IV. The Bar (Differences)
V. The Living Room (The Solutions)
VI. The Church (After the Fact)
VII. The Backyard (T’Be Continued)
7. The Backyard
IN November 1976, The London Weekend Show, introduced by Janet Street-Porter, took punk to the masses.
THE BBC is a wonderful thing and this writer will defend it forever. That said, not everything it does is perfect. Take a look at BBC Three for example, which is currently being scrutinised now that Auntie has said it might be closing it down forever and ever amen. Or, at lease, turning it into an online channel.
A BBC spokesman said “nothing is off the table”, adding “no decisions have been made”, but really, it must be nigh on impossible to justify the existence of BBC Three (and Four for that matter), when they only broadcast for half the day (seriously – what is with that) and for the main part, are furiously unpopular.
In the case of BBC Four, the handful of decent shows they make could easily be shown on BBC Two. And BBC Three? Well, there’s little to save from the cull. And the stars that are calling for the channel to remain underline why it needs to go.
Jack Whitehall, Matt Lucas and Russell Kane are amongst those showing support for BBC Three.
THERE is just something inherently creepy about a doll coming to life. I think it falls into the same category as clowns, kids and the elderly. Because they are supposed to be so benign or innocent, it becomes all the more warped and vulgar when they take a bloodthirsty bent.
The devil doll trope didn’t start with Chucky. In fact, you could go back centuries via fairy tales and the golem mythology. In terms of cinema, you could start with The Devil Doll (1936) or Dead of Night (1946). However, we’ll concentrate on films from the 1970s and adjacent decades.
So, here are the top demonic doll movie moments from the 1960s through the 80s. If there’s any egregious omissions, please fill me in, and let’s make this list grow!
15. CHILD’S PLAY (1988)
Woefully cheesy, this film just doesn’t do anything for me. However, I recognize it’s earned its place on the list of evil dolls, so here’s Chucky. Moving right along….
LIKE him or not, Ricky Gervais has managed to forge himself a career where he can do exactly as he pleases. Films? Sure. Children’s books? Done. Animations of podcasts he did ages ago? Fine. Making a star out of his mate by sending him on holiday? Remarkably, yes.
And now, Gervais has announced two David Brent concerts.
The comedian is going to get into his most famous character and appear on stage at London’s Hammersmith Apollo and Oxford New Theatre this May.
AS well you know, Kurt Cobain is dead. He blew his mind out in a plaid shirt and a lot of people lost their favourite singer. It was terribly sad and inspired a lot of people.
Inspired them to do what? Well, try and make money from Cobain’s corpse mainly.
And so, to Kurt’s old roommate who says he’s selling a load of the deceased Nirvana shrieker’s belongings on Craigslist. Y’know, to save you from actually having to graverob in the first place.
Rachel Johnson Discovers The Poor On A London Poverty Safari: London Mayor’s Sister Finds UK’s Lost Tribe
THE Times reports on Rachel Johnson, sister to London mayor Boris Johnson. She’s been on a Poverty Safari. Yes, those darling poor London wildings have been viewed:
ON March 4 Charlie Chaplin was knighted.
He had met The Queen in 1952.
WHETHER you like it or not, the only music format that doesn’t seem to want anything to do with the working classes, is indie. Prick your ears up during an interview with almost any new British rock band, and you’ll not hear an accent amongst them. Pop, rap, metal and dance music meanwhile, are the playground for anyone who fancies it.
In the pop world, The X Factor, American Idol and Britain’s Got Talent are giving working class performers a shot at fame. Susan Boyle is a megastar, when no record company would touch her. Little Mix meanwhile, are a hotchpotch of regional accents (and most importantly, killer pop records).
Indie, meanwhile, looks like prog in the 70s, filled with a load of dreary, earnest humans who lack the hunger of someone like Oasis. Whether you liked the band or not, the urgency and desire in their early records was difficult to rail against.