SINCE his diabolic 2011 AFL Grand Final appearance, no music promoter has put Meat Loaf on tour. Sales of his new album perhaps show why.
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Two Door Cinema Club have announced a tour to coincide with new album 'Gameshow'.
It's the trio's first full tour for the album, following a headline appearance at the NME/Radio 1 stage at Reading And Leeds Festival this summer. They also played an intimate gig at London's Tufnell Park Dome two weeks ago (September 14). Tickets for the tour go on sale on Friday at 10am. 'Gameshow', out on October 14, is the band's first album since 'Beacon' in 2012. It was made with REM/Bloc Party producer Jacknife Lee and has been previewed by the singles 'Are We Ready? (Wreck)' and 'Bad Decisions'. The tour ends with a gig at London's Alexandra Palace, their first arena show since they headlined London's O2 in 2013. They were due to headline at Latitude Festival the following summer, but were replaced the week before by Lily Allen. Singer Alex Trimble revealed to NME recently that he was suffering from stomach ulcers at the time, and that the band needed to take a break as "we'd been hitting it way too hard on the road". Two Door Cinema Club will play: Birmingham Academy (January 24) Cambridge Corn Exchange (25) Manchester Apollo (28) Leeds Academy (30) Newcastle Academy (31) Liverpool Guild Of Students (February 2) Glasgow Barrowlands (3-4) Southampton Guildhall (6) Bristol Academy (7) London Alexandra Palace (10) Hastings Pier Not for nothing does Dizzee Rascal's show start with his hypeman, Bigman Scope, listing his achievements. He's âthe UK's number one MC,â says Scope, who, unexpectedly, appears at the exact time advertised. âHe's had hits like I Luv U, Dance Wiv Me and Bonkers.â He also could have mentioned Holiday, Dirtee Disco, You Got the Dirtee Love and Goin' Crazy, which all reached No 1, or nearly. This isn't routine boasting. In the teeth of a grime resurgence that has been crowned by Skepta winning the Mercury prize, it's become necessary to remind (or inform) people that Dizzee and his own Mercury winner, Boy in da Corner, were there first. Having said that, he gets off on the wrong foot, with I Don't Need a Reason, from his most recent album, The Fifth (2013). It's lyrically crass (âAll I do is flex, all I want is sexâ) and its trap beats are musically one-note. On the other hand, it's Friday night and the crowd on the newly reopened pier are here to party. Dizzee could be shouting, âAll I care about is sex and violenceâ â which he later does â and the audience would still bounce joyously. Continue reading...Dusting 'Em Off is a rotating, free-form feature that revisits a classic album, film, or moment in pop-culture history. This week, Nico Lang revisits hit '90s comedy The First Wives Club. A movie can be important, even if it's not very good. Such is the case with The First Wives Club, a frothy midlife crisis comedy currently celebrating its big 2-0. Starring Goldie Hawn, Diane Keaton, and Bette Midler, the film debuted in theaters in September 1996, sitting atop the box office for three weeks and topping out at a final gross of $105 million. Its success was sweet vindication following a troubled production. When the film's original screenwriter, Robert Harling, bailed on the film to direct The Evening Star, a little-remembered sequel to Terms of Endearment, Paul Rudnick (In & Out) was tasked with finishing his script, which he claims â[made] no sense.â For example, there's a pivotal scene where Annie Paradis (Keaton) and her best friends from college (Midler and Hawn) visit a gay bar after Annie's daughter comes out to her mother as a lesbian. Rudnick, who is openly gay, told the New York Times during a 1997 interview that he bristled at the logic of the scene. âOK, but why are they going there?'â Rudnick asked Scott Rudin, the ubiquitous producer behind such films as The Truman Show and No Country for Old Men. Rudin responded, âThey're going to talk to Diane Keaton's daughter, who is gay.â Rudnick was still confused. âShe's gay, but she doesn't have a phone?â he shot back. Rudin didn't care if it adhered to common sense, just as long as it was funny. âJust write it,â he said. That exchange is a perfect distillation of everything you need to know about The First Wives Club, which barely has enough plot to sustain a soap commercial, let alone a 90-minute film. It's the kind of movie that must have made for a great pitch: Three women, approaching middle age and finding themselves traded in for younger models, decide to take revenge on their no-good exes. The resulting film, however, doesn't appear to have been fleshed out much further beyond that concept. If Rudnick suggested that one would need âan undiscovered Rosetta Stoneâ to âfigure out the structure of that movie,â it would also require a dedicated construction crew and a whole lot of plaster. Because the trio of women don't have much else to do other than scheme, they spend a great deal of time knocking down walls, singing Lesley Gore songs, and laughing. In The First Wives Club, home improvement montages stand in for the more genre-typical Pygmalion-esque makeover scene. But even the mundanities of its plot raise unanswered questions: Why exactly do they need a private office to plot their revenge, especially when New York real estate doesn't come cheap, when one of their spacious, luxury apartments will do? After all that time spent nurturing their lady cave, why don't they seem to ever hang out there? There's a reason, though, that The First Wives Club, while imperfect, has maintained such longevity since its debut. In 2009, a San Diego theater company adapted it into a musical - which was successful, selling over 29,000 tickets despite poor reviews. That production was revamped in Chicago last year, and TV Land will be mounting a television version this fall. What makes the girl-power comedy effective is not the clingwrap-thin story - which suggests 9 to 5 meets Spice World - but how it is told and who it is about. The film marked a pivotal point in the careers of its trio of female stars, women who were aging out of a Hollywood system historically predicated on nubile youth and beauty. When the film debuted in theaters, its leads were 51, 51, and 50, well into a period of their lives when actresses experience rapidly diminishing returns. A 2014 study from Journal of Management Inquiry found that actresses' paychecks peak when they are 34, while the value of their male counterparts continues to appreciate into their 50s. A male actor's earning potential peaks when he's 51. The First Wives Club refreshingly dares to critique that double standard. Elise is a famous actress who has come to rely on plastic surgery to maintain her status as a leading lady. She laments the pressures women face to stay young, even though âSean Connery's 300 years old, and he's still a stud.â âThere are only three parts for women in Hollywood: babe, district attorney, and Driving Miss Daisy,â Elise tells her surgeon (Rob Reiner) when he refuses to give her another collagen injection. At this point, she's already had plenty. âI want Tina Turner!â Elise yells. âJagger! Fill 'em up!â The film has the most fun with Elise, who is brashly vocal about her predicament. Playing on Hawn's breezy charm, the actress is a career alcoholic who has been offered a key role in a film by a young, hotshot director. She believes she's going out for the part of Monique, the ingenue. He wants her to play her mother instead. âIs this the face of a mother?â Elise drunkenly asks a bartender, gesturing to her lips. âCertainly not mine,â he says. Each of these women, however, deals with the burdens of beauty culture in her own way. Annie (Keaton) is married to a husband (Stephen Collins) who dumps her for their couples counselor (Marcia Gay Harden). When he confesses that their marriage is over - after what appeared to be reconciliation sex - Annie asks why he tricked her into intercourse. A master gaslighter, he accuses her of manipulating him. Brenda (Midler) still has a torch burning for Marty (Dan Hedaya), a successful businessman who has left her for a younger woman obsessed with making her name in New York society (Sarah Jessica Parker). What these women want is not revenge on the men who have cast them aside, but recognition for years of thankless work, the kind that wives and mothers put in every day. For instance, Brenda helped Marty get his start with a position in her father's company, just to get ditched when he doesn't need her to advance his career anymore. These feelings of discontent are likely to be shared by the film's target audience. In the workplace, women are structurally undervalued. Paid 77 cents for every dollar a man earns, female employees are often expected to do twice the work for half the pay, as well as a fraction of the recognition. Although Elise was the breadwinner in her marriage to an opportunistic Hollywood producer, he takes all the credit for her success during their divorce; of course, he still wants alimony anyway. An Upper East Side homemaker, Annie didn't end up with the happy life she pictured, even as she pretends everything is perfect. The First Wives Club is one of the few films made for a female audience in which its characters find fulfillment not by shacking up with a man, but by moving on from partners that don't deserve them. Rudnick's screenplay defines happiness not in monogamous rom-com terms, but as what we all want - to be respected and seen. During an era when precious few Hollywood movies even recognize the existence of middle-aged women, that message is still depressingly refreshing. ![]() Fall is here, and you'll need something warmer to wear over your $200 Black Flag t-shirt. Luckily for you, Topshop is offering a $700 leather jacket with the words "Against Me!" printed on the right sleeve. The U.K.-based clothing retailer didn't seek permission from the band, says Against Me! frontwoman Laura Jane Grace:
Hey @Topshop,â¦
Pretenders have announced their first new album since 2008's Break Up the Concrete. It's called Alone, and it's out October 21 via BMG. Chrissie Hynde is the only original member of the band to appear on the album. Alone was recorded with the Black Keys' Dan Auerbach at his Easy Eye Studio in Nashville. Check out the album's artwork below. The album features bassist Dave Roe (Johnny Cash, Loretta Lynn, Sturgill Simpson), pedal steel guitarist Russ Pahl (Blake Shelton), guitarist Kenny Vaughan (Lana Del Rey), keyboardist Leon Michels, and drummer Richard Swift. The Pretenders have also announced an upcoming tour with Stevie Nicks. Find the full itinerary below. The Pretenders and Stevie Nicks: 10-25 Phoenix AZ â Talking Stick Arena ![]() Having a hard time finding the right teacher for the violin? Give this a go. Just enter your details and speak to the best violin tutors in Ipswich. Getting the right teacher is not an easy task. Looking for one can be difficult. Give this a try. Just key in your details to get connected with the best violin classes here in Ipswich. http://www.dailymotion.com/video/x4m0iin_top-violin-lessons-ipswich-4305-australia_music âWhen you play for two and a half to three hours and pull out 'Come On Baby Grace' three-fourths into the set, that's a rock 'n' roll show,â Robert Pollard observed late Saturday night at the Metro Chicago. Below him were hundreds of sweaty, booze-soaked fans, all trying to keep up with every word or melody, which was quite a feat, considering Guided By Voices were working off a 50+ song setlist. Somehow, the band's 58-year-old frontman never struggled once, didn't even break a sweat. Instead, he chugged Jose Cuervo and handy bottles of Miller Lite from a nearby cooler marked âMetroâ and patrolled around the stage with his two broken fingers, regaling his brethren with his never-ending catalogue. He didn't just stick to the GBV revue, either; rather, he kicked out material from his solo albums, Boston Spaceships, and Ricked Wicky. Along for the ride were longtime drummer Kevin March and guitarist Doug Gillard, guiding newbies Bobby Bare, Jr. and Mark Shue. It was the final date of their summer tour, and the Dayton, Ohio outfit treated it like a Labor Day soiree. But so did their fans, who forged together in the middle of the crowd to create raucous moshpits or temporary bounce houses. They really went apeshit for âI Am A Treeâ, âCut-Out Witchâ, âEchos Myronâ, âBand of Pricksâ, and âTeenage FBIâ, surging high in the air during every hoppy drum hit and slinging back Pollard's poetry as fast as he kicked around drinks. To crib from Craig Finn, it was a massive night. Pollard made it a special one, too. Ever the baseball enthusiast - he once pitched a no-hitter in college, mind you - the singer chewed on the exceptional Cubs season, warning that they're the âHeartbreakers of America.â âI hope I didn't jinx them,â he joked. Towards the âendâ, basically, before the three encores, he even referenced Cheap Trick's âSurrenderâ amid poppy anthem âGlad Girlsâ, changing âAnd they're alrightâ to âWe're all alrightâ in honor of the Rockford, Illinois legends. âI'm inviting you all to my house in Dayton,â Pollard exclaimed. âWe'll have a cookout.â Before their cover of Ricked Wicky's âPoor Substituteâ, Pollard confessed: âThis is my favorite song of the whole set. It doesn't matter if it's your favorite fucking song, it only matters if it's my favorite fucking song.â It turned out to be one of the more low key moments, a jangly respite from the two-dozen head-on collisions, and he recognized that. âAfter a nice song, you gotta play 'Piss Face',â he said matter-of-factly, counting down â1-2-Pissâ before they dove into the other Ricked Wicky jam. All of this madness was preceded by a tight, 30-minute block by Jason Narducy's cruelly underrated outfit Split Single, featuring Billy Yost of The Kickback on bass guitar, in addition to Broncho's 45 minutes of shoegaze aping. So, yeah, it was a sprawling, exhausting night, but that wasn't exactly surprising. After all, rock 'n' roll has become something of an endurance test as of late, what with 66-year-old Bruce Springsteen breaking his record for his longest performance ever (twice, in fact) and Pearl Jam knocking out two three-hour gigs at Chicago's Wrigley Field in less than 48 hours. Guided by Voices, well, they just did their thing - and damn well. Setlist: ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
Helen Chilton
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