Monday, 1 September 2008

Kylie comes home for Christmas

KYLIE is bringing her flashy new tour home to Australia, writes Cameron Adams.


IT'S two hours until showtime in the surprisingly glamorous bowels of London's 02 arena.

The 02 is the venue where Prince played 21 shows last year, and the Spice Girls earned over $35 million for 17 comeback concerts.

It's also where Kylie Minogue is ending the European leg of her KylieX2008 tour with a seven show stint - playing to over 140,000 Londoners.



Pictures: Kylie through the years

Minogue, minus entourage and make-up, has been driven to the venue just in time for an afternoon soundcheck where she'll run through a handful of the show's most musically diverse moments for last-minute technical checks.

Thousands of Kylie balloons are being rounded up while Minogue saunters across the stage.

She's no stranger to big stages (reports suggest over $20 million went into producing this tour), but this X set-up is so immense it threatens to dwarf her.

The back of the stage is an IMAX-sized video screen; the floor is made up of similarly massive screens.

The band sit to the left and right of the main stage, giving Minogue and her dancers full rein of a hi-tech oasis.

During soundcheck Minogue conserves energy, but come showtime she finds a new way to make sure she's not lost in the floor-to-ceiling technology.

"I'm releasing my inner Freddie Mercury,'' she says backstage.

"The scale of this tour is enormous but the space is really liberating for me. That's what we wanted to do, give me some more freedom. It's hard to explain, but I'm in a different mindset. Parts of the show are so over the top, like those Freddie moments in Your Disco Needs You. Why not have fun?''

Fun was the overriding principle of X, an album many thought might focus on her battle with breast cancer, which derailed 2005's Showgirl greatest hits tour.

But Minogue is done with self-analysis, only touching on her emotions in No More Rain, the song she wrote about hoping to be in front of an audience again.

"No More Rain has had a phenomenal response,'' she says. "I don't even know if a lot of people in the audience even know that song. I have to assume a lot of people come without having heard the rest of the album.''

It's the elephant in the room.

X hasn't sold the way anyone expected.

It's provided more fodder for Minogue's next hit collection (2 Hearts, Wow, In My Arms) but something went wrong with the album's chart stamina.

"In retrospect we could definitely have bettered it, I'll say that straight up,'' Minogue admits. ``Given the time we had, it is what it is. I had a lot of fun doing it. I'm excited about bringing those songs to life on stage. Wow, In My Arms and 2 Hearts are crackers, they go off like a frog in a sock.''

2 Hearts is indeed one of the highlights of the X tour - the moment where her band get to percentage the main stage and Minogue moves from hi-NRG pop adept to stage-prowling chanteuse.

Some blame the fortunes of X on the fact 2 Hearts is non the arm-waving Europop that made Kylie an icon. Others blame the rest of the album for featuring to a fault much of the arm-waving Europop that made Kylie an icon.

As with any Kylie album, it's been interminably analysed and dissected�- first by the record company boffins wHO spend hundreds of thousands sourcing A-list and blistering underground producers and songwriters, then stopple Minogue into the mingle.

An of course the fans world Health Organization spend hours analysing what went right, or wrong, with the album; a process that began before it was even finished, let solitary released.

Her fans get adopted the same near-surgical attention to detail on the X tour.

"I've stayed a safe sufficiency distance from that,'' Minogue says of the cyber-debate.

"The internet and forums in particular, well it's not like you're face to face with people in a room and everyone raises their hands and says something. So I take a lot of that with a grain of salt.

"People want to say something and contradict each other to start conversations�- that's serious, but I have to stick to what I'm doing.

"I certainly don't do everything (on this tour) the way I might feature imagined it, but that's creativity and I love it for all of its ups and downs.''

The first few shows of the go featured triad unreleased songs from the X roger Sessions (marred by a drawing string of leaked tunes, much to Minogue's horror).

That's Why They Write Love Songs was eventually shelved, while Flower and Ruffle My Feathers remain; electrifying some fans, confusing others.

"Those deuce songs are not tied recorded,'' Minogue says, hinting that their personal lyrics didn't sit with the hedonism and brokenheartedness on X.

"They're personal moments in the live show that weren't on the album, but possibly that wasn't meant to be. This is where they've ground their moment to be expressed.''

Minogue admits some of the other rehearsals were "grim'' and that the tour has been a work in progress with a clumsy beginning (it's no stroke it wasn't filmed for DVD until the London leg).

"The setlist of the register now is pretty much as it was meant to be. A, B, C, D, E, F, G didn't work, so we had to change whole sections. It didn't flow the way it was meant to. Amidst all that I was staying pretty calm, at least one on bridge player.

"I canful honestly pronounce we've changed something every night, whether it's hair's-breadth or compensate or putting a song in�- that's what I mean about freedom in this spell. It keeps everyone impudent and on their toes.''

Minogue jokes she's the "oldest person on the stage'' but her hungry youth band sure breathe spirit into X.

While her last few tours featured many of the same musicians and dancers, X has deliberately taken Minogue out of her comfort zone.

"It's a new comfort zone,'' she clarifies. "All the changes have been fantastic, in truth refreshing. With that radical I experience like we could go off piste and do a gig anywhere, they're all so enthusiastic.''

It doesn't get a lot more off-piste than Australia.

When the X circuit was first announced, an Australian leg was not on the cards.

Minogue admits it was far from a forgone determination she'd get the show home.

"No it wasn't, to be honest. Not at all. I didn't know what the show up was sledding to be. The last thing I wanted was to book (an Australian tour) a year out.''

Since her wellness battle, Minogue works at her own speed. X, like Showgirl, features an interval _- but it's as much to lease the technological crew organize the new sets as tp allow Minogue feature a break in the two-hour picture.

Insiders evoke it was only one time Minogue physically got to the halfway mark of the European leg of the X tour that talk of extending it could even be diverted.

After a break that takes her into next month, she's now booked for a quick see to Asia, her number 1 ever tour of New Zealand, and a short victory lap of Australia in December�- just shows in Sydney and Melbourne, leaving her home for Christmas.

"I couldn't in reality say last September 'I'll do a tour all year long','' Minogue says. "I had to do it in increments. That's really worked, it's been broken up into phases. We'll have our break and then everyone will be excited to see each other once again. It's a really right vibe, relaxed but real on it.''

Indeed the night before this London performance, Minogue took control of the mandatary pre-show powwow. was sincere in saying to everyone I can't believe we've come this far. It's been awesome and challenging and with a truly difficult initiate. It was all about getting to London and here we are.

"There's parts in the designate where it's emotional, simply that's the point of doing a show, all those different forms of emotion.''

The tour has been Minogue's unitary constant in an unpredictable year.

She turned 40, received both an OBE and France's highest cultural honour, endured rumours of everything from rekindled love to borrowing (on the possibility of children, she hasn't changed her idea: "It power be, it might not be''), and took some other shot at the US market.

After a advancement blitz that included playacting on America's Dancing with the Stars, X failed to crack the US Top one C. One written report claims this prompted Minogue to throw her work force in the air and say:� "That's it, never again!''

The truth was far less dramatic.

"I always go over at that place with the same attitude I've always had, which is 'If it's to happen it'll happen','' Minogue explains.

"I'm unbroken pretty much busy enough. We'll see. I'm not racing over there. I'm heading dwelling!''

For Kylie-watchers, the most interesting part of the American assault was when Minogue went off script.

It was on Ellen DeGeneres' TV verbalise show, after fellow node Hillary Clinton mentioned the issue of misdiagnosis of breast cancer the Crab, that Minogue impulsively ditched her prepared banter to reveal her cancer had initially been misdiagnosed�- she was told by British doctors she didn't have anything to worry about just weeks before a second opinion saw her undergo surgical procedure in Melbourne.

"I think it deserved to realise a handsome splash,'' Minogue says of the way the media seized on her misdiagnosis revelation.

"That's not who I am, I don't like doing stuff like that, but that's a fact of life. That happens and it happens oftentimes. One can't point the finger of blame in any particular direction just I feel better for having shared out that.

"It's a tricky one. It's not to scare mass and I know it's a banality but if one person thinks `I might see someone else, I just don't feel right', then good.''

Minogue says her health is "good'' these years.

"This circuit is unquestionably keeping me fit,'' she declares.

And there have been several chances for the star to put her feet up�- she leased out an entire film to view Mamma Mia! with her band and crew.

"We did it for Sex and the City too,'' Minogue admits sheepishly. "That was a identical cosmopolitan afternoon. When there's a day off we organise something that's manageable for everyone. That was the first time I'd been to the movies in ages.''

For the phonograph recording, she loved both movies. For some other record, she didn't spend a centime.

"Tickets to the show for tickets to the cinema,'' Minogue says. "The good old fashioned barter system.''


X (Warner) out now.


KylieX2008, Rod Laver Arena, Dec 19, on sale Sept 8 from Ticketek.







More info

Friday, 22 August 2008

Matt Damon Is A Daddy Again!

...more Matt Damon �

Matt Damon has become a father for the arcsecond time after wife Luciana Barroso gave birth to a daughter on Wednesday.


Little Gia Zavala Damon has two with child sisters wait for her at home - deuce year old Isabella and Alexa, Luciana's 10-year-old girl from a previous marriage.


Matt's spokeswoman reports the new arrival is "a healthy, beautiful baby girl."


Ironically, minuscule Gia was born on the same day that Jennifer Garner, the married woman of Damon's best friend Ben Affleck, confirmed she's pregnant with the couple's second child.


Damon recently joked about his female-dominated home, stating, "I'm so outnumbered down here, it's crazy."

Tuesday, 12 August 2008

Rock City Angels

Rock City Angels   
Artist: Rock City Angels

   Genre(s): 
Metal
   



Discography:


Rock City Angels   
 Rock City Angels

   Year: 1986   
Tracks: 11




The Rock City Angels got their start in the late '80s as a hair metal kit. Performing their marque of high-energy unvoiced rock during the high peak for the musical genre, the band managed to tone ending unrivaled album on Geffen before they were dropped during the alternative disceptation explosion of 1992. They managed to reorganise and exploit on new material until, last, in 2000 they released their follow-up, an eponymic album on New Renaissance Records.






Wednesday, 6 August 2008

HSE And Kent Police Decide Not To Investigate Maidstone And Tunbridge Wells NHS Trust, UK

�The Health and Safety Executive (HSE) and Kent Police proclaimed the conclusion of a joint

Neon Neon: 'John Lydon Is A Bigot Arsehole'

In the area when John Lydon's entourage puzzle up Kele Okereke and getting a Mercury award nomination, Neon Neon have had a high-profile week.


The mankind behind the music, Boom Bip gave Gigwise the low-down in an exclusive interview.


Reflecting on the Lydon/ Okereke “racist attack” incident, he said "Bloc Party, Foals, Kaiser Chiefs, The Raveonettes, and Mogwai were in our trailer, The Sex Pistols were a yoke of trailers away.


“We were going one by one to conform to them and get photos. The protection got in before we could help Kele. Lydon said the younger bands were jealous, but we went to him in admiration, not jealousy. He showed his true colours, the sub turned out to be a bigot arsehole."


Speaking around the Mercury Prize nominating speech, Boom Bip thought Radiohead could be in with a opportunity of victorious, saying: "In Rainbows great record, I always truly liked Radiohead".


He praised the award because it uses a "legitimate little panel, they make the decision on the night."


Read the full interview on Gigwise adjacent week.




More News

Angelina Jolie & Brad Pitt's Guards Clash With Paparazzi Intruders

Brad Pitt and Angelina Jolie's security team have been involved in a violent opposition with two paparazzi intruders.

The drama occurred after guards confronted the lensman as they hid in the grounds of the French estate where the whizz couple let been staying following since the birth of their twins.

The couple's security chieftain, Tony Webb, confirmed that an incident took lieu on Thursday afternoon.

He aforementioned in a statement, "We caught the two and tried to escort them off the property and the guy's just kaput beserk, trouncing out, kick and actually biting one of the security citizenry, breaking his finger, drawing blood and screaming that he had Hepatitis C."

Police spokeswoman Capt. Olivia Poupot said today that both parties were questioned by police, and that both have lodged legal complaints accusing the other side of assault and battery and causation injury.

Yusef Lateef

Yusef Lateef   
Artist: Yusef Lateef

   Genre(s): 
Jazz
   



Discography:


The Golden Flute   
 The Golden Flute

   Year: 2004   
Tracks: 9


The Three Faces of Yusef Lateef   
 The Three Faces of Yusef Lateef

   Year: 1995   
Tracks: 8


Live at Pep's   
 Live at Pep's

   Year: 1993   
Tracks: 10


The Centaur and the Phoenix   
 The Centaur and the Phoenix

   Year: 1992   
Tracks: 9


The Blue Yusef Lateef   
 The Blue Yusef Lateef

   Year: 1992   
Tracks: 8


Into Something   
 Into Something

   Year: 1991   
Tracks: 1


Other Sounds   
 Other Sounds

   Year: 1989   
Tracks: 1




Yusef Lateef has long had an inquisitive spirit and he was never just a bebop or hard federal Bureau of Prisons soloist. Lateef, world Health Organization does not care much for the appoint "jazz," has consistently created music that has stretched (and even stony-broke through) boundaries. A superior tenor saxophonist with a soulful sound and impressive technique, Lateef by the fifties was one of the crest flutists around. He as well developed into the best jazz soloist to date on hautboy, an casual bassoonist and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of hautbois) and different types of flutes. Lateef played "worldly concern music" before it had a appoint and his production was much more creative than much of the crop up and folk music that passes below that judge in the nineties.


Yusef Lateef grew up in Detroit and began on tenor when he was 17. He played with Lucky Millinder (1946), Hot Lips Page, Roy Eldridge and Dizzy Gillespie's bad band (1949-50). He was a mending on the Detroit jazz scene of the fifties where he studied flute at Wayne State University. Lateef began recording as a leader in 1955 for Savoy (and later Riverside and Prestige) although he did not move to New York until 1959. By then he already had a secure reputation for his versatility and for his willingness to utilize "mixed instruments." Lateef played with Charles Mingus in 1960, gigged with Donald Byrd and was well-featured with the Cannonball Adderley Sextet (1962-64). As a drawing card his string of Impulse recordings (1963-66) were among the finest of his career although Lateef's varied Atlantic sessions (1967-76) usually as well had some strong moments. He exhausted some time in the eighties instruction in Nigeria. His Atlantic records of the late '80s were closer to temper music (or new years) than jazz just in the 1990s (for his own YAL label) Yusef Lateef has recorded a spacious kind of music (all originals) including some strong makeshift music with the likes of Ricky Ford, Archie Shepp and Von Freeman.