Tuesday, May 31, 2011

Why Adam Ant is not the first pop star who likes to be beside the seaside

Adam Ant's decision to tour Britain's coastal towns marks a welcome revival of a historic pop tradition

In June, Adam Ant will embark on a five-date tour of seaside towns ? and revive a long lost tradition in the process. As an astute observer of pop culture, the Antman must know that British coastal towns provide the quintessential homegrown music experience, what with the fading Victoriana and the licence for blustery fun and ? even better ? anarchy.

The big cities might think they're at the cutting edge, but it's the seaside where British pop first thrived ? from postwar gigs to seaside brawls between mods and rockers. The mix of showbiz, cheap pills and even cheaper thrills combined to forge an English pop vision far more vivid than that created by art schools.

Growing up in Blackpool, I felt cut off from the epicentre of pop action. But if I had been a teenager in the 60s I could have seen endless Beatles gigs, watched Jethro Tull, or witness Jimi Hendrix set fire to his guitar on stage (one of only two occasions this actually happened).

The 60s was the last decade that Blackpool could be considered the second city of showbiz; even Frank Sinatra would think nothing of playing there. A few decades earlier, George Formby, the UK's biggest homegrown star, would happily live in Blackpool and perform there for months on end. He even recorded songs about the place, such as the lascivious and censor-baffling Little Stick of Blackpool Rock.

Back then, seaside towns captivated the public imagination. The Beatles would dress up for pantomime pictures on the beach in Margate and play residencies in coastal townssuch as Bournemouth. It was a huge part of the pop conveyer belt and probably a cheap thrill in the days before LSD and touring America. The Beatles never left behind the inspiration of the seaside, though. Paul McCartney is believed to have thought up Magical Mystery Tour while looking at one of Blackpool's illumination trams.

Unfortunately, by the time the Specials fell apart on their own seaside tour, the tradition was dying along with the towns themselves. Perhaps they were too old fashioned for the amphetamine-driven cynicism of the era. Morrissey, of course, wrote one of his best songs, Everyday Is Like Sunday, about a visit to Borth in Wales.

Since then, Brighton has become a hip enclave and Blackpool has bravely soldiered on as a piss-up paradise. Elsewhere, other seaside towns have become fascinating curios ignored by the showbiz and entertainment culture that was once part of their DNA. Maybe Adam Ant's jaunt will revive this tradition and more artists will feel the need to be beside the seaside.


guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds


Tessie Santiago Jessica Simpson Mandy Moore Shannon Elizabeth Maggie Gyllenhaal

Turandot ? review

Millennium Centre, Cardiff

Welsh National Opera's staging of Puccini's last work takes place in a totalitarian state and, in the 17 years since it was originally seen, it has gained even greater impact. Christopher Alden's concept has a chilling aura, reflecting both the enigmatic princess Turandot trapped in her mental iceberg and the torture within a tyrannical regime. The shock of Paul Steinberg's set, with its wall of portraits of executed men ? Turandot's would-be suitors in mythological China ? is just as potent, the more so for the knowledge that there are still places in the world where death is the penalty routinely enforced for giving the wrong answers to trick questions.

Alden himself returned to tighten the screws in this revival, every gesture and ritual eloquent for its simplicity and precision. Lothar Koenigs emphasised the score's brutality, with the extended chorus at their exemplary finest. Despite moments when pit and stage were slightly out of synch, Puccini's dramatic thrust was there, as was some sensuous string-playing.

Anna Shafajinskaia's laser-soprano suits Turandot's glacial nature, and also suggests the inner turmoil unleashed by Calaf's kiss. Tenor Gwyn Hughes Jones gave an assured performance, accomplishing Calaf's soaring lines with focused ease. In her debut as Li�, Rebecca Evans's singing was perfectly judged, the slave-girl's demeanour marked less by servility than an inner serenity glowing in the voice. Making the feared executioner implicit in her death rather than the usual suicide certainly reinforced the element of dark forces. So, too, did the crowd holding aloft the dead men's pictures, adding a degree of ambiguity and hollowness to the hymn to love. It is serious stuff, brilliantly delivered.

Rating: 4/5


guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds


Victoria Beckham Missy Peregrym Sarah Gellman Eliza Dushku Bonnie Jill Laflin

Press Gaggle by Deputy National Security Advisor for Strategic Communications Ben Rhodes and NSC Senior Director for European Affairs Liz Sherwood-Randall, 5/27/2011

Release Time: 
For Immediate Release
Location: 
Aboard Air Force One, En Route Warsaw, Poland

4:45 P.M. CEST

     MR. CARNEY:  Hello, everyone.  As we make our way to Warsaw, I wanted to gaggle and bring with me Ben Rhodes, the President’s Deputy National Security Advisor for Strategic Communications.  We also have with us Liz Sherwood-Randall, who is Senior Director at the NSC for European Affairs, who can talk to you about our visit to Poland. 

     I don’t have any other announcements to make, so I’m going to ask Ben to give a little bit of an overview, and then Liz can talk to you about specifics about the dinner tonight and what’s on the agenda for tomorrow. 

     MR. RHODES:  Just a quick thing on today.  I know you got a readout already, but in addition, the President was able to met separately on the margins for a brief period of time today with both Prime Minister Essebsi of Tunisia and Prime Minister Sharaf of Egypt.  They were able to have discussions between meetings. 

     And the President just told us that he found both of the leaders committed to moving forward with the political reforms in their country.  They discussed the importance of moving forward with democratic reforms, including respect for the rights of minorities.  The President reaffirmed America’s commitment to democracy in both Egypt and Tunisia, as well as the programs of economic modernization that were the topics of discussion today.  And the President discussed again our long-term commitment to supporting stability and democracy and economic prosperity in these countries, and was impressed with both leaders.

     I’ll just kind of go through some of the -- you already have most of this, but the top lines for the Poland trip, and Liz can speak to the dinner tonight and the bilateral agenda for tomorrow. 

     So tonight, after we get to Poland, the President will lay a wreath at the Tomb of the Unknown Soldier in Warsaw.  He will proceed immediately to the Tomb of the Unknown Soldier and lay a wreath honoring, of course, the great sacrifices made by the Poles throughout many, many centuries and many years of their history.

     Then he will go to the Warsaw Ghetto Memorial, where he will also pay tribute there to, of course, the tragic history as well as the heroic resistance that took place at the Warsaw Ghetto Memorial.  He will lay a wreath there as well.

     Then he will proceed to the presidential palace, and he and President Komorowski will host a dinner with Central and Eastern European heads of state.  Liz can give you the list and the agenda for that dinner in a moment.  But, again, this is an important opportunity from Warsaw to underscore America’s deep commitment to security and democracy in the region, to consult with the leaders of these countries, as well as, of course, having the bilateral meeting with Poland.

     Then tomorrow the President will begin with a bilateral meeting with President Komorowski.  Then the two leaders will participate in a discussion -- after that bilateral meeting, a separate discussion about democracy, some of the lessons learned from the experience of Eastern Europe in Poland and their democratic transitions.  There is a group of people who’ve traveled -- Poles -- who work these issues who’ve recently traveled to Tunisia and other places, and also are playing a key role in Belarus, which Liz can talk to, which is of course the last remaining -- or the most troublesome remaining country in Europe in terms of backsliding on democracy. 

     Following that, he will have a working lunch and bilateral meeting with Prime Minister Tusk.  They will hold a joint press conference.  And then he will visit the church that is the memorial to the tragic plane crash of last year.

     With that, Liz can give you the dinner and the bilateral agenda, and then we’ll take some questions.

     MS. SHERWOOD-RANDALL:  Hi, all.  Happy to do this.  So for those of you who remember, last year in Prague the President had dinner with a number of his Central and Eastern European counterparts.  It was leaders only.  And the President found it very meaningful to hear directly from them about their concerns in their region, their perspective on the work that we’re doing together.  And so when we learned that the Poles were hosting a summit today of Central and Eastern European leaders -- which has been a formula in Central and Eastern Europe since 1993, with variable participants, it’s not a set group -- we asked if we could jointly host with the Polish President an informal dinner with the Presidents from the region who are going to be in Warsaw today. 

     So the President will have dinner with President Komorowski and 17 other leaders from the region tonight.  Would you like me to actually tell you what countries?

     Q    Yes.

     MS. SHERWOOD-RANDALL:  Okay.  Albania, Austria, Bosnia-Herzegovina, Bulgaria, Croatia, Czech Republic, Estonia, Italy, Kosovo, Latvia, Lithuania, Macedonia, Moldova, Montenegro, Slovakia, Slovenia, Ukraine, and then obviously Poland and the United States.

     The agenda for the dinner is twofold.  The first element is a discussion about finishing the unfinished business of Europe in the post-Cold War era.  So it’s really to talk with these countries about their consolidation of democracy, their security interests, and then, as Ben alluded to, the challenges we continue to face in the countries on the eastern periphery of Europe, in particular Belarus, which is really the last holdout in Europe. 

     And we’ll be discussing the ways in which we can cooperate together to build on the successful models of the countries that are around this table tonight and encourage those who are at this table who are still working their way along the democratic path to continue along that path.

     So the first discussion, as I said, is about European security and prosperity.  The second half of the dinner will be a discussion about Europe in the world -- because one of the themes of our administration has been that these countries, which moved along toward democracy at the end of the Cold War, have great experience to share with countries that have not yet made that transition.  And given the dramatic events of the last few months, Poland has taken the lead, as Ben mentioned, to assist countries like Tunisia with their efforts to build new democratic institutions and processes. 

     And so what we want to talk about with these countries is the role that they can play not only within Europe, as we’ll talk about at the first session of the dinner, but in the second element of the dinner, how they can play a role beyond Europe.  And we’ll be discussing in particular Tunisia and Egypt and the participation that they can have alongside us in the work we’re doing there, building on what happened today at the G8.

     Q    Liz, can you expand on that a little bit, on how these countries could play a role in Tunisia and Egypt?

     MS. SHERWOOD-RANDALL:  Well, already it’s happening, so the democracy event tomorrow where the President will be briefed by Poles who have been out in Tunisia and in Libya -- because the foreign minister has been in Libya recently -- what we’re talking with them about is, what lessons from your experience of transition can be applied to those who are now trying to figure out, in the wake of the revolutions that essentially have taken place in their countries, how to build new democratic institutions that work.  And while our experience is rather old in this regard, with these countries the experience is very fresh; it’s 20 years ago.

     And so our thinking is -- and we know this from some of our partners in the Middle East and North Africa -- they’re very interested in the example of Poland, in particular, but also some of the other countries that will be around the table tonight.

     MR. RHODES:  I’ll just add one thing to that, too.  There are the direct contacts that we want to encourage between the countries around the table -- Poland in particular has taken the lead -- and these countries.  There have been very impressive civil society contacts.  I think you’ve seen, for instance, some of the group of people who were involved in the Serbian protests have been in contact with the Egyptian and Tunisian counterparts.  So they’re government-to-government; they’re civil society-to-civil society contacts.

     But also some of the discussion today, of course, was about the economic component of this.  Some of the very same institutions and infrastructure that was set up to support democratic transitions in Europe, in Eastern Europe in particular, are now being reoriented towards the south.  So you have the European Bank for Reconstruction and Development, who built up expertise and how countries that are transitioning in democracy need to consolidate growth.

     So the EBRD is going to be reorienting a lot of its focus to MENA.  That’s an outcome of the G8 meeting today.  And that’s the type of expertise that exists within Eastern Europe that can be now refocused on the Middle East and North Africa.

     MS. SHERWOOD-RANDALL:  And actually I’d add two points here -- one, to build on what Ben has said.  So a concrete example of this is in our own country that our democratic institutes are partnering with the Poles.  We can provide some support for them.  They have the human capital, and some of our democratic institutes want to help them get out in the region.

     MR. RHODES:  Yes.  Like NDI and NRI --

     MS. SHERWOOD-RANDALL:  So NED, NRI -- yes, exactly -- and NDI.

     So, second thing I want to say, going back to the first session, given what happened yesterday with the apprehension of Mladic after so many years, it’s a perfect way of thinking about the continuing work we’re doing toward reconciliation in Europe and toward integration in Europe.  And so one of the themes of this first session, when we’re talking about Europe itself, is how can we consolidate that integration. 

     There are countries in the Balkans that have not moved fully along the path to membership in the EU.  The development in Serbia yesterday means that Serbia can take further steps forward toward its EU membership -- because one of the issues that had blocked its progress was the fact that Mladic was still on the loose. 

     And so this is a good example of the kind of work we want to do to help Europe heal from the past and integrate so that it is that Europe that is truly whole, free, and at peace.  And there is unfinished business still to be done.

     Q    Are you surprised that Walesa isn’t going to be at the event tonight, given his interest, his visit to Tunisia recently?  Why did he cancel?  And what is your reaction to that?

     MR. RHODES:  Yes, I got your question, Kate.  First of all, events tomorrow, the democracy events tomorrow.  He was invited by President Komorowski.  We certainly -- President Obama would welcome the opportunity to meet with him.

     My understanding, from his statements and his communications with us, is he has an engagement in Italy -- speaking engagement.  But we’re working -- we, of course, would welcome his participation in the democracy event.  He was invited by the Polish President, and President Obama, of course, would welcome that opportunity.  But I think it’s a scheduling matter that they’re looking at.  I think he spoke to it today, actually.  And we’ll let you know if there are any updates.

     The group of people that he was a part of, again, were part of this Polish delegation that’s traveled in the region and that will be providing the readout of the meeting.  But, of course, he is a symbol among -- a leading symbol among many of the transition by the Polish people.  So we’re certainly going to benefit from the experience of those Poles who travel in the region and the experience of Poles involved in the transition to democracy.  And I think right now what we’re working through is just whether there’s a scheduling conflict.

     Q    Did the two -- did Walesa and Obama speak today, did you say?  When you said the two spoke today, who --

     MR. RHODES:  No, no, no, I said I think Lech Walesa spoke publicly about how he’s trying to -- about his scheduling commitment.  And so I think -- I was referring to the fact that he spoke.  And we’re proceeding with the democracy event, seeing if there’s any way to make it possible for him to be there, but if he can’t be there because he has a previous commitment, that’s certainly understandable.

     Q    Given that you’re talking a lot about how good your relationship with Russia is, is there any feeling that it’s good for the President to go to Poland to sort of stress that just because you have a good friendship with Russia doesn’t mean you can’t be an effective sort of partner with Poland?

     MR. RHODES:  We’ve had a view from the very beginning of the administration that the reset of our relationship with Russia would be good for Eastern Europe and the security of Europe generally, because, frankly, when you have Russia communicating well with the United States, communicating well with NATO, you have a better context for European security generally.

     I think, understandably, at the very beginning of the administration, there was some concern that if there was a reset with Russia, would it come at the expense of Europe, or would it be in service of European interests?  And I think what we found increasingly is that these countries very much came to support the reset.  You saw that in Prague last year when they actually -- after signing the START Treaty, President Obama had the dinner with these leaders, and many of them remarked on the fact that they had come to believe that the thawing of relations between the United States and Russia was a broader thawing, in some respects, between the United States and the West that could be beneficial for European security.

     Similarly, many of these leaders, as you know, those of you who were with us in Lisbon, became very supportive of the START Treaty and made statements in support of the START Treaty that were very important statements at a time of discussion and debate in the United States.  And what they said at the time was it is better, again, to have this type of cooperation with Russia, this type of transparency, so we understand what’s happening at the time within Russia as it relates to its -- their nuclear facilities. 

     So, again, you saw them reaffirm their support for the cornerstone of the reset with the START debate.

     So I think what we’ve come to see -- and then, last, I should have said the NATO-Russia Council that took place in Lisbon also I think spoke to the fact that this wasn’t just the United States and Russia that had to reset, but rather it was NATO and Russia, to include, of course, the Eastern European countries.

     At the same time, I think it’s important for the President to send a signal about all of our -- the importance of all of our alliances and partnerships.  And what you’ve seen on this trip is the close ties that we have with the Irish people underscored by the President.  You saw a reaffirmation of one of our most important relationships in the world, of course, with the United Kingdom.  Then you saw the consultations at the G8, meeting with President Medvedev as a part of that, and now a chance to underscore the importance of Eastern Europe as well.

     So I do think it’s important to send a signal in that context, that Eastern Europe is very important to the United States, and European security is very important to the United States, and that we’re going to remain deeply committed to the democratic consolidation in Eastern Europe while also working with them to make them more active global partners as well.

     Q    Does the U.S. have anything to announce on any of their sort of bilateral issues like their kind of request for help with their F-16s, squadrons, or even the visa waiver issue?

     MS. SHERWOOD-RANDALL:  So we have a number of deliverables that will be put out tomorrow.  I think I can say confidently that we are going to announce tomorrow the conclusion of the agreement to establish an aviation detachment in Poland that will allow for our two air forces to cooperate in training the Poles to utilize the American aircraft that they purchased --  F-16s and C-130s. 

     So what we will be doing is rotating quarterly trainers and aircraft to Poland so that they can become more interoperable with NATO, utilizing the equipment that they own.  This will be a small, permanent presence on the ground, and then a rotational presence that will be more substantial.

     Q    How many aircraft are you talking about, Liz?

     MS. SHERWOOD-RANDALL:  I believe they have 48 F-16s, but how many we will rotate will depend on how we decide to do the training.

     MR. RHODES:  The agenda tomorrow -- that's a very -- obviously, an issue of great interest to the Poles and to the United States, given their interest in -- and our common interest in their close defense cooperation.  And I’m sure they’ll be discussing a range of issues to include the democracy aspects that we discussed, to include economic cooperation, particularly on energy.  I think the Poles are interested.

     MS. SHERWOOD-RANDALL:  And we have a fact sheet we’re going to put out tomorrow on the cooperation that we’re undertaking with the Poles on energy, particularly clean energy and shale, which is something we’re working on very closely with them.

     As Ben said, we’re going to have some things to announce on democracy promotion because of the leadership role that Poland has played in the region and our concerns about Belarus. 

     And then do you want to say word on visa waiver?

     MR. RHODES:  Yes.  Then I think -- of course, visa waiver is an important issue to the Poles, so I think tomorrow the President will be able to update both Prime Minister Tusk and President Komorowski on the progress that we’re making in pursuit of fulfilling the President’s commitment to address Poland’s visa concerns.  So that will be -- he’ll be providing that update tomorrow.

     I should have pointed at the beginning, we put out a statement on Belarus today condemning the political arrests that have been made there and signaling an intent was to pursue targeted sanctions against those members of the Belarusian government who are responsible.

     MR. SHERWOOD-RANDALL:  And provide additional support to Belarusian opposition and civil society.

     Q    It doesn’t sound like you have a final visa agreement.

     MR. RHODES:  I think that we’re working towards fulfilling the commitment that the President made.  There are many components of that, to include both components within the administration, but also legislatively, as well.  So those are being worked through.  And I think the President will be able to provide the update as to how many of -- how far down the road we’ve moved and what the remaining issues are. 

     But, again, it will be -- we feel like we’ve made progress from the time that he made -- he had his last meeting with the Poles, and he’ll be able to speak to that progress tomorrow.

     Q    Ben, can you talk a little bit about the comments out of Russia today where they were saying that they would be willing to mediate in Qaddafi’s exit?  And can you talk a little bit about what Obama and Medvedev spoke about this yesterday?

     MR. RHODES:  Yes.  Well, as we said yesterday, Libya was a topic of conversation in the bilateral meeting yesterday.  The President reiterated the fact that Russia’s role in abstaining was essential to the resolution passing, the operation going forward. 

     They then discussed what role Russia might play in the current context.  And the Russians, of course, have longstanding relationships in Libya that, frankly, we don't have, and so we agreed that it would be important for us to remain in close contact with the Russians. 

     For them, they provided us with an update on some of their discussions they’ve had with I think both the opposition as well as regime officials -- because I think recently you saw, for instance, travel to Moscow by some opposition leaders.  So they’ve been in touch with members across the Libyan spectrum. And we agreed to stay in contact with them around those discussions.

     We noted Russia’s public statements following the meeting that they are committed to seeing Qaddafi go.  And that's very consistent with the discussion that the two Presidents have.

     Q    Did Medvedev say that Russia was willing to play a role in Qaddafi’s exit?

     MR. RHODES:  They didn't -- the way I would characterize it is there was agreement about what needs to happen in Libya, and that we believe that Russia has a role to play going forward as a close partner of ours who also has discussions with the Libyan people. 

     So I wouldn’t want to suggest that they discussed a great detailed plan of action, but it was rather, we agree that the Libyan people -- we are in agreement that there needs to be forward movement in Libya on the political side.  There’s an agreement that the Libyan people deserve a better and different future, and that we are going to be in close touch with the Russians as they pursue their conversations with the Libyans.  And we’re going to continue to share information about this.

     MS. SHERWOOD-RANDALL:  I had a Russia point, just going back to the question about the reset.  It’s notable that Poland has pursued its own reset with Russia, that in the context of the work that we’ve done to reduce the tensions in the relationship between the United States and Poland, Poland felt the confidence also to pursue the development of a more constructive relationship.  And they feel that their security environment has been improved as a consequence of the overall change in climate since we began this work together. 

     So I think that's one of the things that we see when we talk about Poland’s role in the region.  Poland is really playing a leadership role now in stabilizing its region, in encouraging reconciliation and progress toward EU integration, and in trying to induce countries that are still not far enough along the path of democracy -- in particular Belarus, but we also see backsliding in Ukraine -- to work in that direction.  They’ve committed time and energy and resources to it, and we’re going to be increasingly partnering with them as they assume that leadership role.

     Q    Thank you, guys.

END 5:09 P.M. CEST

Victoria Silvstedt Hilary Swank Whitney Port Minka Kelly Carol Grow

"I Love That Smell Of The Emissions"

Marie Diamond seizes on Palin's perfect timing: Ironically, the same day Palin professed her love of carbon emissions, the International Energy Agency issued a dramatic announcement on the same subject: greenhouse-gas emissions increased by a record amount last year to...

Anna Kournikova Esther Cañadas Kate Beckinsale Shiri Appleby Kelly Hu

LPO/Jurowski ? review

Royal Festival Hall, London

Once again, in a seemingly endless season straddling the anniversaries of the composer's birth and death, the LPO offered a lifeline to concert-goers suffering Mahler fatigue. Its own uncommonly probing series of Mahler-based concerts ended not with a symphony but, less obviously, with songs.

Not that the two were ever far apart for a composer whose symphonies and songs cross-fertilised each other to an extraordinary degree. We heard eight songs, all from his settings of the Knaben Wunderhorn poems; the first, Mahler's characteristically straight-faced but lively description of St Anthony preaching to the fishes, took us directly into the sumptuous world of the Second Symphony, the scherzo of which uses the same music.

The orchestra was on superb form, especially in the closing Revelge, in which Jurowski seemed able to turn the volume of the martial wind and brass up and down as precisely as with a remote control. But Hanno M�ller-Brachmann, a late stand-in as soloist, matched the players for vivid expression all the way. M�ller-Brachmann is a rising star in Germany, and with good reason; his sonorous, flexible bass-baritone communicated every single word. Only in Das Irdische Leben, a song about a starving child for whom the promised bread arrives just too late, might less have been more.

The songs were framed with two symphonies, to which Jurowski brought a rather solemn approach. Haydn's No 88 sounded aristocratic and slightly staid. But Brahms's Fourth was a triumph. Opening with a melody that seemed to ride the surface of a huge ocean swell teeming with undercurrents, Jurowski aimed for, and achieved, a performance of colossal proportions. It's not the only way of performing Brahms; it's not even Jurowski's only way of performing Brahms. But in the heady Mahlerian context, it was stunning.

Rating: 4/5


guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds


Tila Tequila Tamie Sheffield Kelly Monaco Gisele Bündchen Jennifer Aniston

Will Clarence Thomas Recuse Himself on Health Care Reform?

Following a time-honored Washington tradition of dumping required but embarrassing information on a Friday night before a major holiday, Supreme Court Justice Clarence Thomas finally released the details of his wife's income from her year or so working for the tea party group Liberty Central, which fought President Obama's health care reform law. His new financial disclosure form indicates that his wife, Virginia, who served as Liberty Central's president and CEO, received $150,000 in salary from the group and less than $15,000 in payments from an anti-health care lobbying firm she started.

The disclosure was apparently prompted in part by Rep. Anthony Weiner (D-N.Y.), who had been needling Thomas (including on Twitter) for months to disclose how much money his wife earned from Liberty Central. That's because challenges to Obama's health care reform law are likely to end up before the Supreme Court sooner rather than later, and if Thomas and his wife benefited from her income working against the bill, the justice has an enormous conflict of interest in hearing any legal challenge. Thomas had failed to disclose Virginia's income on his financial disclosure forms for 20 years; under pressure from Weiner and others, he had recently amended old disclosures to reflect hundreds of thousands of dollars she had earned working for the Heritage Foundation, the conservative think tank that also opposed Obama's health care plan.

But, up until now, Thomas had not revealed how much money his wife made from her controversial Liberty Central work. When Virginia Thomas decided to take a high-profile role in the organization, she was immediately criticized because of the potential that her job might compromise her husband's independence on the bench. Eventually, she was forced to step down (a move also apparently prompted by her bizarre October phone call to Anita Hill, the woman who'd accused her husband of sexual harassment during his confirmation hearing). When she left the organization, she created a new consulting firm, Liberty Consulting, which also did anti-health care reform lobbying. Justice Thomas finally released the details of her compensation Friday night, but the disclosure, and Weiner's triumphant press release announcing the move, were largely overshadowed by Weinergate.

Over the weekend, Weiner's Twitter account was allegedly hacked and Tweeted a photo of a near-naked man to a college student. Conservative media mogul Andrew Breitbart published the photo on his site, Big Government, and the feeding frenzy was furious enough to ensure that Thomas' news barely saw the light of day. Still, if and when health care reform makes its way to the Supreme Court, Thomas will have a much harder time making his conflict of interest go away. 

Michelle Rodriguez Mena Suvari Georgina Grenville Michelle Trachtenberg Amanda Bynes

Alexis Petridis on pop's worst year

It doesn't carry quite the same import as the busting of the Trafigura superinjunction, or the on-the-spot reporting from the heart of the Arab spring, but it was a great Twitter moment nonetheless: Ben Goldacre, writer of the Guardian's Bad Science column, recently announced to an aghast cyber-audience that his mum was Noosha Fox, the Goldfrapp-influencing frontwoman of 1970s pop band Fox.

He did it with enviable panache, casually mentioning it on a Twitter feed more usually concerned with the machinations of big pharma, midway through Fox performing S-s-s-Single Bed on the 1976 series of Top of the Pops, currently being repeated on BBC4. "When she married my dad it was the only time the word 'epidemiology' appeared in the music press," he added.

Soon the name Noosha Fox ? not one that's been much on the public's lips since her last hit, 34 years ago ? started trending. That's partly because it's a great obscure pop pub fact; but also because Fox's performance had already caused consternation by dint of being the only thing on said 1976 TOTP series that didn't leave you wondering if those barmy theocracies that ban all music might have a point.

I confess, I approached the repeats with considerable excitement. I like seeing old music in the context of its times: it acts as a corrective to the nostalgia industry's discreet editing of history; and, furthermore, I'm an unabashed fan of the kind of guileless, forgotten, mid-70s, medium-wave radio-pop that punk understandably, but a little unfairly, obliterated from memory (and that the first Guilty Pleasures album attempted to rescue). That means music like Fox's, Sailor's Glass of Champagne, Clout's Substitute, and Couldn't Get It Right by the Climax Blues Band.

Or at least I thought I was. It took about a minute of Sailor's follow-up to Glass of Champagne, Girls Girls Girls, to make me strongly reconsider my position on the unfairness or otherwise of punk obliterating guileless, mid-70s, medium-wave radio-pop from memory. After two, I was pretty much ready to form Sham 69 myself.

If you haven't seen it, it's difficult to express how awful TOTP ? and by extension ? pop music seems to have been in 1976. Every week, something comes on that causes you to be gripped by the absolute certainty that an unequivocal nadir has been reached and that things can only get better: second-division glam-rockers Mud going disco in a desperate attempt to stave off the inevitable; Dave Lee Travis's mirthless novelty record Convoy GB. It's invariably followed by something even worse: JJ Barrie's No Charge; second-division glam rockers the Rubettes going country in a desperate attempt to stave off the inevitable; and, my personal favourite, Paul Nicholas's awe-inspiring Reggae Like It Used to Be.

This, just to clarify, features the bloke off Just Good Friends boldly announcing that in 1976 ? the year of Lee "Scratch" Perry's Super Ape, the Mighty Diamonds' Right Time, Max Romeo's War Ina Babylon and Augustus Pablo's King Tubbys Meets Rockers Uptown ? the only reggae worth listening to is that made by Paul Nicholas. His jaunty presentation of this controversial theory, for which he wore a bowler hat, could only have been improved had he been forced to perform in front of an audience composed entirely of angry Rastafarians.

And yet the TOTP repeats are worth watching, largely because they throw the 2011 charts into an unexpectedly forgiving light. Recently, listening to the top 40 has seemed like a grim business. For one thing, it's become weirdly sclerotic. Singles loaf around it uselessly for months on end, until you can't imagine who's buying them. Rihanna's S&M has been in the charts for 27 weeks: surely everybody who likes it owns it by now?

For another, the top 40 is in a stage of conformity. Traditionally, you look to R&B and hip-hop for edge and sonic innovation in the charts: they're the genres that come up with the ideas pop producers subsequently steal. But pop seems to have caught up with urban music (the influence of French DJ David Guetta's brand of commercial electro-house is all-pervading) which means that everything currently sounds like everything else. Nevertheless, if you think the charts seem moribund, a cursory glance at the TOTP repeats will confirm that they're wrigglingly, obscenely alive compared to 35 years ago: a useful thing to remember next time you're confronted by the kind of bore who tells you rock and pop was, by default, better in the past.

However sick you may be of Rihanna, or Katy Perry, or whatever variation on David Guetta's brand of commercial electro-house is currently setting up camp in the top 10, you can console yourself with the fact that: a) at least it's not Paul Nicholas in a bowler hat telling Peter Tosh where to get off; and b) 12 months on from the TOTP series currently being repeated, the charts looked distinctly healthier, not just as a result of punk and new wave, but because of disco, soul and all that reggae that wasn't like it used to be. All of which proves that, even when it appears to be in its death throes, pop has a habit of reinventing itself.


guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds


Miranda Kerr Sarah Shahi Anna Paquin Diane Kruger Magdalena Wróbel

The Deauville G-8 Declaration

Release Time: 
For Immediate Release

Attached is the Deauville G-8 Declaration.

Paige Butcher Amanda Peet Xenia Seeberg The Avatars of Second Life Daniella Alonso

Living The Commercial

A new study finds that ads are good at creating false memories. Jonah Lehrer explains the cognitive mechanism at play: Our memories are a ?Save As?: They are files that get rewritten every time we remember them, which is why...

Ashley Olsen Danneel Harris Veronika Vaeková Eve Brittany Lee

Sandie Shaw: This much I know

The singer, 64, on Buddhism, getting older and her lovely feet

I hated every minute of my early career. I was incredibly anxious and there was so much responsibility because everyone was dependent on me for a living and I was so young. I just wanted to go home.

I'm really interested in how people tick. I think that's why I trained as a therapist. Ever since I was 16, people have only wanted to talk about me. I can't tell you how boring it gets. I want to ask others about themselves.

I've practised Buddhism for 35 years. It's practical and does what it says on the can. I don't have to wait until I die to find out if I'm going to heaven because it's about the here and now. That's important to me.

I'd hate to be a man. I feel sorry for them, being so career driven. In the music industry there's so many of them, whereas as a woman you can make waves.

My feet are lovely ? I just sit and look at them. I had an operation recently because I had bunions and my toes were too long. I wanted beautiful feet because I like having my shoes off so much. I still sing barefoot.

I love getting older, though people still treat me like the baby. I'm on tour with Jools Holland and his big band at the moment ? they're all half my age, but the girls act like my aunties and the men like my big brothers.

I cry when I say things I really believe in. I cry at board meetings and the men at the table get quite taken aback, I have to ask them to take no notice.

I feel such affection for my audience, they're part of my life story. I like the youngsters that come along. They don't have any barriers about where music comes from. They just put it in their iPod and shuffle it.

I ignore myself when I feel scared. I pretend I'm not scared and do it anyway.

I'm associated with the 60s, but I'm actually stuck in the 50s. I'm into post-war austerity. I really like doing jigsaws and I collect paper bags. Give me an apple, a carrot and some paprika and I'll make you a meal.

My dad's support was so important. I was his only child, and a daughter, but it didn't bother him. He'd take me to his garage and I helped him make a car. He could have made me help mum with the washing up, but I wanted to be with him.

When I was young there was no one who had anything I wanted to know and I left school as quickly as possible. Now I like being taught and directed, I just like to choose my teachers myself.

I practise dying when I have operations. I think, "This is the moment I'm going to die" when I have the anaesthetic, then it's so nice when I wake up.

I try to like everyone because that stops me being anxious about myself. I'm really shy and I find that helps.

My relationship with my first husband made me grow. My relationship with my second gave me confidence. My relationship with my present husband has allowed me to really fill my own space. Don't tell him though, it'll go to his head.


Sandie Shaw appears with Jools Holland and his Rhythm and Blues Orchestra and Ruby Turner at Summer Picnic Concerts across the UK from 2 July (imlconcerts.co.uk)


guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds


Adrianne Curry Jennifer Gimenez Katie Cassidy Estella Warren Cinthia Moura

Cheryl Cole's loss could be the US X Factor's gain

But what we all want to know is when Simon Cowell first knew it would happen

Special relationship? Special relationship? Let me tell you something, Mr President (he'll be reading this ? never misses a week): nothing says "you guys are so special to me" like hightailing it to the airport just as news breaks of what America has done to Britain's Cheryl Cole.

Yes, there may be the odd distracted Yemeni or Syrian dissident who hasn't heard the story ? though I hear it's the talk of Tripoli ? but Cheryl Cole has been axed from the US version of The X Factor. Whether or not Obama personally delivered the death blow to Cheryl's American dreams is irrelevant. My sources tell me the president was watching the entire operation via videolink in a mobile situation room, and that he and the joint chiefs were scarcely able to breathe until Fox operatives confirmed the takedown using the code alert "Geordio EKIA! Geordio EKIA!"

The result? You may chalk up another victory for Simon Cowell's weather control programme, as the Karaoke Sauron engineers another shitstorm.

Those of you not putting the finishing touches to a strychnine martini will likely have some questions. Like, how quickly is the Sun's original line about Cheryl "resigning" because she was "homesick" going to die? (Answer: it's not only already dead; it's been buried at sea.) Or you may wonder: was it her accent? After all, it's not as if The X Factor lacks unintelligible judges with Paula Abdul on the panel. Some will just want to know if they're hiring on Geordie Shore.

Wherever you stand, there is much to discuss, not least the role of a man who has long been one of this column's more esoteric obsessions. I speak of Mike Darnell, the Fox network's post-moral president of alternative entertainment, and the man we might call Simon's US line manager.

But first up, how big is this news? Well, Daybreak decided to lead on it, as opposed to the Care Quality Commission's shockingly grim report on how the NHS is failing elderly patients. (I'm sure the show's producers will retort that they know their market. And yet the ratings insist otherwise.) So while you may regard Cheryl as a somewhat oxidised nation's sweetheart, for a generation of reality-addled youngsters this is the equivalent of Vera Lynn being told not to let the door hit her on the arse on the way out.

On one level, the sacking of a judge during filming, before the show airs, feels like a vaguely familiar piece of Cowellpolitik. Brian Friedman, Louis Walsh . . . a rollcall of previous oustees might put this into perspective. Except, when you are Cheryl, you don't expect this to happen to you. You are a big fish ? with even bigger hair. The discovery that in the big pond of America, you are the amoeba-like equivalent of Kelly Brook is what Spinal Tap's David St Hubbins once described as "too much fucking perspective". Cheryl's giant bouffant ? acquired somewhere on the 42nd parallel during the flight over ? now looks like a classic reverse Samson.

Looking back, there were warning signs. On Tuesday, Max Clifford was quoted saying that Simon had called him on seeing Obama's bomb-proof Cadillac and declared: "I need one." It isn't beyond the realms that Simon had deemed himself 24 hours away from requiring an armoured vehicle, to protect him from pitchfork-wielding Cheryl fans, or just your standard psychopathic drag artist acting alone.

Anyway, the rumour is that Cheryl's seat is to be taken by Nicole Scherzinger, who had been slated to co-host the show. Those who listened to Daybreak's quarterwitted LA correspondent Ross King gibbering that the American TV market is "brutal ? just brutal" might wish our own was similarly cutthroat, as Ross wouldn't have survived one botched red carpet interview, let alone the thousands he has racked up. For once, though, he speaks sense, as it really is a jungle out there. An American sketch show was once pulled during the first commercial break of the first episode, and while that could never be The X Factor's fate, it needs to be the biggest show on TV. Back in 2007, American Idol was estimated to be worth $2.5bn (�1.78bn) to Fox. Adjusted for inflation ? and the continued slide of western civilisation into late-capitalist dementia ? the US X Factor will ideally be worth more than Obama's entire economic plan to incentivise democratic change in the Arab world. It will certainly be 20 times more important.

And so to Mike Darnell, former child actor, now the cowboy-hatted, ringletted munchkin in charge of Fox's apocalypse-beckoning reality schedule. If you are unfamiliar with Mike's work, he regards extreme plastic surgery as a plot device. He gave the world Temptation Island, and would have gifted it the TV special OJ Simpson: If I Did It, Here's How It Happened, had a joyless old prude ? Rupert Murdoch ? not cancelled it. According to one interview, Mike's favourite idea yet to make it to air is a "female prison beauty pageant. It was done in Croatia and is a big number waiting to happen. It's empowering to women, it's empowering to prisoners. The whole idea of going from prisoner to hot babe is interesting." Mike's single regret about airing Who's Your Daddy?, in which an adult adoptee had to pick her biological father from a line-up, was that the controversy generated "was outside the programme ? so it doesn't translate into ratings".

And in that deliciously post-moral aside, one can't help feeling, lies the ideological context for Cheryl's dumping. The "painful decision" can become a plotline in the first shows, and the aforementioned transatlantic shitstorm currently raging is guaranteed to translate into even higher ratings for the series. So it wouldn't be remotely contradictory for Mike to hail Cheryl as "the whole X Factor package" one minute and demand her head the next. As he once said of how he treats the Idol audience: "We want visceral emotions, regardless if they are good or bad."

The question, of course, is when Simon knew it. He must have spotted what was bleeding obvious to even vaguely discerning viewers when Scherzinger guest-judged on the UK X Factor some months ago. Namely, that whatever "it" is, Nicole has more of it than Cheryl. Neither is exactly Vivien Leigh, obviously, but we get the stars we deserve. Did the Karaoke Sauron always know that Cheryl was going to crash and burn, which is why he had Nicole in a holding pattern, or whatever we're calling this oddly confected "co-host" role?

It's such a riddle, isn't it? Never mind bomb-proof glass ? Lost in Showbiz does hope the mirrors with which Simon's home is said to be lined are shatterproof. Otherwise they'd crack when he meets his own eye.


guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds

Sarah Shahi Anna Paquin Diane Kruger Magdalena Wróbel Connie Nielsen

Garsington Opera: A seat near the deer, please

This pop-up opera house in the heart of the English countryside is one of the most thrilling venues in Britain. Jonathan Glancey goes wild at Garsington's new pavilion

Robin Snell takes a look around the rolling fields and hills of Wormsley Park, a luscious green space in the Chilterns that's home to hares, kites, sheep, deer and partridges. "The site we found was perfect in pretty much every way," he says. "It has a beautiful outlook. It's quiet. And we've been able to fit the pavilion into the landscape very conveniently."

Snell, an architect and clarinettist, has reason to be proud. The pavilion in question is an astonishing creation: a 600-seat opera house in the heart of the coutryside. What's more, after its five-week season, this daunting collection of steel poles, timber planks and PVC screens will be packed away. This is pop-up opera, and when The Magic Flute opens here on Thursday it should confirm this delightful marriage of architecture and landscape as one of the most thrilling places in the country to hear live music.

Wormsley Park is the new home of Garsington Opera, founded in 1989 by Leonard Ingrams, a banker and violinist. He bought Garsington, a 17th-century Oxfordshire manor house, in 1982. Within seven years, inspired by Glyndebourne, he had created his own country-house opera in the walled gardens of his estate. "But," says Anthony Whitworth-Jones, Garsington's director, "when he died in 2005, it was clear the show would have to go elsewhere. The family, although hugely supportive, wanted their home back."

Whitworth-Jones and his team visited more than 40 sites before settling on Wormsley. They could have gone further afield, he says, "which might have made our search easier, but that would have meant breaking away from our backers, who are our audiences. Garsington was a local event. At heart it still is ? and always will be."

Wormsley Park, a 2,500-acre estate boasting an 18th-century country house, is the former pile of philanthropist Paul Getty, who died there in 2003. It is now home to Mark Getty and his family, who have granted Garsington a 15-year lease, on condition that the site ? next to the estate's farm and Getty's famous cricket ground ? is returned to grazing land for the deer after each season.

As a result, the pavilion doesn't just settle into its surroundings, it actually exploits them ? in particular the ha-ha, as the hidden ditch designed to keep the deer in is called. "The ha-ha now doubles as the orchestra pit," explains Snell, who was project architect for Glyndebourne's superb 1994 opera house. "So we've not had to excavate. The concrete foundations are like pads set into the grass with the building bolted on top. Once it's taken down, the pads are grassed over and you'd never know there had been a building of any sort here, let alone an opera house."

Want decor? Then look around

Snell based his design on traditional Japanese kabuki theatres. These colourful timber pavilions, which flowered in the 17th and 18th centuries, made elegant use of sliding screens and were often connected by bridges to gardens outside. Stage, bridge and garden would be used for performance, making indoors and outdoors meld into one. This spirit lives on in Snell's sparsely yet elegantly functional steel frame. Apart from its gently rippling roof, it does little to draw attention to itself; all the colour stems from either the gardens, costumes or sets.

"It's simply a question of what was appropriate," says Snell. "We needed to find a way of building, and deconstructing, that would be quick and easy. This is a big kit of parts that serves as a frame to performances. The landscape, along with what's on stage, is all the decoration you could want. Things might be different if this was to be a permanent building, though."

No one will expect a temporary pavilion to be as proper a setting for full-blooded opera as, say, the Royal Opera House. Yet the Garsington pavilion really is fully functioning, complete not just with high-ceilinged auditorium, stage and pit, but also with boxes, champagne bar, verandas and stairs to parade up and down in fine summer frocks and dusted-down DJs ? all the while looking out at that meandering view. That's not something you spend a lot of time doing in a big city venue.

In fact, thanks to its clear screen sides, you can see out into the forests and fields from any one of the linen-covered, timber-framed seats. And, as performances start at 6pm, the auditorium will still be filled with light as the orchestra strikes up. "A part of the magic," says Snell, "is that the audience arrives in bright sunshine and leaves in the dark, when the pavilion lights up, changing character almost completely. It's meant to be a theatrical experience in every way."

Let's pray it doesn't hail

But what happens when it rains? "We thought a lot about this," says acoustician Robert Essert. "What we've come up with is a fine mesh screen, a bit like a mosquito net, stretched above the roof. This breaks raindrops down into tiny globules, so that when they hit the roof below, they will have turned into mist. Unless we get hail, you won't hear rain inside the auditorium."

Essert has also shaped what he calls "windsurfer sails" along the sides of the pavilion. These bounce sound from the pit and the stage back into and along the auditorium, so that it isn't lost to the skies. The roof is designed to do likewise. The pavilion promises some fine sights backstage, too: to swap wigs, change costumes, or just take a breather, performers will have to nip off to nearby farm buildings, bustling along paths and through flowerbeds.

Oboist Helena Gaunt can remember some stormy nights at the previous Garsington venue. "You couldn't hear yourself play because of the wind and the rain. But equally, you'd have those extraordinary evenings when the birds were singing in the first half, and dusk was falling on a warm, still night. There's something very special about that. And audiences seem to love the spirit of it come what may."


guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds


Bridget Moynahan Noureen DeWulf Nicollette Sheridan Amber Heard Veronica Kay

Monday, May 30, 2011

Prince William & Duchess Catherine's North American Itinerary

Recently having made headlines with plans to travel to North America, Prince William and Kate Middleton have unveiled their itinerary for their upcoming trek through Canada and the States.

The recently married royals will be spending most of their time north of the border, with the 11-day venture beginning with a June 30-July 2 stay in Ontario and Quebec.

With other stops including Charlottetown and Summerside, the outlined travels are shown to conclude on July 8 in Calgary - though plans to spend a few days in Los Angeles have not been included in the just-released schedule of stops.

The complete itinerary rundown for Will and Kate is as follows:

June 30-July 2: The National Capital Region (Ottawa, Ontario and Gatineau, Quebec)

July 2: Montreal

July 3: Quebec City

July 3-4: Charlottetown, Prince Edward Island

July 4: Summerside, Prince Edward Island

July 4-6: Yellowknife, Northwest Territories

July 6-8: Calgary, Alberta

Lisa Marie Keira Knightley Monica Keena Anne Marie Kortright Paige Butcher

Olly Murs ? review

Hammersmith Apollo, London

Olly Murs, removed from the rude mechanics of The X Factor, is on his first UK solo tour. In his words we're "back darn sarf" at London's Hammersmith Apollo. Formed of crumbling bricks and worn velvet, the venue wasn't built for tweens and hens and their disregard for seating, but that's what we have here tonight. At least The X Factor's plastic fold-down seating wasn't climb?overable.

Essex-born Murs, 27, was runner-up on the 2009 X Factor, but one of three contestants to get signed by Cowell. In a marked U-turn, he was given almost full creative licence by Cowell to unleash his brand of pop-reggae on to a nation of baffled pop purists.

The resulting 2010 album was an accumulation of everything he had learned from the show: one-third zippy vanilla ska and two-thirds whimsical pop, kowtowing to the blandness of his contemporaries. It wasn't a bad album if you like reggae but are afraid of it, and think badabababas are worthwhile choruses.

He starts the show dressed in a white shirt, his massive thighs squeezed into tight, buttermilk chinos. But the trademark trilby is absent. Where's the trilby? For the love of God, 40% of the crowd have one. No time though, he's already leapt into "A Change is Gonna Come", essentially George Michael's "Freedom! '90" by a cut-price Robbie Williams. With no pause it's on to "Thinking of Me", his second single, which charted at No 4. It's better ? a slowed down, reggae-lite track which nods to the Police and, as a child of the 90s, presumably Skatman. Then comes the pop-swing of "I Blame Hollywood", Murs's reflection on a failed run-in with Tinseltown. Like Michael Buble minus the self-awareness.

So far, so consummate, but there's no movement. He just wags his finger or beckons the audience, his hand flicking like a small, sweaty bird. It doesn't help that the seven-piece band, trussed up like bovver boys in braces, are collectively better looking than him. After all, Murs is a funny-looking chap. Part Lee Evans, part puffy-Rafe Spall, his mouth full of tongue, his forehead veiled in sweat.

Murs's fall-back is to perform covers palatable to all. Loosened up, his rendition of Madness's "It Must Be Love" is good, devalued slightly by Murs's buttery voice (and by his decision to appropriate "birds" so as to mean the female crowd), but a cover of Jason Mraz's "I'm Yours", sung with an acoustic guitar, is beyond parody. Still, it gives us a chance to go to the bar.

The staging so far has been odd. Backed by Warholian Vespa images in red, white and blue, it screams faux-Quadrophenia. Granted, it's his look, but it seems dicey for a mainstream white boy performing reggae.

Murs vanishes for two minutes but returns all smiles. His new backdrop is minimal, his new shirt plum and silky, his new trousers even tighter, and he has a hat. Finally. We can all sleep easy. Pepped up, he launches into a Stevie Wonder medley which is the evening's highlight ? words one never expects to write. "Superstition" was his X Factor audition song. It's markedly improved but also allows his capable band to indulge themselves. "Sir Duke" is lost slightly on the crowd but no matter, Murs is well into his stride, leaping deftly around the stage. Evidently his hat has restorative powers. "Isn't She Lovely" is good, almost great, especially when young Holly, a superfan in a "I Heart Olly Murs" hoodie, is called up on stage. The poor lamb is overcome.

His new single, "Busy", out tomorrow, sees Murs harping on about bacon and eggs and DVDs in his typical, upbeat style. But by now he's won us all.

Murs's strength is knowing his crowd. Hours before he'd tweeted he'd be going to Nando's. An online frenzy ensued. Then, mid-show, he demands the house lights come up twice, first so he could coo at his people and then, so he could paw over the placards like John Noakes going through the Blue Peter gallery. The whole show is so neat and rehearsed, a calculated stab at fun that dissolves like aspirin into the air. The crowd loves it.

Losing out to Joe McElderry saved Olly Murs. Lovely McElderry, unready for fame, was failed by SyCo's machine and subsequently dropped. Murs was popular with the mums who forgot to vote. But now here he is, 10 hours after news broke of his renewed contract, on stage, reeking of gratitude.

I think the woman next to me speaks for us all: "Ooh, but he's better than that Matt Cardle. Better face, better songs, better hats."


guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds


Tami Donaldson Padma Lakshmi Sarah Mutch Gabrielle Union Alessandra Ambrosio

Morbid Fascination

Jeff Mason explores it: For a long time, I have been puzzled by two famous philosophical ideas about death, one from Plato and one from Spinoza. The first is that a philosopher has a vital concern with death and constantly...

Danneel Harris Veronika Vaeková Eve Brittany Lee Daisy Fuentes

Quote For The Day

?I love that smell of the emissions,? - Sarah Palin at yesterday?s Rolling Thunder rally.

Kelly Clarkson Natalie Portman Jessica Biel Christina Milian Kelly Brook

Telus recruits Leonard Nimoy to vet your Facebook status updates

What Would Leonard Nimoy Say
Have you ever thought your Facebook status updates lacked finesse? Ever regretted saying that to the whole of Facebook about 30 seconds after hitting send? Ever wished you had your own personal Leonard Nimoy to proof read your mind-dumps before you make a fool of yourself? Yes, me too, and now you can!

Brought to you by Telus, What Would Leonard Nimoy Say (WWLNS) is a Facebook app, which allows you to run your status updates past the legendary sci-fi actor before slapping them up on Facebook. To use the app you must 'Like' it, and sacrifice your https connection if you happen to have it enabled, but that's the price you pay to have Spock proof read your inane musings.

Check out Telus on Facebook to take the app for a whirl, and jump on over to Engadget to see more Nimoy-Telus combinations.

Telus recruits Leonard Nimoy to vet your Facebook status updates originally appeared on Download Squad on Fri, 08 Apr 2011 03:40:00 EST. Please see our terms for use of feeds.

Permalink | Email this | Comments



Add to digg Add to del.icio.us Add to Google Add to StumbleUpon Add to Facebook Add to Reddit Add to Technorati

Leonor Varela Joanne Montanez Michelle Obama Kerry Suseck FSU Cowgirls

LinkedIn app for Android now available

LinkedIn for Android
LinkedIn, the 'professional' social network, has finally launched an Android app. The app has previously been available in beta for a while. The final version includes support for messages, as well as a new Reconnect button, which suggests people you may know based on your profile and current connections. LinkedIn for Android obviously has all the features you'd expect, making it easy to connect with fellow LinkedIn users from your smartphone.

The app lets you post status updates, view updates from your contacts, view your contacts' profiles, add new contacts, search for LinkedIn users (this can be either limited to your contacts, or it can go through the entire user base), and respond to invitations.

LinkedIn expects to improve its Android app in future versions by adding some features that "have been heavily requested during the public Beta".

Download LinkedIn for Android for free from the Android Market, from LinkedIn directly, or just point your Android smartphone to m.linkedin.com/android

LinkedIn app for Android now available originally appeared on Download Squad on Thu, 07 Apr 2011 14:00:00 EST. Please see our terms for use of feeds.

Permalink | Email this | Comments



Add to digg Add to del.icio.us Add to Google Add to StumbleUpon Add to Facebook Add to Reddit Add to Technorati

Emmy Rossum Kim Yoon jin Melania Trump Summer Glau Mía Maestro