Boxer Ricky Hatton is one of the most surprising names to be plucked out for this years Lets Dance For Comic Relief, with the hardman sure to set off some smiles when he drops the boxing gloves in favour of something a little more dance-floor appropriate.
Hatton is among 15 other celebrities who have signed up for the one-off show, with impressionist Jon Culshaw, ventriloquist Nina Conti and stand-up comic Tim Vine also confirmed to appear. One person who is particularly looking forward to the upcoming instalment of the show, which has been a fixture in the Comic Relief schedule since 2009, is co-host Steve Jones, who said he looks forward to this show more than any other he fronts. He told press recently: "It's still the most fun I have on TV so I am ecstatic. Let's Dance is back with a host of famous faces along with famous arms, necks, legs and fingers all attempting to dance for our viewing pleasure."
Alex Jones, Steve's surname-sharing co-host, has also expressed her excitement for the upcoming project, saying, "We have some of our best comedians as panellists, and an unbelievable line-up of brave celebrities, who are all prepared to don their dancing shoes to raise lots of money for this year's Red Nose Day."
Continue reading: Ricky Hatton Signs Up For Let's Dance For Comic Relief
After 14 years of broadcasting, the beloved TV format T4 has been axed by it's umbrella company, C4. The channel has cited declining figures of T4 due to the massive rise in viewers for one of the network's other channels, E4 which is now the highest rated channels for 16-34 year olds.
Reported on DailyMail.com, Dominic Bird, who is Head of Formatting at C4 said:'Whilst T4 has historically been a much loved destination for our young audiences, its popularity has been incrementally diminished over time by the digital revolution. In a landscape where Channel 4 now provides E4, the nation’s most popular channel for 16 -34 year olds... T4 has been fighting incredibly hard maintain the cut through it once enjoyed and now is the right time to look at more appropriate ways to serve our younger viewers.'
Cheryl Cole is certainly pulling no punches in her new autobiography 'Cheryl: My Story', with one particular passage touching on the first time she met current X Factor judge Nicole Scherzinger. The Girls Aloud star, 29, recalls the "embarrassing" and "awkward" couple of minutes she spent with the Pussycat Dolls singer.
In a leaked extract from the book that appeared on Twitter, Cole writes, "The first time I met Nicole was when she was performing on The X Factor in London.Oh my God, Cheryl! You're just as pretty in real life! I heard your song on the radio!' she had gushed. It was really embarrassing." Though all this seems pretty harmless, Cheryl reportedly adds, "Then she started singing 'Promise This' to me, and I swear to God the woman sang the whole song, to my face. It was just so awkward, and every time I stood next to her she started singing it again.I thought how that would be like me going up to Britney and singing the whole of 'Baby, One More Time' in her face. Can you imagine how weird that would be?" Essentially, readers of Cheryl's book will learn - pretty quickly - that the Geordie singer isn't too keen on Scherzinger. She also details a meeting on The X Factor USA, when she went over to greet Nicole and presenter Steve Jones, saying, "Steve was normal and friendly but Nicole was singing and dancing to her own songs, and I found that a bit crazy and odd."
Nicole was initially given a presenting role on Simon Cowell's stateside version of the show, though eventually replaced Cheryl as a judge. She now holds Cole's former position on the UK show.
A child of British diplomats who was always keenly embarrassed of his public school education and refers to himself as "a mouthy little git," Strummer was squatting in London with gypsies in the mid-1970s, busking for food money, playing in a pub band called the 101ers, and generally charming the pants off of everyone he met. It was a hand-to-mouth existence, but seemed like the kind of thing Strummer could do for years, living his beloved lowlife. Then he was being introduced to a trio of short-haired punks, The Clash was formed, and Strummer was on his way to rock stardom. He wasn't a singer, he was a yelper (as some fantastic footage of him laying down the vocal track for "White Riot" shows particularly well), a snaggletoothed smoker with a penchant for nonsensical lyrics and overblown statements. But in Strummer's work, with The Clash and afterwards, there always rang true a tone of absolute and unmistakable sincerity, sung and played with complete conviction each and every time. This was a man without irony, leading a band that set the model for all the conscious groups which would follow (tellingly, Bono is one of the interviewees here, talking about The Clash being his first concert, and in short the reason he got into music).
Continue reading: Joe Strummer: The Future Is Unwritten Review
The new documentary The Filth and the Fury ranks as one of the great ones. It chronicles the rise and tragic fall of the infamous British Punk band The Sex Pistols, and the cultural impact they have spread upon the world around us. Director Julian Temple takes the film far above the usual VH-1 retrospectives, recounting past glories, drug parties, and the way a musician found God in a motel in Alabama, thus bringing together the catalytic elements that resulted in the musical movement called "Punk." The Sex Pistols were the forefathers of that movement.
Continue reading: The Filth And The Fury Review
Ah, but McLaren is lying through his teeth when he tells us that. In The Great Rock 'n' Roll Swindle the line between documentary and fiction, truth and lie, becomes so blurred that it becomes unnecessary.
Continue reading: The Great Rock 'n' Roll Swindle Review
For about an hour, "The Filth and the Fury" -- the Sex Pistols new self-indulgent, slash-and-burn documentary -- is a fascinating patchwork of interviews, lost concert footage, 90-mile-per-hour biographical data and body slams directed at record companies and managers (OK, Macolm McLaren) that the band feels screwed them during their 18-month existence.
There's a found interview with a very baked and dimwitted, 19-year-old Sid Vicious. There's grinning anecdotes about Steve Jones' kleptomania -- which came in handy in the early days when the band needed equipment. There's John Lydon/Johnny Rotten -- ever the misanthropic showman -- interviewed in back-lit, witness protection style, narrating most of the movie with his don't-give-a-dam insights.
But "The Filth and the Fury" -- essentially Julien Temple's update of 1980's "The Great Rock and Roll Swindle," but from the band's point of view -- isn't much more than a vanity piece in which the Pistols take pride in their scabs. Soon after that irreverent, fun and anarchistic first hour is over, the film becomes repetitive, excessive and bitter, with Lydon winging on about his venom for McLaren, the band's manager, and Nancy Spungen, Vicious' drug-addled girlfriend. "I introduced her to Sid, and shame on me!"
Continue reading: The Filth & The Fury Review
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