Anne Hathaway may have split from her dodgy boyfriend Raffaello Follieri, but in a magazine out next month, she spends much of the interview gushing about her plans for the future with him.
The Get Smart star appears on the cover of InStyle, and reveals intimate details of her relationship with Follieri - who was busted for wire fraud and money laundering - and how the pair are house-hunting.
She says: "I enjoy living with him so much, but we're in his apartment - and we've decided that it's time to find where our home is going to be.
"If we get a house as opposed to an apartment, the first two floors will be a bit more traditional for him to be able to receive people, and the top two floors will be whatever I want."
Speaking about marriage plans, she reveals there’s no pressure because, "we're quite happy . . . I'm [not] sweating out a proposal."
Do you think Anne regrets her quotes in the interview? Be sure to leave your comments below.
Friday, 27 June 2008
Tuesday, 24 June 2008
Skinny Puppy
Artist: Skinny Puppy
Genre(s):
Industrial
Pop: Pop-Rock
Pop
Alternative
Rock
Rock: Pop-Rock
ROck: Alternative
Discography:
Mythmaker
Year: 2007
Tracks: 10
The Greater Wrong Of The Right
Year: 2004
Tracks: 10
The Greater Wrong of the Right
Year: 2004
Tracks: 10
Back and Forth 6
Year: 2003
Tracks: 12
Vivi Sect VI
Year: 2002
Tracks: 13
The Process
Year: 1996
Tracks: 11
Fractal Zoom
Year: 1993
Tracks: 13
Worlock Cd5
Year: 1992
Tracks: 4
Tormenator Cd5
Year: 1992
Tracks: 3
Last Rights
Year: 1992
Tracks: 10
Spasmolytic Cd5
Year: 1991
Tracks: 5
Spasmolytic (Single)
Year: 1991
Tracks: 5
Worlock (Single)
Year: 1990
Tracks: 4
Tormentor (Single)
Year: 1990
Tracks: 3
Too Dark Park
Year: 1990
Tracks: 10
12'' Anthology
Year: 1990
Tracks: 10
Tin Omen Cd5
Year: 1989
Tracks: 4
Tin Omen (Twelve Inch Remixes) (Single)
Year: 1989
Tracks: 4
Testure Cd5
Year: 1989
Tracks: 4
Testure (Single)
Year: 1989
Tracks: 4
Rabies
Year: 1989
Tracks: 11
VIVIsectVI
Year: 1988
Tracks: 13
Censor Cd5
Year: 1988
Tracks: 4
Censor (Single)
Year: 1988
Tracks: 4
Cleanse Fold and Manipulate
Year: 1987
Tracks: 10
Chainsaw Cd5
Year: 1987
Tracks: 5
Chainsaw (EP)
Year: 1987
Tracks: 5
Mind - The Perpetual Intercourse
Year: 1986
Tracks: 13
Bites
Year: 1985
Tracks: 17
Remission
Year: 1984
Tracks: 11
Vivisect Vi
Year:
Tracks: 13
Drawing from the pioneering work of artists like Throbbing Gristle, Cabaret Voltaire, and Suicide, the black avant-industrial group Skinny Puppy formed in 1982 in Vancouver, British Columbia. Originally a duet comprised of former Images in Vogue drummer cEvin Key (natural Kevin Crompton) and Nivek Ogre (aka Kevin Ogilvie), Skinny Puppy followed their debut cassette, Back and Forth, with the EP Remission, the first of many recordings with producer David "Rave" Ogilvie, in 1984.
Keyboardist Wilhelm Schroeder coupled the group for 1985's full-length debut, Bites, only was replaced the succeeding year by Dwayne Goettel, whose sampling and synth work proved pregnant in the growing of the Skinny Puppy esthetic from sinister dance music into a distinct fusion of industrial, goth, and electronic sounds. Subsequent releases wish 1986's Judgement: The Perpetual Intercourse, 1987's Cleanse, Fold and Manipulate, and 1988's VIVIsectVI farther honed the trio's style, as well as introducing the candid lyrical schedule that remained a thematic invariant throughout often of the group's work.
In 1989, Ministry's Al Jourgensen added vocals, guitars, and production work to Rabies; later, he united Ogre in the incline project Pigface. Ultimately, the members' interest in pursuing standardised outside projects began to unravel Skinny Puppy: in 1987, Key and Edward Ka-Spel of the Legendary Pink Dots recorded the album Their Eyes Slowly Burning under the mention Tear Garden, and in 1990, he and acquaintance Alan Nelson worked as Hilt. A major rupture began ripping the circle apart, and Key and Goettel a great deal sided against Ogre, whom they felt was more interested in pursuing solo work than in holding the terzetto intact; drugs had as well go a dangerous trouble, merely Skinny Puppy yet gestural to American Recordings in 1993 and relocated to Los Angeles to start production work.
The roger Huntington Sessions for the record album, highborn The Process, proved black; for the first time in nigh a decennary, David Ogilvie did not oversee yield duties, and the mathematical group went through several producers, including previous Swan Roli Mosimann and Martin Atkins. Flooding and earthquakes further hampered the sessions, and Key was sternly injured in a film shoot. After months of recording, Key and Goettel, disgruntled with Atkins' mould, absconded with the master tapes and returned to Vancouver in mid-1994 to finale production. Ogre remained in California, and by and by announced he was departure Skinny Puppy to mannequin W.E.L.T. A few months later, on August 23, 1995, Goettel was establish dead of a heroin o.d. in his parents' place; in his honour, Key and Ogilvie ultimately completed the album, and The Process was released in 1996. A multimedia history of the set, Brap: Back and Forth, Series 3 & 4, followed a few months later, while Key returned to his raw project, Download. Released in 1998, Remix Dys Temper featured Skinny Puppy reworkings by Autechre, Neotropic, and Adrian Sherwood in addition to industrial groups like KMFDM and God Lives Underwater.
By 2000 the tidings was out that Key and Ogre had inhumed the hatchet, reactivated Skinny Puppy, and recording was afoot. A 1994 jam between Skinny Puppy and Throbbing Gristle/Psychic TV appendage Genesis P-Orridge was released under the title Puppy Gristle in 2002 on Key's subCON label. The SPV label (which had long been the distributor of the band's albums in Europe) signed the ring in late 2003. Skinny Puppy's Greater Wrong of the Right hit the streets in 2004 with members of Tool, Collide, and Static-X qualification guest appearances. It was followed in 2007 by Mythmaker.
Wednesday, 11 June 2008
Boy George
Artist: Boy George
Genre(s):
Rock
Pop
Other
Dance
Discography:
Cheapness And Beauty
Year: 1995
Tracks: 13
At Worst... The Best Of Boy George
Year: 1993
Tracks: 19
The Martyr Mantras
Year: 1991
Tracks: 11
High Hat
Year: 1989
Tracks: 10
Tense Nervous Headache
Year: 1988
Tracks: 12
Sold
Year: 1987
Tracks: 11
Box Set
Year:
Tracks: 31
British vocalizer Boy George combined a strong, soulful singing voice with a provocative sense of style, both of which were showtime brought to the attention of English and American audiences in the group Culture Club, for whom he served as lead vocalizer from 1982 to 1986. The group wrote and played faultless pop medicine, and Boy George's androgynous persona -- heavy makeup and usurious costumes -- gave the grouping a distinguishable picture image in the dawn of MTV. That identical disparateness, still, made the chemical group date promptly, and at the same clock time Boy George encountered highly publicized personal difficulties. He re-emerged as a solo vocalizer in 1987 with Sold, which contained a U.K. issue one cover of Bread's "Everything I Own," just was unable to double this success in the U.S. Boy George enjoyed four-spot British singles' chart entries in 1987 and another ternion in 1988. His endorsement album, Strain Nervous Headache (1988), was not picked up for release in the U.S.; his third, Swain (1989), was a Europe-only spill, though Virgin Records cobbled the endorsement and third albums together to introduce a second U.S. album, Highschool Hat (1989). In 1991 came The Martyr Mantras, another jumble album largely made up of antecedently non-LP dance singles. In the U.K., it was credited to a new group, Jesus Loves You, and released on Boy George's own More Protein phonograph record mark, though Virgin in the U.S. billed it as a Boy George album. By 1992, Boy George had faded at home, and in the U.S. his solo career had never interpreted off. Then he was brought in to sing a rendering of the '60s chestnut "The Crying Game" in a production by the Pet Shop Boys, as the title birdsong for a picture that became the sleeper hit of the wintertime of 1992-1993, resulting in his first-class honours degree real U.S. hit as a solo artist. Cheapness and Beauty followed in 1995, and four-spot eld later Boy George resurfaced with the rarities collection Unrecoupable One Man Bandit. Throughout the '90s, he delved back into the club setting that birthed his early romantic Movement, and made a name for himself as DJ in demand. It became more than a hobby toward the end of the millennium, and Boy George garnered attention in the U.K. and U.S. golf club circuits; such musical creativity was captured on Essential Mix, released in fall 2000.
Thursday, 5 June 2008
CD of the week: Paul Weller, 22 Dreams
It is August 1983 and the letters page of Smash Hits is ablaze with controversy. The cause is the video for the Style Council's new single Long Hot Summer. It features Paul Weller, saucy in bare chest and espadrilles, fondling the ears of his new musical collaborator "Merton" Mick Talbot. It may qualify as the least erotic piece of homoeroticism ever captured on film: "Merton" Mick's facial expression suggests not the bliss of Zeus and Ganymede but disappointment and confusion, as if a golden career opportunity isn't really panning out as he had expected. Nevertheless, it's enough to cause uproar among teenage male Weller fans: in a world of gender-bending synth prodders, the former Jam frontman is supposed to be a dependable source of resolutely blokeish rock. Anguished letters flood in, until the editors are forced to intervene in time-honoured Smash Hits style: sniiiiiiiiiiiiiiiiiip!
But the ear-fondling imbroglio is just the first step on the Style Council's increasingly erratic path. "Merton" Mick's crestfallen expression will become a familiar sight while Weller variously dresses as a cyclist, collaborates with Lenny Henry and is photographed wearing loincloth and bodypaint. Things come to a particularly barmy head with the Style Council's final gig, at which Weller wears fluorescent shorts and performs a choreographed dance routine to booing from the audience.
Fluorescent shorts, choreographed dance routines, loincloths, pretending to be gay: today, the Style Council's career seems less like something that actually happened than a particularly weird dream someone once had about Paul Weller. That it does is testament to the success of his 1990s reinvention as precisely the dependable trad-rocker his fans always wanted him to be. It brought him vast commercial success, but diminishing artistic returns: his recent albums have been so workmanlike the writer Jon Savage cruelly dubbed him Paul Welder.
The first sign that something markedly different is up comes with Weller's ninth solo album. Echoes Around the Sun is a single so strange and gripping that it's almost impossible to believe the dread hand of Noel Gallagher was involved. But apparently he and Gem Archer were responsible for the backing, a grinding Stooges riff overlaid with corrosively distorted drums, bursts of morse code-like feedback, melodramatic strings and a crashing piano. It all keeps threatening to drown out Weller's muttering vocal. What on earth is going on?
As it turns out, what is going on is a fairly dramatic rethink that suggests the maverick spirit behind the Style Council has once more been unleashed. No one gets their ears fondled - at least not literally - but 22 Dreams is eclectic, deeply strange and cheeringly unlike anything Weller has done before. There are atonal, improvised synthesiser pieces and instrumentals that recall the outer limits of the Beach Boys' Smile. There is acid folk, in the shape of the Pentangle-influenced opener Light Nights, the glorious Sea Spray and an alternately troubled and celebratory meditation on fatherhood called Why Walk When You Can Run. There is a song called Empty Ring that seems to be taking place on top of the Avalanches' Since I Left You. And there is stuff that doesn't just sound like anything else, including the implausibly exciting Push It Along, a raging mess of frantically-thrashed acoustic guitar, marimba, noisy abstract soloing and grunting backing vocals allied to a song that lurches forward in ways it's impossible to predict.
Even the most straightforward tracks are lent a strange depth by careering, ramshackle performances: the ballads sound shifty and troubled, the rock songs gleefully propulsive. Meanwhile, the more excessive moments - including a piano instrumental called Lullaby Für Kinder that sounds rather more like Richard Clayderman than you suspect Weller realises - add to the delightful sense of a previously constrained imagination suddenly running riot: no matter how baffling it may be, everything here sounds purposeful rather than weird for weird's sake. The songs crash into each other in a way that recalls a tipsy friend ripping records from the turntable before they're finished in order to play you something else they're wildly enthusiastic about.
Quite what has provoked all this remains a mystery. Perhaps he was jolted from his comfort zone by the nascent pop career of his son Nat, who describes himself as "kind of a mix between Victoria Beckham and Marilyn Manson". Perhaps the horror of having David Cameron announce his love for the Jam's The Eton Rifles has alerted Weller to the possibility of being too conventional for your own good. Or perhaps, after boring everyone else with album after album of grimacing man-rock plod, Weller finally succeeded in boring himself. Whatever the reason, 22 Dreams is a triumph of the most unexpected kind.
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