Music legend David Bowie was honoured with a top prize at the Music Producers Guild (MPG) Awards in London on Thursday night (13Feb14). The Let's Dance hitmaker landed the Innovation Award in recognition of his 2013 comeback album The Next Day.
He was not present to pick up the trophy in person, so his producer Tony Visconti accepted it for him, telling the crowd, "On behalf of my friend David Bowie it feels absolutely great... No one believed that David Bowie was going to make another album and so the timing was perfect, because everyone kind of gave up on him. There were rumours of bad health and rumours of retirement, and I'm laughing my head off every time I hear them."
During the show, British producer/songwriter Trevor Horn was handed the Outstanding Contribution to UK Music award by his collaborator Seal and Radiohead producer Nigel Godrich.
Seal, who won three Grammy Awards with Horn for their hit 1995 track Kiss From A Rose, said of his mentor, "I don't think it would have been possible for me to have had the career that I've had and enjoyed the success that I continue to enjoy without Trevor Horn... being in my life. He is a huge influence. He pretty much taught me what I know in terms of my trade in the music industry."
The pair later took to the stage together to perform Kiss From A Rose.
Production duo Flood and Alan Moulder landed the U.K. Producer Of The Year prize, which automatically earned them a BRIT Award, and Disclosure brothers Guy and Howard Lawrence scooped the Breakthrough Producer accolade for their band's debut album Settle.
Everything Everything's hit track Kemosabe was named UK Single Of The Year, Nile Rodgers took the Inspiration Award, and International Producer Of The Year went to Rick Rubin.
Pop star Morrissey has attempted to make amends with iconic rocker David Bowie almost 20 years after they first fell out. The former The Smiths frontman was enlisted as the main support act on Bowie's 1995 European tour but he quit after a handful of gigs and later blamed Bowie for trying to overshadow his performances.
Since then he has made several cutting remarks about his former hero in interviews, and Bowie fuelled the bust-up by reportedly refusing to allow permission for Morrissey to use a photograph of them together on a release last year (13).
However, Morrissey has now spoken out to insist his catty remarks about the Starman hitmaker were merely "high ribbing" and even alleges he asked Bowie to duet with him on a version of You've Lost That Lovin' Feelin', but the offer was rejected.
In a question and answer session on the Truetoyou.net fansite, Morrissey writes, "When I made the (2006) record Ringleader of the Tormentors, the producer (Tony Visconti), who is a very close friend of David Bowie, tried to get both Bowie and I together to do our version of You've Lost That Lovin' Feelin', with David doing the deep Bill Medley parts, and me doing the Bobby Hatfield shrieks.
"I loved this idea, but David wouldn't budge. I know I've criticised David in the past, but it's all been snotnosed junior high ribbing on my part. I think he knows that."
We've still got another seven months to go before Valentine's Day (and frankly most of us are still wallowing in self-pity after this past Februrary's romantic misadventures) but that hasn't stopped David Bowie from releasing a music video for his newest single, "Valentine's Day."
Mere seconds into the video, it's clear that Bowie's "Valentine's Day" is not exactly a Hallmark card. We see the music legend amidst giant concrete columns in some sort of abandoned warehouse. As he sits on a stool and strums a red headless guitar, his facial expressions become increasingly more intense. The effect is augmented by closeups of his freaky mismatched eyes (the result of a scuffle over some girl during his teenage years) and the occasional shot of him dancing around like his awesomely weird David Bowie self.
Compared to his past clips, "Valentine's Day" is relatively toned down, relying on Bowie's naturally expressive countenance and distinctive voice as he croons lyrics like "It's in his scrawny hands / It's in his icy heart." It's truly chilling.
"Valentine's Day" is the fourth single off The Next Day, Bowie's first album in 10 years, and according to producer Tony Visconti, it's about a high school shooter. We're fans of the song, and the video is undeniably thrilling. But the next time we have a hankering for a February-14-themed tune from an aging but iconic musician, we'll go with Paul McCartney's "Valentine." At least that one appears to be about love.
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Louis Leterrier’s remake of Clash of the Titans the 1981 cult favorite that fused Greek mythology with sci-fi theatrics is a grand experiment in the ancient art of alchemy a big-budget attempt to spin fanboy nostalgia for a 30-year-old novelty into contemporary box-office gold. The main ingredients in this ambitious concoction are a potent arsenal of CGI weaponry and the star of the biggest movie ever Sam Worthington who inherits Harry Hamlin’s role as the heroic Perseus. But it’s what’s missing from the formula that ultimately dooms this remake.
Clash of the Titans redux mimics the original film’s epic ethos and preference for spectacle over all else but its storyline differs dramatically. Perseus is still the half-breed product of a one-night stand between the god Zeus and a human hottie and he still must to defeat the monstrous Kraken in order to save the lovely Princess Andromeda. Almost everything in between however has been altered — and not necessarily for the better.
The new version casts the Greek city of Argos as the primary battleground in a proxy war fought by dueling Olympian superpowers Zeus (Liam Neeson) and Hades (Ralph Fiennes). Born of a god but raised by and partial to humans Worthington’s Perseus battles not for the hand of Andromeda (Alexa Davalos) — as Hamlin’s character did — but instead for the people of Argos who stand to perish along with their princess at the hands of the dreaded Kraken. The film’s love story if it can be called that consists of the briefest of flirtations between Perseus and Io (Gemma Arterton) his self-appointed spiritual guide. (Cursed with immortality by the gods Io’s been secretly watching him all his life — which ostensibly makes her a glorified stalker.)
This detail is a small but crucial one. Strong-willed Perseus braves an obstacle course of giant scorpions gorgons and other horrors laid out for him by the wheezy fiend Hades but it’s never quite clear why he bothers with it all since what’s at stake is a princess he isn’t particularly interested in and a community of people he doesn’t really know — and who frankly don’t seem all that worth saving. His deadbeat dad up on Mount Olympus certainly isn't worth dying for nor are the battlefield compatriots he met barely a week prior. And while I’m sure that a few inviting glances from Gemma Arterton are positively delightful I wouldn’t risk being doused in flesh-eating scorpion venom for them.
This narrative oversight triggers a drain in enthusiasm that persists throughout the film. For a movie so epic in scale Clash of the Titans makes for a disappointingly bland ride. Leterrier’s CGI set pieces are at times magnificent but they’re proffered in the service of weak story filled with characters whose motivations are either unclear or unconvincing. During the film’s climax when Neeson’s Zeus utters the portentous words “Release the Kraken ” what should be an emotional high point instead feels perfunctory and anticlimactic. The only excitement it spawns comes from the knowledge that the end is mercifully imminent.
WHAT’S IT ABOUT?
G.I. Joe is a top-secret multi-national special forces unit comprised of highly-trained physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk they take on the baddest of the bad guys the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states “When all else fails we don’t.”
That credo is put to the test however when a shadowy terrorist group armed with even awesomer vehicles and weaponry like crazy-ass laser guns and computer-guided zombie troopers infiltrates the Joes’ compound and makes off with a cache of four WMDs each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?
WHO’S IN IT?
It takes an elite group of actors to play an elite group of soldiers and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord a flight specialist who can pilot any type of airplane even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum star of Step Up and Step Up 2: The Streets plays his best pal Duke a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.
On the side of the bad guys is the Baroness played by Factory Girl star Sienna Miller in a push-up bra dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor ” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.
Oh and there are ninjas too. Good guy Snake Eyes played by Ray Park wears sleek black body armor while the evil Storm Shadow played by Byung-hun Lee runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.
Loaded with scene after scene of high-tech action-movie eye candy G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.
As with most sugary indulgences the sweet dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning you awake with a throbbing headache and a heart filled with regret. The following day a doctor informs you that you have adult-onset diabetes. So in a nutshell G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.
The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait that’s EVERY scene.
For the bulk of his performance Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.