Peter Gabriel was named a Prog God at the 2014 Progressive Music Awards in London on Thursday (11Sep14). The former Genesis star was honoured for his pioneering contribution to the world of prog rock.
He joins Jethro Tull frontman Ian Anderson and Rick Wakeman as a recipient of the trophy.
Wakeman was feted again on Thursday, when he picked up the Best Live Event prize for the 40th anniversary tour of Journey To The Centre Of The Earth.
Other winners included Camel co-founder Andy Latimer, who was handed a Lifetime Achievement Award, Curved Air singer Sonja Kristina, who took home the Guiding Light Award, and enigmatic The Enid frontman Robert John Godfrey, who picked up the ceremony's Visionary Award.
Meanwhile, Transatlantic's Kaleidoscope was named Album of the Year and Dream Theater picked up the Band of the Year trophy.
Jethro Tull's former bass player Glenn Cornick has died, aged 67. The rocker reportedly passed away after suffering heart failure at his home in Hawaii on Thursday (28Aug14).
Cornick was the group's first bassist. He recorded and toured with Jethro Tull until 1970.
A tribute written early on Saturday (30Aug14) by the band's frontman Ian Anderson has been posted on JethroTull.com. It reads: "It is with great sadness that we learned today of the passing of Glenn Cornick, bass player with Jethro Tull from the band's inception 1968 until 1970.
"Glenn was a man of great bonhomie and ready to befriend anyone - especially fellow musicians. Always cheerful, he brought to the early stage performances of Tull a lively bravado both as a personality and a musician.
"His background in the beat groups of the North of England and his broad knowledge of music were always helpful in establishing the arrangements of the early Tull.
"During the many years since then, Glenn continued to play in various bands and was a frequent guest at Tull fan conventions where he would join in with gusto to rekindle the musical moments of the early repertoire.
"We will miss him hugely and our condolences go to his wife Bridgette and children."
Rocker Peter Gabriel has been named the recipient of the Prog God Award at the upcoming 2014 Progressive Music Awards. The former Genesis star will receive his latest accolade at the prizegiving in London on 11 September (14). Previous recipients are former Yes star Rick Wakeman and Jethro Tull's Ian Anderson.
Folk rocker Ian Anderson has recorded a song to mark the upcoming independence vote in his native Scotland, but his producer has refused to release it until after the ballot takes place. Scots are due to go to the polls in September (14) to vote on whether the country should break away from the U.K. to form an independent nation.
Former Jethro Tull frontman Anderson has recorded a cover version of traditional Scottish song A Wee Deoch an' Doris to mark the occasion, but a studio producer is holding it back until after the election as he doesn't want to be accused of influencing the vote.
Proud Scot Anderson tells the Daily Record newspaper, "(In the song) I'm expressing sadness in a 'farewell drink at the door' kind of way. The producer won't release it until after the vote, as he doesn't want to get involved. I, on the other hand, feel that if it focuses on the enormity of what they are voting on, releasing it would be a good thing. I'm not telling people how to vote, I'm just asking people to think."
Veteran rocker Ian Anderson was so poor in the early days of his career that he ate dog food to survive. The Jethro Tull frontman struggled to find success in the mid-1960s and has revealed he went to stomach-churning lengths to make ends meet.
He tells Mojo magazine, "That was a very miserable winter... I ate dog food. I used to bulk out a can of Irish stew, which cost about sixpence, with Spillers Shapes, a chewy, biscuity dog food. You could make a can of stew last three or four days with Spillers Shapes. It was all rather sad."
British rocker Ian Anderson has no plans to reunite with his Jethro Tull bandmates following their 2011 hiatus, insisting he prefers to focus on his solo career. The progressive rock group experienced its heyday in the 1970s and '80s and has not released any new material since 2003's The Jethro Tull Christmas Album.
Instead, Anderson has been performing Jethro Tull tunes on his own since completing the band's Aqualung 40th Tour in 2011 and in the liner notes for his new project Homo Erraticus, he admits he is keen to just continue on as a solo star.
He writes, "The huge body of work that is the Jethro Tull catalogue stands firm close beside me and in good stead... But I think I prefer, in my twilight years, to use my own name for the most part being composer of virtually all Tull songs and music since 1968."
Confirming the news in an interview with Billboard.com, he claims "nothing is going on at all" with the band now, and adds, "And that's the point...
"The vast body of repertoire that's Jethro Tull, the record catalogue, the music, and I think that, if we look back on it, it kind of came more or less to an end during the last 10 years or so (with) a couple of live albums and a studio album of Christmas material. That might define the last albums under the name Jethro Tull.
"It's a body of work I rather think is now kind of historical, since the weight of it lies back in the '70s and '80s in terms of volume. And I rather think it's nice to kind of leave that as legacy."
Lost star Jorge Garcia is heading back to the Pacific islands as a series regular on Hawaii Five-0. The actor previously guested in two episodes of the island cop drama, but he will be a full-time cast member when the show returns for a fifth season later this year (14).
Garcia plays conspiracy theorist Jerry Ortega on the show, opposite his former Lost co-star Daniel Dae Kim.
Hawaii Five-0 producers have set up a series of mini-Lost reunions on their show - as well as Garcia, Henry Ian Cusick, Tania Raymonde, Cynthia Watros, Terry O'Quinn and Sam Anderson have returned to the islands, where they shot the cult drama over six seasons, to team up with Kim.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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The new year brings with it new changes, new resolutions, and new epsiodes of our favorite television shows. There's so many major premieres heading our way in the coming months, promising the resolutions to some insane cliffhangers, highly-anticipated follow-ups to beloved plotlines, and one significant attempt to recover after a terrible previous season. We've gathered together all of the most exciting winter premieres into one handy guide, plus all quick recaps of all of the most gasp-indcing cliffhangers and what to expect from the upcoming seasons. (Spoilers below, obviously.)
Community - January 2After the firing and then re-hiring of show creator Dan Harmon and a widely panned fourth season, Community fans have been waiting desperately to see what the new season will bring. So far, we know that Jeff and the gang will be back at Greendale, along with more guest stars than we could possibly hope to remember, and that Donald Glover will only appear in six episodes. What we don’t know? How or why he’ll leave, and if the show can possibly hope to return to its glory days. The new season has a lot to live up to, but we're hoping it manages to recapture some of that early Community magic.
Downton Abbey - January 5After a season that included births, deaths, and secret affairs, it's hard to imagine what the residents of Downton Abbey will have to endure next. This year, there's been a huge cast overhaul, including a few new love interests for Lady Mary, a shake-up in the household staff, and a visit from Cora's brother, played by Paul Giamatti. Meanwhile, there's still plenty of drama headed for Bates and Anna, including a new storyline that caused a great deal of outrage when it aired earlier in the UK. For a show about an inhertance dispute, there's always something insane going on, so there's no telling what to expect when we return to the estate.
Parks and Recreation - January 9It may not have ended on a cliffhanger, but there's still plenty about the midseason finale of Parks and Rec for us to look forward to. It's the last hundred days of Leslie's term on city council, and she still has some grand plans for the city. Ann and Chris are not only getting ready to welcome a new baby, but also to move away from Pawnee for good. Ron's also about to become a father, and Andy's hopefully heading home from London soon. After the weird way that NBC decided to air the most recent episodes, we're really looking forward to finding out what's happening next in Pawnee, hopefully on a steadier schedule.
Shameless - January 12When last we left the Gallagher clan, Jimmy had disappeared onto a boat with the Brazilian mob, Fiona still had no idea he was in any kind of trouble, Ian stole his brother’s identity and enlisted in the army, Lip was starting college, V is pregnant… and V’s mom is a lot more pregnant than she let on. Oh, and Frank has to stop drinking and doing drugs cold turkey or else he’ll die. Even though the producers have revealed the answer to Season 3’s biggest cliffhanger, there’s still no telling what could happen next with the Gallaghers. And since anything goes with this show, we'll be glued to our televisions to find out.
Sherlock - January 19The world’s most famous consulting detective, BBC edition, returns to the small screens after a two-year hiatus in which we were all left with one very important question: How did Sherlock manage to fake his own death? Season 3 promises to answer this question, as well as focusing on the resulting tension between Sherlock and John, a surprise wedding, and a brand new bad guy. Plus, we’ll finally learn what possessed Anderson to both dye his hair and grow a beard, when he knew full well that they would both look terrible on him. (Don’t even get us started on John’s grief-induced moustache.)
Hannibal - February 28When last we left the team at Quantico, Will had been arrested under suspicion of being the copycat killer, although he has finally started to understand that Hannibal Lecter is not as friendly as he had appeared. Meanwhile, Jack and Alanna are trying to deal with the fact that their good friend might be a serial killer, and Bella's only getting sicker. This season, we'll find out whether anyone will be able to prove Will's innocence - or if anyone even wants to - and how much more Hannibal will be able to get away with before people start getting suspicious.
Orphan Black - April 19When it comes to cliffhangers, no season finale did it better than the end of Orphan Black. There were surprise deaths, new clones, and possible betrayals, all in one compact hour. We're not quite sure what to expect from the new season just yet, as they've only just wrapped filming, but we're sure that for every question they'll actually answer, they'll raise at least three more. However, the clones are finally starting to fight back against their makers, and Sarah is still fighting to get Kira back, so there's bound to be plenty of drama, action, and surprises come April.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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