Matt Damon - World-of-Newave.info http://answers.world-of-newave.info/matt-damon.htm Latest news and articles about Matt Damon en-us Copyright (c)2004-2008. All rights reserved. webmaster@world-of-newave.com (Webmaster) Tue, 02 Dec 2008 12:47:53 GMT Tue, 02 Dec 2008 12:47:53 GMT Newave Lisa XML Engine v1.0 - http://www.world-of-newave.info/about.htm 60 http://www.world-of-newave.info/images/wi8831.gif World-of-Newave.info - Knowledge and Informational Database http://www.world-of-newave.info/ 88 31 {LITERATURE > RSS FEEDS} - Bourne Inspires Knight Stunts http://articles.world-of-newave.info/arts/literature/genres/science-fiction/rss-feeds/bourne-inspires-knight-stunts-20080962424.htm http://articles.world-of-newave.info/arts/literature/genres/science-fiction/rss-feeds/bourne-inspires-knight-stunts-20080962424.htm Mon, 22 Sep 2008 06:00:00 GMT The cast members of NBC's upcoming Knight Rider reboot series will do as much of the stunt work as allowed, following in the footsteps of Matt Damon in The Bourne Identity, and that's no coincidence: That film's director, Doug Liman, is an executive producer of the new show. Scifi.Com Bourne Inspires Knight Stunts {new window}   Www.Scifi.Com - The cast members of NBC's upcoming Knight Rider reboot series will do as much of the stunt work as allowed, following in the footsteps of Matt Damon in The Bourne Identity, and that's no coincidence: That film's director, Doug Liman, is an executive producer of the new show.
Published: September 22, 2008, 6:00 am - Indexed: September 22, 2008, 8:19 am - Page Size: 43KB
Category: Arts > Literature > Genres > Science Fiction > RSS Feeds

]]> Arts > Literature > Genres > Science Fiction > RSS Feeds {LITERATURE > CYBERPUNK} - Interesting books in my stack http://articles.world-of-newave.info/arts/literature/genres/cyberpunk/interesting-books-in-my-stack-20080950132.htm http://articles.world-of-newave.info/arts/literature/genres/cyberpunk/interesting-books-in-my-stack-20080950132.htm Fri, 19 Sep 2008 23:20:35 GMT I get about ten books sent to me every week. I'm a slow reader, so I can't begin to get to them all. But I keep the ones that I hope to get to some day. Here are a few interesting ones in my ready-to-topple-over reading stack: Teeny Bikini #4, by Robert Ullman. I actually did read this one already. It was easy, because it doesn't have any words, just wonderful little pencil sketches of cartoon cuties. I didn't see Issue #4 for sale on Rob's site, but you can buy earlier volumes there, along with other books and stickers.Porn Soup, by Paul Krassner. This anthology of sex-related essays were written by Paul Krassner, the founder of The Realist and one of my cultural heroes. I've read a few of the pieces in here, and they're funny, profound, and revealing, which is what I've come to expect from Paul. Essays include: Susie Bright Interviews Paul Krassner, Lenny Bruce Meets Blow Job Betty, In Praise of Indecency Masturbation Helper, The Man Behind The Aristocrats, Showing Pink, Pee-Wee Herman Meets Pete Townshend, Satirical Prophecy, The Marriage of Hip-Hop and Pornography, Porn and the Manson Murders, Rape and Porn, Bizarre Sexually Oriented Spam Subject Lines, Meet an FBI Porn Squad Agent, Remembering Pubic Hair, The Taste of Sperm, Disinformation Porn, Hobo Sex and Crack Whore Confessions, Eating Shit for Fun and Profit, Porn Dogs, "I Fuck Dead People," Porn Provides Product Placement, Addicted to Porn, Women and Porn. Boy's Club 2, by Matt Furie. A comic book about the non-adventures of four post-adolescent, near-imbecilic, prank-playing, dope-smoking humanimals. I expect Judd Apatow will option this. Doctor Olaf van Schuler's Brain, by Kirsten Menger-Anderson. I haven't started this novel, but it looks promising. The inside flap copy says it's about several generations of peculiar medical doctors, whose techniques involve spontaneous combustion, animal magnetism, phrenology, and lobotomies. I'm going to sneak this one higher up on my stack. Porn & Pong: How Grand Theft Auto, Tomb Raider and other Sexy Games Changed Our Culture, by Damon Brown. This one has a cover by our pal Coop, and was published by our pals at Feral House. Looking forward to reading this one, too. From the jacket copy: When the VCR first became commonly available, and the modern porn industry?s sales skyrocketed, Atari systems, with their phallic joysticks, also seized the American mind. In Porn and Pong, Playboy journalist Damon Brown reveals how these businesses have blossomed, intersected and affected our culture.... Boingboing.Net Interesting books in my stack {new window}   Www.Boingboing.Net - I get about ten books sent to me every week. I'm a slow reader, so I can't begin to get to them all. But I keep the ones that I hope to get to some day. Here are a few interesting ones in my ready-to-topple-over reading stack: Teeny Bikini #4, by Robert Ullman. I actually did read this one already. It was easy, because it doesn't have any words, just wonderful little pencil sketches of cartoon cuties. I didn't see Issue #4 for sale on Rob's site, but you can buy earlier volumes there, along with other books and stickers.Porn Soup, by Paul Krassner. This anthology of sex-related essays were written by Paul Krassner, the founder of The Realist and one of my cultural heroes. I've read a few of the pieces in here, and they're funny, profound, and revealing, which is what I've come to expect from Paul. Essays include: Susie Bright Interviews Paul Krassner, Lenny Bruce Meets Blow Job Betty, In Praise of Indecency Masturbation Helper, The Man Behind The Aristocrats, Showing Pink, Pee-Wee Herman Meets Pete Townshend, Satirical Prophecy, The Marriage of Hip-Hop and Pornography, Porn and the Manson Murders, Rape and Porn, Bizarre Sexually Oriented Spam Subject Lines, Meet an FBI Porn Squad Agent, Remembering Pubic Hair, The Taste of Sperm, Disinformation Porn, Hobo Sex and Crack Whore Confessions, Eating Shit for Fun and Profit, Porn Dogs, "I Fuck Dead People," Porn Provides Product Placement, Addicted to Porn, Women and Porn. Boy's Club 2, by Matt Furie. A comic book about the non-adventures of four post-adolescent, near-imbecilic, prank-playing, dope-smoking humanimals. I expect Judd Apatow will option this. Doctor Olaf van Schuler's Brain, by Kirsten Menger-Anderson. I haven't started this novel, but it looks promising. The inside flap copy says it's about several generations of peculiar medical doctors, whose techniques involve spontaneous combustion, animal magnetism, phrenology, and lobotomies. I'm going to sneak this one higher up on my stack. Porn & Pong: How Grand Theft Auto, Tomb Raider and other Sexy Games Changed Our Culture, by Damon Brown. This one has a cover by our pal Coop, and was published by our pals at Feral House. Looking forward to reading this one, too. From the jacket copy: When the VCR first became commonly available, and the modern porn industry?s sales skyrocketed, Atari systems, with their phallic joysticks, also seized the American mind. In Porn and Pong, Playboy journalist Damon Brown reveals how these businesses have blossomed, intersected and affected our culture....
Interesting books in my stack - Boing Boing {...}
Published: September 19, 2008, 11:20 pm - Indexed: September 22, 2008, 7:47 am - Page Size: 54KB
Category: Arts > Literature > Genres > Cyberpunk

]]> Arts > Literature > Genres > Cyberpunk {NEWSPAPERS > UNITED STATES} - After hurricane Ike, Haiti copes with aid delays http://articles.world-of-newave.info/news/newspapers/regional/united-states/after-hurricane-ike-haiti-copes-with-aid-delays-20080956022.htm http://articles.world-of-newave.info/news/newspapers/regional/united-states/after-hurricane-ike-haiti-copes-with-aid-delays-20080956022.htm Mon, 15 Sep 2008 07:00:00 GMT This weekend, Hollywood star Matt Damon and Haitian-born singer Wyclef Jean urged people to help the UN raise more than $100 million for supplies. Csmonitor.Com After hurricane Ike, Haiti copes with aid delays {new window}   Www.Csmonitor.Com - This weekend, Hollywood star Matt Damon and Haitian-born singer Wyclef Jean urged people to help the UN raise more than $100 million for supplies.
After hurricane Ike, Haiti copes with aid delays | csmonitor.com {...}
Published: September 15, 2008, 7:00 am - Indexed: September 15, 2008, 10:30 am - Page Size: 68KB
Category: News > Newspapers > Regional > United States

]]> News > Newspapers > Regional > United States {EUROPE > NEWS AND MEDIA} - Michael Douglas to play Liberace http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/michael-douglas-to-play-liberace-20080975917.htm http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/michael-douglas-to-play-liberace-20080975917.htm Thu, 11 Sep 2008 09:59:42 GMT Culture: Matt Damon also in frame to appear in Steven Soderbergh's film of flamboyant entertainer Guardian.Co.Uk Michael Douglas to play Liberace {new window}   Www.Guardian.Co.Uk - Culture: Matt Damon also in frame to appear in Steven Soderbergh's film of flamboyant entertainer
Douglas and Soderbergh in tune for Liberace biopic | Film | guardian.co.uk {...} Matt Damon is also in the frame to appear in Steven Soderbergh's planned film of the flamboyant entertainer {...}
Published: September 11, 2008, 9:59 am - Indexed: September 11, 2008, 11:49 am - Page Size: 77KB
Category: Regional > Europe > United Kingdom > News and Media

]]> Regional > Europe > United Kingdom > News and Media {INTERNET > GOOGLE} - Tracking flu trends http://articles.world-of-newave.info/computers/internet/searching/search-engines/google/tracking-flu-trends-2008125551.htm http://articles.world-of-newave.info/computers/internet/searching/search-engines/google/tracking-flu-trends-2008125551.htm Mon, 01 Dec 2008 09:43:38 GMT Like many Googlers, we're fascinated by trends in online search queries. Whether you're interested in U.S. elections, today's hot trends, or each year's Zeitgeist, patterns in Google search queries can be very informative. Last year, a small team of software engineers began to explore if we could go beyond simple trends and accurately model real-world phenomena using patterns in search queries. After meeting with the public health gurus on Google.org's Predict and Prevent team, we decided to focus on outbreaks of infectious disease, which are responsible for millions of deaths around the world each year. You've probably heard of one such disease: influenza, commonly known as "the flu," which is responsible for up to 500,000 deaths worldwide each year. If you or your kids have ever caught the flu, you know just how awful it can be.Our team found that certain aggregated search queries tend to be very common during flu season each year. We compared these aggregated queries against data provided by the U.S. Centers for Disease Control and Prevention (CDC), and we found that there's a very close relationship between the frequency of these search queries and the number of people who are experiencing flu-like symptoms each week. As a result, if we tally each day's flu-related search queries, we can estimate how many people have a flu-like illness. Based on this discovery, we have launched Google Flu Trends, where you can find up-to-date influenza-related activity estimates for each of the 50 states in the U.S.The CDC does a great job of surveying real doctors and patients to accurately track the flu, so why bother with estimates from aggregated search queries? It turns out that traditional flu surveillance systems take 1-2 weeks to collect and release surveillance data, but Google search queries can be automatically counted very quickly. By making our flu estimates available each day, Google Flu Trends may provide an early-warning system for outbreaks of influenza.For epidemiologists, this is an exciting development, because early detection of a disease outbreak can reduce the number of people affected. If a new strain of influenza virus emerges under certain conditions, a pandemic could emerge and cause millions of deaths (as happened, for example, in 1918). Our up-to-date influenza estimates may enable public health officials and health professionals to better respond to seasonal epidemics and ? though we hope never to find out ? pandemics.We shared our preliminary results with the Epidemiology and Prevention Branch of the Influenza Division at CDC throughout the 2007-2008 flu season, and together we saw that our search-based flu estimates had a consistently strong correlation with real CDC surveillance data. Our system is still very experimental, so anything is possible, but we're hoping to see similar correlations in the coming year.We couldn't have created such good models without aggregating hundreds of billions of individual searches going back to 2003. Of course, we're keenly aware of the trust that users place in us and of our responsibility to protect their privacy. Flu Trends can never be used to identify individual users because we rely on anonymized, aggregated counts of how often certain search queries occur each week. The patterns we observe in the data are only meaningful across large populations of Google search users.Flu season is here, so avoid becoming part of our statistics and get a flu shot! And keep an eye on those graphs if you're curious to see how the flu season unfolds...Update on 11/21: The team just published an academic paper in Nature, the international journal of science, explaining the science and methodology behind Flu Trends. Check it out for more information.Posted by Jeremy Ginsberg and Matt Mohebbi, Software Engineers Blogger.Com Tracking flu trends {new window}   Www.Blogger.Com - Like many Googlers, we're fascinated by trends in online search queries. Whether you're interested in U.S. elections, today's hot trends, or each year's Zeitgeist, patterns in Google search queries can be very informative. Last year, a small team of software engineers began to explore if we could go beyond simple trends and accurately model real-world phenomena using patterns in search queries. After meeting with the public health gurus on Google.org's Predict and Prevent team, we decided to focus on outbreaks of infectious disease, which are responsible for millions of deaths around the world each year. You've probably heard of one such disease: influenza, commonly known as "the flu," which is responsible for up to 500,000 deaths worldwide each year. If you or your kids have ever caught the flu, you know just how awful it can be.Our team found that certain aggregated search queries tend to be very common during flu season each year. We compared these aggregated queries against data provided by the U.S. Centers for Disease Control and Prevention (CDC), and we found that there's a very close relationship between the frequency of these search queries and the number of people who are experiencing flu-like symptoms each week. As a result, if we tally each day's flu-related search queries, we can estimate how many people have a flu-like illness. Based on this discovery, we have launched Google Flu Trends, where you can find up-to-date influenza-related activity estimates for each of the 50 states in the U.S.The CDC does a great job of surveying real doctors and patients to accurately track the flu, so why bother with estimates from aggregated search queries? It turns out that traditional flu surveillance systems take 1-2 weeks to collect and release surveillance data, but Google search queries can be automatically counted very quickly. By making our flu estimates available each day, Google Flu Trends may provide an early-warning system for outbreaks of influenza.For epidemiologists, this is an exciting development, because early detection of a disease outbreak can reduce the number of people affected. If a new strain of influenza virus emerges under certain conditions, a pandemic could emerge and cause millions of deaths (as happened, for example, in 1918). Our up-to-date influenza estimates may enable public health officials and health professionals to better respond to seasonal epidemics and ? though we hope never to find out ? pandemics.We shared our preliminary results with the Epidemiology and Prevention Branch of the Influenza Division at CDC throughout the 2007-2008 flu season, and together we saw that our search-based flu estimates had a consistently strong correlation with real CDC surveillance data. Our system is still very experimental, so anything is possible, but we're hoping to see similar correlations in the coming year.We couldn't have created such good models without aggregating hundreds of billions of individual searches going back to 2003. Of course, we're keenly aware of the trust that users place in us and of our responsibility to protect their privacy. Flu Trends can never be used to identify individual users because we rely on anonymized, aggregated counts of how often certain search queries occur each week. The patterns we observe in the data are only meaningful across large populations of Google search users.Flu season is here, so avoid becoming part of our statistics and get a flu shot! And keep an eye on those graphs if you're curious to see how the flu season unfolds...Update on 11/21: The team just published an academic paper in Nature, the international journal of science, explaining the science and methodology behind Flu Trends. Check it out for more information.Posted by Jeremy Ginsberg and Matt Mohebbi, Software Engineers
Indexed: December 1, 2008, 9:43 am - Page Size: 6KB
Category: Computers > Internet > Searching > Search Engines > Google

]]> Computers > Internet > Searching > Search Engines > Google {EUROPE > NEWS AND MEDIA} - Sean O'Hagan talks to Scott Walker http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/sean-o-hagan-talks-to-scott-walker-2008117367.htm http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/sean-o-hagan-talks-to-scott-walker-2008117367.htm Sun, 09 Nov 2008 00:04:28 GMT Scott Walker was an only child and a nomadic one. His father, a geologist, travelled throughout America and the young Noel Scott Engel never had time to settle for long in one place. Born in Ohio in 1943, he lived in Texas for a time and then in California. 'I never made friends that easily,' he says, sounding not at all regretful. 'I don't mind being on my own because when you're on your own a lot as a child, your imagination grows. That is still the case with me.'Wrapped up in his solitude, Walker can work on the lyrics of a single song for several years. On his last album, The Drift, a track called 'Cue' took six years to complete. 'It was the toughest song to write, but my most successful song lyrically,' he says, his mid-Atlantic tones soft but clear, his eyes half hidden beneath the peak of his ever-present baseball cap. 'It's sharp, it's angular, it all just chimes right. In that song, everything is exactly as I want it.' 'Cue', though, even by Scott Walker's recent standards, is a difficult song. The lyrics are dense and elliptical, the pace funereal and the atmosphere one of creeping anxiety. He delivers it in that doomy, semi-operatic tone that has long replaced the melodramatic flourish of his early solo albums. Featuring a chorus of wailing voices straight out of Dante's Inferno, it is not a song you would turn to for solace or uplift. It is, in fact, another of Scott Walker's musical excursions to hell. Can he appreciate why some of us find his later work wilfully impenetrable, too far out, in fact, to take in. 'Well, I never think that way,' he says, sighing. 'I think it sounds pretty normal so I'm kind of shocked when people say it's too much. For me,' he says, laughing, 'it's never far out enough.' We are sitting in the bright, airy living room of his manager's spacious house in London's leafy Holland Park, the place where Scott Walker chooses to suffer through the few interviews he grants these days. While no longer as reclusive as he once was - Mojo magazine once called him 'pop's own Salinger' - he remains one of music's most famous loners. 'I'm not a recluse,' he says at one point when I ask him what he does when he is not making music. 'I'm definitely not that. I have friends and I go to dinner. I like people, but sometimes I can't wait to get away and be on my own again. I am solitary, though. I need to be for my work. That's the deal.' Next week, he will break cover when the Barbican theatre hosts an ambitious series of concerts called Drifting and Tilting: the Songs of Scott Walker. The 70-minute programme will comprise eight songs taken from The Drift and 1995's equally challenging Tilt. Scott will be there each night, but not on stage, not singing. 'I'll help mix the live sound,' he says. 'I got spooked years ago about performing and never repaired the damage.' In his place will be a succession of guest vocalists including Jarvis Cocker, Damon Albarn, Dot Allison, Gavin Friday and classical baritone Grant Doyle. A 40-piece orchestra will also be in attendance alongside Walker's studio group and a contemporary dance troupe. 'It will be a tightrope walk,' he says. 'There is never enough time to prepare these things, but if it's going to be a train wreck, it will certainly be an interesting one. There will be one or two surprises, too.' Those surprises will not, alas, include performances of any of his older songs. There will be no 'Big Louise', in all its swooning sadness, no 'We Came Through' in all its galloping cavalry clatter, no 'Rosemary' or 'Jackie' in all their lovelorn glory. No Jacques Brel covers either, nor Walker Brothers hits. 'When we began discussing the event, it was taken as a given that Scott would not be singing and that none of his older work would feature,' says his friend and collaborator Michael Morris, co-director of Artangel, the arts company which specialises in ambitious, site-specific events. 'The performances will be dictated by the songs which are semi-operatic. The show will take the form of a semi-staged song cycle, almost like a lieder recital but a bit more dramatic. We're hoping,' adds Morris, 'that the audience doesn't clap between songs.'In person, Scott Walker does not look like a living legend. His clothes are casual - faded jeans, denim jacket, trainers - and his manner diffident but charming. Throughout the interview, he sits perched, thin and bird-like, on the edge of a huge, floral-patterned sofa as if, at any moment, he might take flight. He looks much younger than his 65 years but his eyes, when I catch a glimpse of them beneath that pulled-down baseball cap, have a flickering intensity that speaks of deep unease. It is hard to imagine that he was ever a heart-throb who induced mass hysteria. For a moment, though, back in the mid-Sixties, the Walker Brothers, who weren't brothers at all, were known as 'America's Beatles'. 'Oh, it was amazing at first,' he says, smiling, 'but a little goes a long way. I was not cut out for that world. I love pop music, but I didn't have the temperament for fame.'On their most famous song, and second No 1, 1966's 'The Sun Ain't Gonna Shine Anymore', he sang the prophetic lines: 'Loneliness is a cloak you wear, a deep shade of blue is always there'. He could have been describing his future self, both his personality and his music. The song was teenage heartbreak writ large and remains perhaps the most dramatic example of a certain strain of mid-Sixties pop melodrama, wherein everything - the music, the delivery, the production - was overloaded. It possesses what Johnny Marr would later describe as 'that gothic and beautiful gloom that was as much about England in the Sixties as was "Day Tripper"'.The group imploded in 1967, with Scott frustrated to the point of breakdown by the formula into which their songs had fallen. His aversion to fame, and the fan hysteria that came with it, sent him running for the hills. He spent a week in a monastery in 1966, and the following year, there were reports that he had attempted suicide. The Scott Walker who emerged on the solo albums that followed was a different kind of pop star, a crooner who veered between mainstream, Jack Jones-style balladeering and middle European angst. His hero was the Flemish chansonnier Jacques Brel, whose music he had been turned on to by a German Bunny Girl he had picked up at a party in the Playboy Club on Park Lane. 'I don't listen to Brel that much now,' he says, 'but in those days, hearing him sing was like a hurricane blowing through the room.' By 1969's Scott 4, on which his own songwriting finally came to the fore, his themes were darker and a quote from Camus graced the sleeve: 'A man's work is nothing but his slow trek to rediscover through the detours of art, those two or three great and simple images in whose presence his heart first opened.' The pop idol had metamorphosed into an arbiter of existential angst. 'It has always been a certain kind of European writer who has captivated me,' he says. 'It started when I was a drop-out from high school in California and read Sartre, who I don't care for much now, but back then he had a huge impact on my way of thinking about the world. And Kafka, of course. Those writers were my main sources alongside the European films I saw in the Sixties in an art cinema on Wilshire Boulevard, Bergman and Kurosawa and the like.' Those solo records have influenced several generations of pop mavericks from Marc Almond and David Sylvian in the Eighties to the Divine Comedy a decade later. Jarvis Cocker is a fan and persuaded Walker to produce Pulp's 2001 album, We Love Life. Most recently, Alex Turner's other project, the Last Shadow Puppets, released their debut album, The Age of Understatement, which, despite its title, was a homage to Walker's orchestrated emotional melodramas.He wrote Scott 4, he says, 'on drink', and fell into depression when it failed to sell like its predecessors. 'I snapped,' he says. 'The pressure was everywhere and, in my crazy imagination, I thought, "I'd better keep doing this just to stay in the game."' In desperation, he reformed the Walker Brothers, and the band had chart success again with the single 'No Regrets'. But his heart was not in it, at least until they went into the studio to record Nite Flights, their valedictory album from 1978, on which he let loose the full force of his teeming imagination.At its centre is an extraordinary song called 'The Electrician', a symphonic ode to S&M that would not have sounded out of place on a Pasolini soundtrack. In the recent documentary film Scott Walker: 30 Century Man, an animated Brian Eno enthused about Nite Flights' sonic experimentation, while castigating the conservatism of most contemporary pop music. 'We haven't got any further than this,' he sighed. 'It's a disgrace.' The album still sounds otherworldly and futuristic. After it, though, came six years of silence and, with 1984's Climate of Hunter album, the beginning of the enigma that is Scott Walker Mk3. Gone was the musical extravagance of old, replaced by a minimalist sound that bordered on ambience. Only half the songs had actual titles. On the first line of the opening track, 'Rawhide', he sang: 'This is how you disappear.' Then he disappeared again. Tilt was 10 years in the making, The Drift another 11. They both sound, in their emotional and tonal extremity, like nothing else in contemporary music.'A lot of what I do is waiting,' he says. 'I begin always with the lyrics and they seem to take some considerable time. They have become more angular of late and now come in blocks of words. It's just a different way of writing. When I see the page and the lyrics, I see soldiers in a field. There's a lot of white space which represents me in a sense. It's an abstract way of putting it, but I see it that way visually.'His songs, he says, are clear to him, but he does not like having to explain or analyse them. He admits, though, that his recent music requires a certain amount of effort and patience from the listener. 'I try to avoid cliché. I want to make it sound like nothing I have ever heard before,' he says, his low Californian drawl still detectable after a 40-year exile in Europe. 'All that guitar-based rock stuff - I just feel like I've heard it before so many times. It goes on and on and never seems to end. It's just the same narrow ground being worked over. It would drive me mad to have to work within those parameters.' So he has gone the other way - into texture and dissonance. The music he makes with strangely tuned strings and off-key piano chords, is, he says, 'always dictated by the lyrics', which tend to be obscure and, at times, wilfully nonsensical. His songs often seem to be haunted by the darker narratives of the last century, by war, disease, displacement and genocide. 'Cue', for instance, seems to be about a bacterial plague carried by the 'flugleman' of the song's subtitle, a viral pestilence that spreads 'through the dormant wards and nurseries... in the lung-smeared slides and corridors'. In the documentary, the most revealing insight into his work comes from his orchestrator, Brian Gascoigne (brother of Bamber), who says: 'He believes, and I take issue with this, that to convey a very strong emotion in the music, you have to be feeling it when you're making it. That couldn't be true because the people who are playing Bruckner and Mahler every night would be basket cases... after three of four hours in the studio, he is a basket case because he lives the thing with such emotion.' How would Scott Walker describe his singular artistic sensibility? 'Essentially, I'm really trying to find a way to talk about the things that cannot be spoken of,' he says. 'I cannot fake that or take short cuts. There is an absurdity there, too, of course, and I hope that people pick up on that. Without the humour, it would just be heavy and boring. I hope,' he says, once more, 'people get that. If you're not connecting with the absurdity, you shouldn't be there.' Scott Walker's late music, in its evocation of anxiety and horror, may, as Michael Morris suggests, be more comparable with the paintings of Francis Bacon than with any musical contemporary. His songs, if they can still be called that, are as far from the drift of contemporary pop as one could possibly imagine. 'Oh, I have long since stopped worrying about fitting in in any way,' he says, laughing. 'I'm an outsider, for sure. That suits me fine. Solitude is like a drug for me. I crave it.' Why, though, does it take so long to make a record, write a song? 'A certain amount of it is about making it difficult for myself. I'm not interested in traditional narrative, say, or in having pat endings to the songs. I want the sense in my music of a constant moving forward into an open future.' Of late, though, his music often seems to be drifting towards the last final, awful silence. 'Perhaps,' he says, 'perhaps.' Does he ever, I ask, miss the old days, when his songs lasted three minutes, had verses and choruses and were easier to write? He laughs. 'Not really, no. I mean, back then, I could write a song like "Big Louise" in an evening. That would be good sometimes and, you know, I would do that if the lyrics demanded it.' Could he ever see that happening again? 'No. I write a different kind of song these days. There's not a lot of harmony and there aren't the thick textures I used to use. It's generally just big blocks of sound, raw and stark. A big emotional noise.' Another silence. 'Essentially, I am attempting the impossible over and over, trying to find a way to say the unsayable. For some reason,' he says, laughing, 'that just seems to take a lot longer.' ? Drifting and Tilting: the Songs of Scott Walker is at the Barbican, London EC2 from Friday November 14 to Sunday November 16Scott Walker: A lifeBorn Noel Scott Engel in Hamilton, Ohio, in January 1944. Learns to play bass and under the name Scotty Engel cuts a few singles that flop.1964 Forms the Walker Brothers in LA with John Maus and Gary Leeds. Move to London and chart No 1 with 'Make It Easy on Yourself'.1966 No 1 with 'The Sun Ain't Gonna Shine Anymore'.1967 The Walker Brothers split. Scott releases four solo albums in three years. 1975 The Walker Brothers reunite for three albums. 1984 Solo album, Climate of Hunter, critically acclaimed.1995 Releases album Tilt2000 Curates the Southbank Centre's Meltdown festival. 2006 Album The DriftA documentary Scott Walker: 30 Century Man, is released.Pop and rockguardian.co.uk © Guardian News & Media Limited 2008 | Use of this content is subject to our Terms & Conditions | More Feeds Guardian.Co.Uk Sean O'Hagan talks to Scott Walker {new window}   Www.Guardian.Co.Uk - Scott Walker was an only child and a nomadic one. His father, a geologist, travelled throughout America and the young Noel Scott Engel never had time to settle for long in one place. Born in Ohio in 1943, he lived in Texas for a time and then in California. 'I never made friends that easily,' he says, sounding not at all regretful. 'I don't mind being on my own because when you're on your own a lot as a child, your imagination grows. That is still the case with me.'Wrapped up in his solitude, Walker can work on the lyrics of a single song for several years. On his last album, The Drift, a track called 'Cue' took six years to complete. 'It was the toughest song to write, but my most successful song lyrically,' he says, his mid-Atlantic tones soft but clear, his eyes half hidden beneath the peak of his ever-present baseball cap. 'It's sharp, it's angular, it all just chimes right. In that song, everything is exactly as I want it.' 'Cue', though, even by Scott Walker's recent standards, is a difficult song. The lyrics are dense and elliptical, the pace funereal and the atmosphere one of creeping anxiety. He delivers it in that doomy, semi-operatic tone that has long replaced the melodramatic flourish of his early solo albums. Featuring a chorus of wailing voices straight out of Dante's Inferno, it is not a song you would turn to for solace or uplift. It is, in fact, another of Scott Walker's musical excursions to hell. Can he appreciate why some of us find his later work wilfully impenetrable, too far out, in fact, to take in. 'Well, I never think that way,' he says, sighing. 'I think it sounds pretty normal so I'm kind of shocked when people say it's too much. For me,' he says, laughing, 'it's never far out enough.' We are sitting in the bright, airy living room of his manager's spacious house in London's leafy Holland Park, the place where Scott Walker chooses to suffer through the few interviews he grants these days. While no longer as reclusive as he once was - Mojo magazine once called him 'pop's own Salinger' - he remains one of music's most famous loners. 'I'm not a recluse,' he says at one point when I ask him what he does when he is not making music. 'I'm definitely not that. I have friends and I go to dinner. I like people, but sometimes I can't wait to get away and be on my own again. I am solitary, though. I need to be for my work. That's the deal.' Next week, he will break cover when the Barbican theatre hosts an ambitious series of concerts called Drifting and Tilting: the Songs of Scott Walker. The 70-minute programme will comprise eight songs taken from The Drift and 1995's equally challenging Tilt. Scott will be there each night, but not on stage, not singing. 'I'll help mix the live sound,' he says. 'I got spooked years ago about performing and never repaired the damage.' In his place will be a succession of guest vocalists including Jarvis Cocker, Damon Albarn, Dot Allison, Gavin Friday and classical baritone Grant Doyle. A 40-piece orchestra will also be in attendance alongside Walker's studio group and a contemporary dance troupe. 'It will be a tightrope walk,' he says. 'There is never enough time to prepare these things, but if it's going to be a train wreck, it will certainly be an interesting one. There will be one or two surprises, too.' Those surprises will not, alas, include performances of any of his older songs. There will be no 'Big Louise', in all its swooning sadness, no 'We Came Through' in all its galloping cavalry clatter, no 'Rosemary' or 'Jackie' in all their lovelorn glory. No Jacques Brel covers either, nor Walker Brothers hits. 'When we began discussing the event, it was taken as a given that Scott would not be singing and that none of his older work would feature,' says his friend and collaborator Michael Morris, co-director of Artangel, the arts company which specialises in ambitious, site-specific events. 'The performances will be dictated by the songs which are semi-operatic. The show will take the form of a semi-staged song cycle, almost like a lieder recital but a bit more dramatic. We're hoping,' adds Morris, 'that the audience doesn't clap between songs.'In person, Scott Walker does not look like a living legend. His clothes are casual - faded jeans, denim jacket, trainers - and his manner diffident but charming. Throughout the interview, he sits perched, thin and bird-like, on the edge of a huge, floral-patterned sofa as if, at any moment, he might take flight. He looks much younger than his 65 years but his eyes, when I catch a glimpse of them beneath that pulled-down baseball cap, have a flickering intensity that speaks of deep unease. It is hard to imagine that he was ever a heart-throb who induced mass hysteria. For a moment, though, back in the mid-Sixties, the Walker Brothers, who weren't brothers at all, were known as 'America's Beatles'. 'Oh, it was amazing at first,' he says, smiling, 'but a little goes a long way. I was not cut out for that world. I love pop music, but I didn't have the temperament for fame.'On their most famous song, and second No 1, 1966's 'The Sun Ain't Gonna Shine Anymore', he sang the prophetic lines: 'Loneliness is a cloak you wear, a deep shade of blue is always there'. He could have been describing his future self, both his personality and his music. The song was teenage heartbreak writ large and remains perhaps the most dramatic example of a certain strain of mid-Sixties pop melodrama, wherein everything - the music, the delivery, the production - was overloaded. It possesses what Johnny Marr would later describe as 'that gothic and beautiful gloom that was as much about England in the Sixties as was "Day Tripper"'.The group imploded in 1967, with Scott frustrated to the point of breakdown by the formula into which their songs had fallen. His aversion to fame, and the fan hysteria that came with it, sent him running for the hills. He spent a week in a monastery in 1966, and the following year, there were reports that he had attempted suicide. The Scott Walker who emerged on the solo albums that followed was a different kind of pop star, a crooner who veered between mainstream, Jack Jones-style balladeering and middle European angst. His hero was the Flemish chansonnier Jacques Brel, whose music he had been turned on to by a German Bunny Girl he had picked up at a party in the Playboy Club on Park Lane. 'I don't listen to Brel that much now,' he says, 'but in those days, hearing him sing was like a hurricane blowing through the room.' By 1969's Scott 4, on which his own songwriting finally came to the fore, his themes were darker and a quote from Camus graced the sleeve: 'A man's work is nothing but his slow trek to rediscover through the detours of art, those two or three great and simple images in whose presence his heart first opened.' The pop idol had metamorphosed into an arbiter of existential angst. 'It has always been a certain kind of European writer who has captivated me,' he says. 'It started when I was a drop-out from high school in California and read Sartre, who I don't care for much now, but back then he had a huge impact on my way of thinking about the world. And Kafka, of course. Those writers were my main sources alongside the European films I saw in the Sixties in an art cinema on Wilshire Boulevard, Bergman and Kurosawa and the like.' Those solo records have influenced several generations of pop mavericks from Marc Almond and David Sylvian in the Eighties to the Divine Comedy a decade later. Jarvis Cocker is a fan and persuaded Walker to produce Pulp's 2001 album, We Love Life. Most recently, Alex Turner's other project, the Last Shadow Puppets, released their debut album, The Age of Understatement, which, despite its title, was a homage to Walker's orchestrated emotional melodramas.He wrote Scott 4, he says, 'on drink', and fell into depression when it failed to sell like its predecessors. 'I snapped,' he says. 'The pressure was everywhere and, in my crazy imagination, I thought, "I'd better keep doing this just to stay in the game."' In desperation, he reformed the Walker Brothers, and the band had chart success again with the single 'No Regrets'. But his heart was not in it, at least until they went into the studio to record Nite Flights, their valedictory album from 1978, on which he let loose the full force of his teeming imagination.At its centre is an extraordinary song called 'The Electrician', a symphonic ode to S&M that would not have sounded out of place on a Pasolini soundtrack. In the recent documentary film Scott Walker: 30 Century Man, an animated Brian Eno enthused about Nite Flights' sonic experimentation, while castigating the conservatism of most contemporary pop music. 'We haven't got any further than this,' he sighed. 'It's a disgrace.' The album still sounds otherworldly and futuristic. After it, though, came six years of silence and, with 1984's Climate of Hunter album, the beginning of the enigma that is Scott Walker Mk3. Gone was the musical extravagance of old, replaced by a minimalist sound that bordered on ambience. Only half the songs had actual titles. On the first line of the opening track, 'Rawhide', he sang: 'This is how you disappear.' Then he disappeared again. Tilt was 10 years in the making, The Drift another 11. They both sound, in their emotional and tonal extremity, like nothing else in contemporary music.'A lot of what I do is waiting,' he says. 'I begin always with the lyrics and they seem to take some considerable time. They have become more angular of late and now come in blocks of words. It's just a different way of writing. When I see the page and the lyrics, I see soldiers in a field. There's a lot of white space which represents me in a sense. It's an abstract way of putting it, but I see it that way visually.'His songs, he says, are clear to him, but he does not like having to explain or analyse them. He admits, though, that his recent music requires a certain amount of effort and patience from the listener. 'I try to avoid cliché. I want to make it sound like nothing I have ever heard before,' he says, his low Californian drawl still detectable after a 40-year exile in Europe. 'All that guitar-based rock stuff - I just feel like I've heard it before so many times. It goes on and on and never seems to end. It's just the same narrow ground being worked over. It would drive me mad to have to work within those parameters.' So he has gone the other way - into texture and dissonance. The music he makes with strangely tuned strings and off-key piano chords, is, he says, 'always dictated by the lyrics', which tend to be obscure and, at times, wilfully nonsensical. His songs often seem to be haunted by the darker narratives of the last century, by war, disease, displacement and genocide. 'Cue', for instance, seems to be about a bacterial plague carried by the 'flugleman' of the song's subtitle, a viral pestilence that spreads 'through the dormant wards and nurseries... in the lung-smeared slides and corridors'. In the documentary, the most revealing insight into his work comes from his orchestrator, Brian Gascoigne (brother of Bamber), who says: 'He believes, and I take issue with this, that to convey a very strong emotion in the music, you have to be feeling it when you're making it. That couldn't be true because the people who are playing Bruckner and Mahler every night would be basket cases... after three of four hours in the studio, he is a basket case because he lives the thing with such emotion.' How would Scott Walker describe his singular artistic sensibility? 'Essentially, I'm really trying to find a way to talk about the things that cannot be spoken of,' he says. 'I cannot fake that or take short cuts. There is an absurdity there, too, of course, and I hope that people pick up on that. Without the humour, it would just be heavy and boring. I hope,' he says, once more, 'people get that. If you're not connecting with the absurdity, you shouldn't be there.' Scott Walker's late music, in its evocation of anxiety and horror, may, as Michael Morris suggests, be more comparable with the paintings of Francis Bacon than with any musical contemporary. His songs, if they can still be called that, are as far from the drift of contemporary pop as one could possibly imagine. 'Oh, I have long since stopped worrying about fitting in in any way,' he says, laughing. 'I'm an outsider, for sure. That suits me fine. Solitude is like a drug for me. I crave it.' Why, though, does it take so long to make a record, write a song? 'A certain amount of it is about making it difficult for myself. I'm not interested in traditional narrative, say, or in having pat endings to the songs. I want the sense in my music of a constant moving forward into an open future.' Of late, though, his music often seems to be drifting towards the last final, awful silence. 'Perhaps,' he says, 'perhaps.' Does he ever, I ask, miss the old days, when his songs lasted three minutes, had verses and choruses and were easier to write? He laughs. 'Not really, no. I mean, back then, I could write a song like "Big Louise" in an evening. That would be good sometimes and, you know, I would do that if the lyrics demanded it.' Could he ever see that happening again? 'No. I write a different kind of song these days. There's not a lot of harmony and there aren't the thick textures I used to use. It's generally just big blocks of sound, raw and stark. A big emotional noise.' Another silence. 'Essentially, I am attempting the impossible over and over, trying to find a way to say the unsayable. For some reason,' he says, laughing, 'that just seems to take a lot longer.' ? Drifting and Tilting: the Songs of Scott Walker is at the Barbican, London EC2 from Friday November 14 to Sunday November 16Scott Walker: A lifeBorn Noel Scott Engel in Hamilton, Ohio, in January 1944. Learns to play bass and under the name Scotty Engel cuts a few singles that flop.1964 Forms the Walker Brothers in LA with John Maus and Gary Leeds. Move to London and chart No 1 with 'Make It Easy on Yourself'.1966 No 1 with 'The Sun Ain't Gonna Shine Anymore'.1967 The Walker Brothers split. Scott releases four solo albums in three years. 1975 The Walker Brothers reunite for three albums. 1984 Solo album, Climate of Hunter, critically acclaimed.1995 Releases album Tilt2000 Curates the Southbank Centre's Meltdown festival. 2006 Album The DriftA documentary Scott Walker: 30 Century Man, is released.Pop and rockguardian.co.uk © Guardian News & Media Limited 2008 | Use of this content is subject to our Terms & Conditions | More Feeds
Sean O'Hagan talks to Scott Walker | Music | The Observer {...} In a rare interview, Scott Walker tells Sean O'Hagan why he's happy to be a loner {...}
Published: November 9, 2008, 12:04 am - Indexed: November 9, 2008, 10:43 am - Page Size: 89KB
Category: Regional > Europe > United Kingdom > News and Media

]]> Regional > Europe > United Kingdom > News and Media {AUTOS > MAGAZINES AND E-ZINES} - 40-MPG, 450-Horsepower Hydrogen Scorpion Unveiled http://articles.world-of-newave.info/recreation/autos/magazines-and-e_zines/40-mpg-450-horsepower-hydrogen-scorpion-unveiled-2008119166.htm http://articles.world-of-newave.info/recreation/autos/magazines-and-e_zines/40-mpg-450-horsepower-hydrogen-scorpion-unveiled-2008119166.htm Fri, 07 Nov 2008 09:04:28 GMT A Texas startup has finally pulled the wraps off its 40-mpg, 450-horsepower Scorpion roadster, a hand-built hydrogen-burning "eco-exotic" that is sexier than Angelina Jolie and has the performance to provide more grins than nitrous oxide. Ronn Motor Company unveiled the Scorpion today at the big SEMA, or Speciality Equipment Market Association, automotive trade show in Las Vegas, which may be the perfect place to debut so flashy ? and innovative ? a car. The company hopes the Scorpion does for hydrogen what the Tesla Roadster has done for batteries. "We want to build cool cars, just more responsibly?, company president Ronn Maxwell told Wired.com. "Our hope with the Scorpion is to implement a paradigm shift not only in how the industry looks at supercars but at cars in general." We got a sneak peak of Scorpion #001 as it was being unloaded at the Las Vegas Convention Center... The Scorpion gets its sting from a hydrogen delivery system the company calls H2GO. While cars like the Honda FCX Clarity and Chevrolet Equinox use hydrogen fuel cells to drive electric motors, the Scorpion uses electrolysis to convert water into gaseous hydrogen. The hydrogen is mixed with 91-octane gasoline to improve the fuel economy and reduce the emissions of the car's 3.5-liter internal combustion engine. Maxwell, a 40-year auto industry vet and lifelong gearhead who holds several patents, is using the limited production ? just 200 will be built ? Scorpion to prove the technology works and legitimize the H2GO system the  company will begin selling for $1,000 early next year. The way he sees it, if H2GO works on the Scorpion, it'll work on your Civic. Maxwell didn't offer much in the way of specifics, saying the publicly traded company is still dotting the i's and crossing the t's on the venture. But he says H2GO is good for a 15 percent to 33 percent improvement in mileage, a noticeable increase in power and a significant reduction in overall emissions. The company is pursuing EPA certification of the Scorpion so people can get a better idea of what the system is capable of. Maxwell insists the 40-mpg figure is the real deal. The trucking industry has been using hydrogen boosting for years. But the Scorpion is significant because it uses what the company calls real-time hydrogen delivery as part of an original factory design. And unlike BMW?s Hydrogen 7, Scorpion does not keep any 30-gallon tanks full of liquid hydrogen lying around at ?253 °C (?423.4 °F). ?Our system does not require any pressurized hydrogen storage. It?s completely safe and uses water from your garden hose to create hydrogen on demand. We are simply increasing the efficiency of what?s already there?, says company COO Damon Kuhn. ?Even better, the infrastructure to support this technology is here right now, not 10 years from now.? Kuhn  is referring to the biggest challenges to hydrogen's use in vehicles ? the need for a fueling infrastructure, a venture that by any measure will take many years and many millions of dollars.  Ronn Motors is confident that the sexy Scorpion will top 200 mph. The chrome-moly chassis and carbon-fiber body surrounds a twin-turbo 3.5-liter V6 in a car that weighs just 2,200 pounds. The engine was sourced from Acura ? it's the same mill found in the TL Type S, albeit turbocharged ? and mated to a six-speed gearbox. The car will set you back $150,000, and if 450 ponies isn't enough, another $100 grand will get you a tweaked version with another 150 horsepower. Tom duPont, publisher of the duPont registry, pulled the sheet off the Scorpion this morning and said, ?If it was a square box with a bunch of batteries, I wouldn?t be getting pre-orders from NBA basketball players. The exotic styling and amazing performance mixed in with the environmental angle is really inspiring a lot of attention.? Photos courtesy Ronn Motor Co. And some standard PR shots and renderings: Blog.Wired.Com 40-MPG, 450-Horsepower Hydrogen Scorpion Unveiled {new window}   Blog.Wired.Com - A Texas startup has finally pulled the wraps off its 40-mpg, 450-horsepower Scorpion roadster, a hand-built hydrogen-burning "eco-exotic" that is sexier than Angelina Jolie and has the performance to provide more grins than nitrous oxide. Ronn Motor Company unveiled the Scorpion today at the big SEMA, or Speciality Equipment Market Association, automotive trade show in Las Vegas, which may be the perfect place to debut so flashy ? and innovative ? a car. The company hopes the Scorpion does for hydrogen what the Tesla Roadster has done for batteries. "We want to build cool cars, just more responsibly?, company president Ronn Maxwell told Wired.com. "Our hope with the Scorpion is to implement a paradigm shift not only in how the industry looks at supercars but at cars in general." We got a sneak peak of Scorpion #001 as it was being unloaded at the Las Vegas Convention Center... The Scorpion gets its sting from a hydrogen delivery system the company calls H2GO. While cars like the Honda FCX Clarity and Chevrolet Equinox use hydrogen fuel cells to drive electric motors, the Scorpion uses electrolysis to convert water into gaseous hydrogen. The hydrogen is mixed with 91-octane gasoline to improve the fuel economy and reduce the emissions of the car's 3.5-liter internal combustion engine. Maxwell, a 40-year auto industry vet and lifelong gearhead who holds several patents, is using the limited production ? just 200 will be built ? Scorpion to prove the technology works and legitimize the H2GO system the  company will begin selling for $1,000 early next year. The way he sees it, if H2GO works on the Scorpion, it'll work on your Civic. Maxwell didn't offer much in the way of specifics, saying the publicly traded company is still dotting the i's and crossing the t's on the venture. But he says H2GO is good for a 15 percent to 33 percent improvement in mileage, a noticeable increase in power and a significant reduction in overall emissions. The company is pursuing EPA certification of the Scorpion so people can get a better idea of what the system is capable of. Maxwell insists the 40-mpg figure is the real deal. The trucking industry has been using hydrogen boosting for years. But the Scorpion is significant because it uses what the company calls real-time hydrogen delivery as part of an original factory design. And unlike BMW?s Hydrogen 7, Scorpion does not keep any 30-gallon tanks full of liquid hydrogen lying around at ?253 °C (?423.4 °F). ?Our system does not require any pressurized hydrogen storage. It?s completely safe and uses water from your garden hose to create hydrogen on demand. We are simply increasing the efficiency of what?s already there?, says company COO Damon Kuhn. ?Even better, the infrastructure to support this technology is here right now, not 10 years from now.? Kuhn  is referring to the biggest challenges to hydrogen's use in vehicles ? the need for a fueling infrastructure, a venture that by any measure will take many years and many millions of dollars.  Ronn Motors is confident that the sexy Scorpion will top 200 mph. The chrome-moly chassis and carbon-fiber body surrounds a twin-turbo 3.5-liter V6 in a car that weighs just 2,200 pounds. The engine was sourced from Acura ? it's the same mill found in the TL Type S, albeit turbocharged ? and mated to a six-speed gearbox. The car will set you back $150,000, and if 450 ponies isn't enough, another $100 grand will get you a tweaked version with another 150 horsepower. Tom duPont, publisher of the duPont registry, pulled the sheet off the Scorpion this morning and said, ?If it was a square box with a bunch of batteries, I wouldn?t be getting pre-orders from NBA basketball players. The exotic styling and amazing performance mixed in with the environmental angle is really inspiring a lot of attention.? Photos courtesy Ronn Motor Co. And some standard PR shots and renderings:
40-MPG, 450-Horsepower Hydrogen Scorpion Unveiled | Autopia from Wired.com {...} A Texas startup has finally pulled the wraps off its 40-mpg, 450-horsepower Scorpion roadster, a hand-built hydrogen-burning eco-exotic that is sexier than Angelina Jolie and has the performance to provide {...}
Indexed: November 7, 2008, 9:04 am - Page Size: 186KB
Category: Recreation > Autos > Magazines and E-zines

]]> Recreation > Autos > Magazines and E-zines {EUROPE > NEWSPAPERS} - Blur reunion is 'very possible' says Damon Albarn http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/newspapers/blur-reunion-is-very-possible-says-damon-albarn-2008115747.htm http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/newspapers/blur-reunion-is-very-possible-says-damon-albarn-2008115747.htm Fri, 07 Nov 2008 07:37:12 GMT Damon Albarn said Blur could stage a reunion five years on. Telegraph.Co.Uk Blur reunion is 'very possible' says Damon Albarn {new window}   Www.Telegraph.Co.Uk - Damon Albarn said Blur could stage a reunion five years on.
Blur reunion is 'very possible', says Damon Albarn - Telegraph {...} blur,damon albarn,oasis,reunion,reform,graham coxon, Celebrity news, latest celebrity news, breaking celebrity news, celebrity news uk, gossip, society, Kate Middleton, Prince Harry, Prince William, David Cameron, Helen Mirren, Fabio Capello, Sienna Miller, Hugh Grant, Celebrity news,News Topics,News {...}
Published: November 7, 2008, 7:37 am - Indexed: November 7, 2008, 8:42 am - Page Size: 45KB
Category: Regional > Europe > United Kingdom > News and Media > Newspapers

]]> Regional > Europe > United Kingdom > News and Media > Newspapers {EUROPE > NEWS AND MEDIA} - Blur reunion 'very possible' says Damon Albarn after lunch with Graham Coxon http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/blur-reunion-very-possible-says-damon-albarn-after-2008113269.htm http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/blur-reunion-very-possible-says-damon-albarn-after-2008113269.htm Fri, 07 Nov 2008 00:14:25 GMT Damon Albarn has given hope to Blur fans by saying a reunion for the one-time kings of Britpop is "very possible", after the singer enjoyed a reconciliatory lunch with guitarist Graham Coxon. Coxon left Blur under acrimonious circumstances in 2002 and the band, one of the bestselling of the 1990s, have been on an indefinite hiatus since 2003 following the release of their critically acclaimed seventh album Think Tank. But Albarn has now revealed that he is back on good terms with the guitarist, who was a childhood friend and knew Albarn before the group got together at London's Goldsmith art college in 1989. "The truth be known, Graham and I have been hanging out together a bit. We had lunch the other day," Albarn told BBC Radio 1 on Wednesday. "It's very possible I'll go back to Blur, it really is very possible ... it's fantastic to get my old friend back."Though the band has never officially split up, Albarn has previously regularly quashed hopes Blur would ever work together again. He has found considerable success with side projects including animated group Gorillaz, supergroup the Good, the Bad & the Queen, and the Africa Express series. He received critical acclaim for his part in producing Monkey: Journey to the West, a circus opera based on 16th century Chinese literature, which opens at the 02 Arena in London this weekend. Coxon has released three solo albums since leaving Blur and has been working with Pete Doherty on the Babyshambles singer's forthcoming debut solo album. Former bassist Alex James is now a celebrated cheesemaker and occasional talent contest judge. Drummer Dave Rowntree tried unsuccessfully to become a Labour councillor in Westminster last yearBlurguardian.co.uk © Guardian News & Media Limited 2008 | Use of this content is subject to our Terms & Conditions | More Feeds Guardian.Co.Uk Blur reunion 'very possible' says Damon Albarn after lunch with Graham Coxon {new window}   Www.Guardian.Co.Uk - Damon Albarn has given hope to Blur fans by saying a reunion for the one-time kings of Britpop is "very possible", after the singer enjoyed a reconciliatory lunch with guitarist Graham Coxon. Coxon left Blur under acrimonious circumstances in 2002 and the band, one of the bestselling of the 1990s, have been on an indefinite hiatus since 2003 following the release of their critically acclaimed seventh album Think Tank. But Albarn has now revealed that he is back on good terms with the guitarist, who was a childhood friend and knew Albarn before the group got together at London's Goldsmith art college in 1989. "The truth be known, Graham and I have been hanging out together a bit. We had lunch the other day," Albarn told BBC Radio 1 on Wednesday. "It's very possible I'll go back to Blur, it really is very possible ... it's fantastic to get my old friend back."Though the band has never officially split up, Albarn has previously regularly quashed hopes Blur would ever work together again. He has found considerable success with side projects including animated group Gorillaz, supergroup the Good, the Bad & the Queen, and the Africa Express series. He received critical acclaim for his part in producing Monkey: Journey to the West, a circus opera based on 16th century Chinese literature, which opens at the 02 Arena in London this weekend. Coxon has released three solo albums since leaving Blur and has been working with Pete Doherty on the Babyshambles singer's forthcoming debut solo album. Former bassist Alex James is now a celebrated cheesemaker and occasional talent contest judge. Drummer Dave Rowntree tried unsuccessfully to become a Labour councillor in Westminster last yearBlurguardian.co.uk © Guardian News & Media Limited 2008 | Use of this content is subject to our Terms & Conditions | More Feeds
Blur reunion 'very possible' says Damon Albarn after lunch with Graham Coxon | Music | The Guardian {...} Damon Albarn and Graham Coxon meeting ignites hopes of a return for the one-time kings of Britpop {...}
Published: November 7, 2008, 12:14 am - Indexed: November 7, 2008, 9:46 am - Page Size: 75KB
Category: Regional > Europe > United Kingdom > News and Media

]]> Regional > Europe > United Kingdom > News and Media {RESOURCES > NEWS AND MEDIA} - Hill warns Hamilton to stay cool http://articles.world-of-newave.info/sports/resources/news-and-media/hill-warns-hamilton-to-stay-cool-20081073721.htm http://articles.world-of-newave.info/sports/resources/news-and-media/hill-warns-hamilton-to-stay-cool-20081073721.htm Mon, 13 Oct 2008 20:09:35 GMT Damon Hill says Lewis Hamilton needs to rein in his "impatience" if he is to clinch his first F1 crown. News.Bbc.Co.Uk Hill warns Hamilton to stay cool {new window}   News.Bbc.Co.Uk - Damon Hill says Lewis Hamilton needs to rein in his "impatience" if he is to clinch his first F1 crown.
BBC SPORT | Motorsport | Formula One | Hill warns Hamilton to stay cool {...} Damon Hill says Lewis Hamilton needs to rein in his "impatience" if he is to clinch his first F1 crown. {...}
Published: October 13, 2008, 8:09 pm - Indexed: October 14, 2008, 2:55 pm - Page Size: 34KB
Category: Sports > Resources > News and Media

]]> Sports > Resources > News and Media