It’s got moxie, that’s for sure. Because even after 20 years of handing out awards for music of black origin, and taking flak left, right and centre for it, the MOBO Awards are still with us. The MOBOs shouldn’t, and never will, be all things to all people. But, even as it unites its award-winners in celebration, it continues to divide its audience.
Lex Records, 2005Danger Doom’s album is high-wire fun that’d be an offence to anyone who takes themselves too seriously. So you can bet it’d go down well with smiley Liam Gallagher and today’s hardline extremists, right?
A collaboration between enigmatic super-producer, Danger Mouse, and equally reclusive masked rapper, MF Doom, The Mouse and the Mask is a marvel of audacious jams and masterful short stories, spliced with animated skits and more humour than a Hanna-Barbera classic.
The iPod wasn’t the first MP3 player, but its design, and the digital download store that followed it, revolutionised the music industry. Some 15 years later, the world’s richest tech company is looking to turn the tables once again with its newly launched maxi service: Apple Music.
Apple Music launched on June 30, 2015, to a customary media hubbub. After updating to iTunes 12.2 and signing up for the three-month trial of Apple Music, I thought I’d share some initial thoughts about the service: what it gets right, what it needs to improve and, most importantly for some, how it stacks up against well established alternatives, such as Spotify and Deezer.
From pumpkin pasties and Elven Lembas bread, to hot spiced wine and elixir soup, she has formulated some 80 recipes from beloved books, films, TV shows and video games on her blog, The Geeky Chef. Her home for succulent-sounding delicacies from the likes of Harry Potter, The Legend of Zelda, Game of Thrones, Fallout 3, Portal and more, offers step-by-step instructions, themed photography and brief backgrounders on the origin of these recipes. And it’s become something of a web sensation.
Polydor Records, 1999This month sees the return of a pop band that signifies my generation is now firmly in the category of ‘nostalgia marketing’ in the eyes of the music industry: S Club 7. The announcement last November that Tina Barrett, Paul Cattermole, Rachel Stevens, Jo O’Meara, Hannah Spearritt, Bradley McIntosh and Jon Lee would be returning – with a reunion performance on BBC Children in Need and a 2015 UK tour – sent ripples of ecstasy through my Facebook feed (occupied, as it is, nowadays by engagements, work outings and the occasional overboard night out).
Since then, I’ve watched the entirety of the 45-minute, two-part premier, titled ‘Ring of Fire’, on catch-up TV. I haven’t watched the latest episode. And nor do I wish to watch anymore of this painful abuse of my childhood. With all due respect to the folks behind the CG show, Thunderbirds Are Go has to be one of the worst television reboots of the 21st century.
“Oh, Madonna. Did you learn NOTHING from the heroes who fell before you?” asked a quizzical tweet, attached with an image of The Incredibles’s eccentric fashion designer Edna Mode. Those who watched the 2015 Brit Awards live on ITV last night saw it – and then saw it again moments later on Twitter. Madonna, in an austere black suit, a long cloak draped behind her, yanked from her feet midway through her assent to the main stage.
The Twitter crowd had been restless for entirety of the show, but, thanks to the ill-fated timing of a backup dancer, the bait had been thrown and video snippets of Madonna’s tumble – quickly coined ‘#capegate’ – started circulating. The 56-year-old entertainer recovered quickly, carrying on as if it had been little more than a graze. But it was too late. The music had already been forgotten.