The eight-episode show starred Lily James and Sebastian Stan as Pam and Tommy, but it was made without the consent of the famous actress. It centered around the couple’s tumultuous relationship and the scandal that erupted after their sex tape was stolen in 1995 and leaked — which Anderson has said caused her great psychological stress.
Speaking to Variety this week, the actress spoke candidly about her distaste for the program and its producers, describing them as “assholes”. She said their decision to follow through with the show felt like rubbing “salt on the wound” and it was difficult for her to relive the trauma during the show’s press cycle.
She revealed that Lee had reached out in an attempt to comfort her, saying: “I remember Tommy writing me a note saying, ‘Don’t let this hurt you like it did the first time,’ because he had heard through the kids that I was kind of struggling with the idea of bringing this all up again. I don’t think he was portrayed kindly. I just know that I refuse to watch it.”
Despite not watching the show, she said she’d seen billboards of James and Stan in character and that they “looked like a Halloween costume to me”.
However, she added that she had no hard feelings for the actors themselves, saying: “I think it’s hard to play somebody when you don’t know the whole picture. I’ve got nothing against Lily James. I think that she’s a beautiful girl and she was just doing the job. But the idea of the whole thing happening was just really crushing for me.”
Anderson also said she’d asked Netflix to invite James to the premiere of her forthcoming documentary Pamela, A Love Story, due out on January 31.
It comes after James revealed in January 2022 that she sent Anderson a letter, to which she’d never responded. “I was really hopeful that she would be involved,” James said at the time. “I wish it had been different.”
He revealed that he didn’t take up the audition offer, saying: “I didn’t even know what I was doing in the music industry at that point, let alone the film industry!”
Speaking to Radio X‘s Dan O’Connell this week, Jones said he was “asked to audition for Moulin Rouge back in the ’90s.”
“I didn’t go though,” he said, adding: “I think it was the part of Ewan [McGregor]. That’s what I was led to believe at the time. I just remember my manager phoned me singing Hollywood down the phone, but I didn’t take any notice of it.”
When asked why he didn’t pursue the audition, Jones said: “I mean, I didn’t even know what I was doing in the music industry at that point, let alone the film industry!”
It comes as Jones revealed his new project, Far From Saints, for which he’s teamed up with Patty Lynn and Dwight Baker of Austin band The Wind And The Wave. The trio released their first single, ‘Let’s Turn This Back Around’, on January 20, with an as-yet-untitled album to follow.
In the same Radio X interview, Jones assured Stereophonics’ fans that the band aren’t splitting up, and that this new project is just “a little holiday”. “There’s no breaking up with the band or anything,” he explained. “For me, after 25 years of doing all our work, it’s like, I wanna show other sides of what I would like to try creatively.”
“But, there’s no fear that [Stereophonics are] not going to come back and do what we do,” he continued. “You know, I’ve got a bunch of songs I’ve got for that but I’m keeping them in the back pocket until we’re ready to do it again.”
Jones isn’t the only band member to foray into other work, with guitarist Adam Zindani releasing his first solo single ‘What About Love’ in October last year. At the time, Zindani also shared he would be releasing his first solo LP, due out in early 2023.
Luhrmann’s Moulin Rouge starred Ewan McGregor as Christian and Nicole Kidman as Satine, the film’s star character. The film amassed US$179.2million (£144million) at the box office and won its cast and crew a number of awards, including Best Director at the Critics Choice Awards and Best Motion Picture – Comedy or Musical at the Golden Globes.
The American outfit – fronted by Japanese singer Satomi Matsuzaki – announced the new album on Wednesday (January 18), sharing that it will arrive on March 31 via Joyful Noise Recordings.
Not only is the album set to be their first recorded entirely in Japanese, but – with production from Mike Bridavsky – it’s also the first of their 19 albums to be made entirely in a studio.
To mark the album’s announcement, the band have shared a new single ‘Sit Down, Let Me Tell You A Story’. Bursting with shreddy guitars, the track arrives alongside an accompanying music video, which was filmed in Tokyo’s Ebisu Garden Hall and directed by Noriko Oishi. Check it out below:
‘Sit Down, Let Me Tell You A Story’ is the second taste of the forthcoming album, following on from September 2022’s ‘My Lovely Cat’. See the full tracklist below:
1. ‘Sit Down, Let Me Tell You a Story’ 2. ‘My Lovely Cat’ 3. ‘Everybody, Marvel’ 4. ‘Jet-Black Double-Shield’ 5. ‘Miracle-Level’ 6. ‘And the Moon Laughs’ 7. ‘The Little Maker’ 8. ‘Phase-Out All Remaining Non-Miracles by 2028’ 9. ‘Momentary Art of Soul!’ 10. ‘Wedding, March, Flower’
The outfit will be taking the new album on tour, with a slew of dates scheduled for North America. The tour will kick off in Toronto on the day of the record’s release (March 31), taking the band through 16 other states before wrapping up in Chicago on July 14. Find tickets to the shows here.
Deerhoof’s ‘Miracle-Level’ 2023 tour dates are:
MARCH Friday 31 –Toronto, Wavelength Winter Festival @ TD Music Hall
APRIL
Saturday 1 – Montreal, La Sala Rossa Sunday 2 – Greenfield, Hawks and Reed Performing Arts Centre Tuesday 4 – Brooklyn, Elsewhere Hall Wednesday 5 – Philadelphia, Underground Arts Thursday 6 – Providence, Columbus Theatre
MAY
Thursday 4 – Seattle, Neumos Friday 5 – Portland, Aladdin Theater Sunday 7 – Sacramento, Harlow’s Monday 8 – San Francisco, Great American Music Hall Wednesday 10 – Los Angeles, Lodge Room Friday 12 – Salt Lake City, Kilby Court Block Party @ Utah State Fairpark
Saturday 13 – Boise, Treefort Music hall
JULY Friday 7 – Des Moines, 80-35 Fest Saturday 8 – St. Paul, Turf Club Tuesday 11 – Louisville, Zanzabar Wednesday 12 – Grand Rapids, Pyramid Scheme Friday 14 – Chicago, Lincoln Hall
The rapper, who has been touring the country, delivered a smooth, extended version of the Yasiin Bey single, taking the song out to almost eight minutes.
Joey’s rendition stays true to the original, with the rapper swapping out his usual fiery bars for sultry vocals, backed by licks of bass, soft drums and shimmering bar chimes. He was also joined by Zimbabwean-born, Melbourne-based R&B singer KYE for the performance. Check it out below:
“It’s one of my favourite songs of all time,” Joey said of the track in a post-performance interview. “As an artist, I can tell this is a song that wasn’t written – this is a song that was truly just felt… and I think that’s probably what I admire about it the most.”
In addition to the cover, Joey Bada$$ also performed his own original song ‘Show Me’, lifted from his latest album ‘2000’. Watch that below too:
The rapper has just wrapped up his Australian tour, after playing shows in Fremantle, Brisbane, Sydney and Melbourne. He brought special guest and good friend Denzel Curry onstage for his Brisbane appearance, where the two performed Curry’s 2015 single ‘Ultimate’.
Line Of Duty star Vicky McClure has announced her appearance at Nottingham’s Beat The Streets festival later this month.
The actor – herself a Nottingham local – is set to take part in an in-conversation session at with director Shane Meadows. Meadows directed the 2006 cult classic This Is England, in which McClure starred, with the film centred around a group of young skinheads in the 1980s.
Beat The Streets announced the pair’s addition to its program last Friday (January 13); they’ll appear on the itinerary for Sunday January 29.
Per BBC News, festival organiser Georga Akins said: “I’m delighted Vicky and Shane are joining us. Both are known for how much they put back into the city whether it’s creating opportunities for young actors or with Vicky’s Dementia Choir, so they are the perfect pair to join us at the fifth outing of our charity festival.”
BEAT THE STREETS 2023 ANNOUNCEMENT!
We’re so excited to announce the legendary Vicky McClure and Shane Meadows will be heading down for a conversation at Beat The Streets 2023!
Beat The Streets launched in 2018 and has since raised £242,000 for Framework, a charity that delivers housing, health, employment, support and care services to people in need across the East Midlands.
The festival’s 2023 iteration features a plethora of local music acts, including punk-rock outfit Ferocious Dog, hardcore band Palm Reader, indie trio Girlband and thrash metal’s Lawnmower Deth, among others. Performances are spread out across five of the city’s music venues; Rock City, Rescue Rooms, The Bodega, Stealth and Rough Trade.
Tickets for Beat The Streets 2023 can be purchased here for a minimum £10 donation.
McClure has had a recurring role as Kate Fleming on BBC’s Line Of Duty since the crime drama aired back in 2012. The show ran for six seasons, but is set to make a return for three special episodes this year.
American hip-hop trio De La Soul have finally released their 1989 hit single ‘The Magic Number’ on streaming platforms.
The cut arrived on digital platforms today (January 13), more than 30 years since it first featured on the group’s debut album ‘3 Feet High And Rising’. The track regained popularity after it appeared in last year’s Spider-Man: No Way Home, starring Tom Holland, Zendaya, Andrew Garfield and Tobey Maguire.
To further celebrate the occasion, the trio — comprising Posdnuos, Trugoy, and Maseo — released a limited-edition 7″ vinyl, cassingle and digital download, all available via band’s website. They’ve also shared an accompanying animated lyric video to mark the single’s digitalisation, courtesy of agency F That — check it out below.
At present, only the group’s three most recent albums are available on Spotify — 2004’s ‘The Grind Date’, 2012’s ‘First Serve’ and 2016’s ‘And The Anonymous Nobody…’. However, on March 3 this will expand to include their aforementioned debut LP, plus 1991’s ‘De La Soul Is Dead’, 1993’s ‘Buhloone Mindstate’, 1996’s ‘Stakes Is High’, 2000’s ‘Art Official Intelligence: Mosaic Thump’ and 2001’s ‘Art Official Intelligence: Bionix’.
De La Soul’s classic albums were initially withheld from streaming platforms due to a dispute with their label Warner Records, who allegedly claimed that the samples featured on them were only cleared for physical media distribution.
In 2017, the trio’s catalogue was purchased by Tommy Boy Records and set for digital release, however, a royalties dispute with the label further delayed this. In 2021, after Tommy Boy was acquired by Reservoir Media, De La Soul announced they’d come to an agreement that enabled them to digitally release their music (though the original timeline was for November that same year).
The hip-hop collective will be touring the UK in April, playing shows in London, Glasgow, Nottingham and Manchester. Tickets for the dates can be purchased here.
After 50 years of fighting for his songs, John Fogerty has finally regained ownership of Creedence Clearwater Revival‘s discography.
As per Billboard(via Variety), founding member Fogerty has bought a majority interest in the global publishing rights to his extensive Creedence Clearwater Revival catalogue from Concord Records.
Concord acquired the band’s discography in 2004 — when they bought out Fantasy Records, owned by the late music and film mogul, Saul Zaentz — and restored CCR royalties to Fogerty in good faith that same year.
The 77-year-old would have soon had some US publishing rights restored to him under a US law that caps copyright on intellectual property at 56 years maximum, however, he and his wife Julie decided to leverage for majority control of worldwide rights too.
Speaking to Billboard about the acquisition, Fogerty said: “The happiest way to look at it is, yeah, it isn’t everything. It’s not a 100% win for me, but it’s sure better than it was. I’m really kind of still in shock. I haven’t allowed my brain to really, actually, start feeling it yet.”
He also took to Twitter yesterday (January 12) to share the news, writing: “As of this January, I own my songs again.”
“This is something I thought would never be a possibility,” he said. “After 50 years, I am finally reunited with my songs. I also have a say in where and how my songs are used. Up until this year, that is something I have never been able to do.”
As of this January, I own my own songs again. This is something I thought would never be a possibility. After 50 years, I am finally reunited with my songs. I also have a say in where and how my songs are used. Up until this year, that is something I have never been able to do. pic.twitter.com/UISPK8Pb4W
Fogerty, his rhythm guitarist brother Tom, bassist Stu Cook, and drummer Doug Clifford started Creedence Clearwater Revival in El Cerrito, California, in 1959. The band released a number of hit singles during their career, including ‘Proud Mary’, ‘Fortunate Son’, ‘Bad Moon Rising’, ‘Up Around The Bend’ and ‘Have You Ever Seen The Rain’, before disbanding in 1972.
They signed to Zaentz’s Fantasy Records in 1968 under an onerous contract. In 1980, Fogerty chose to relinquish all rights to the band’s music to Zaentz in an effort to get out of it, sparking a long and bitter legal battle between the two.
This included a failed plagiarism lawsuit filed by Zaentz against Fogerty over one of the latter’s own songs that he no longer held rights for, and striking a publishing deal that eventually fell through.
Zaentz funded much of his film production career from Creedence royalties, producing 1975’s One Flew Over The Cuckoo’s Nest, 1984’s Amadeus and 1996’s The English Patient, which all won awards at the Oscars. He died from complications from Alzheimer’s disease in 2014.
After 50 years of fighting for his songs, John Fogerty has finally regained ownership of Creedence Clearwater Revival‘s discography.
As per Billboard(via Variety), founding member Fogerty has bought a majority interest in the global publishing rights to his extensive Creedence Clearwater Revival catalogue from Concord Records.
Concord acquired the band’s discography in 2004 — when they bought out Fantasy Records, owned by the late music and film mogul, Saul Zaentz — and restored CCR royalties to Fogerty in good faith that same year.
The 77-year-old would have soon had some US publishing rights restored to him under a US law that caps copyright on intellectual property at 56 years maximum, however, he and his wife Julie decided to leverage for majority control of worldwide rights too.
Speaking to Billboard about the acquisition, Fogerty said: “The happiest way to look at it is, yeah, it isn’t everything. It’s not a 100% win for me, but it’s sure better than it was. I’m really kind of still in shock. I haven’t allowed my brain to really, actually, start feeling it yet.”
He also took to Twitter yesterday (January 12) to share the news, writing: “As of this January, I own my songs again.”
“This is something I thought would never be a possibility,” he said. “After 50 years, I am finally reunited with my songs. I also have a say in where and how my songs are used. Up until this year, that is something I have never been able to do.”
As of this January, I own my own songs again. This is something I thought would never be a possibility. After 50 years, I am finally reunited with my songs. I also have a say in where and how my songs are used. Up until this year, that is something I have never been able to do. pic.twitter.com/UISPK8Pb4W
Fogerty, his rhythm guitarist brother Tom, bassist Stu Cook, and drummer Doug Clifford started Creedence Clearwater Revival in El Cerrito, California, in 1959. The band released a number of hit singles during their career, including ‘Proud Mary’, ‘Fortunate Son’, ‘Bad Moon Rising’, ‘Up Around The Bend’ and ‘Have You Ever Seen The Rain’, before disbanding in 1972.
They signed to Zaentz’s Fantasy Records in 1968 under an onerous contract. In 1980, Fogerty chose to relinquish all rights to the band’s music to Zaentz in an effort to get out of it, sparking a long and bitter legal battle between the two.
This included a failed plagiarism lawsuit filed by Zaentz against Fogerty over one of the latter’s own songs that he no longer held rights for, and striking a publishing deal that eventually fell through.
Zaentz funded much of his film production career from Creedence royalties, producing 1975’s One Flew Over The Cuckoo’s Nest, 1984’s Amadeus and 1996’s The English Patient, which all won awards at the Oscars. He died from complications from Alzheimer’s disease in 2014.
Taylor, who played Cassia in the HBO Max series, shared photos of her injuries to social media and warned others to be careful swimming at Clifton Beach in Cape Town
The star, who played Cassia in the HBO Max sci-fi drama, was swimming at Clifton Beach in Cape Town last Wednesday (January 4) when she was bitten by the mammal. Footage captured by onlookers and shared by the New York Post shows the seal swimming over to Taylor while people yell at her to “get out of the water”.
It then begins attacking the actor, before a group of men come to help pull the seal away and fling it back into the ocean once everyone has gotten out.
As reported by The Independent, Taylor took to Instagram stories to share images of her injured fingers. “Be careful swimming at Clifton!” she wrote. “I was attacked by a seal in the water and bitten six times, requiring an ER visit and strong antibiotics. They have big teeth! Thank you [to] those who helped me in and out of the water.”
“Status update! I’m on the mend,” she wrote alongside another photo of her bandaged fingers. She also light-heartedly shared a mock-up Jaws movie poster that shows her as the swimmer and a seal in place of the shark.
“Finally a cover girl!” she joked. “I still love the ocean and all of it’s [sic] animals.”
Raised By Wolves was created by Aaron Guzikowski, with Blade Runner‘s Ridley Scott acting as Executive Producer on the series. It premiered in 2020, starring Abubakar Salim and Amanda Collin as two androids tasked with raising children on a new planet, with Earth in peril due to a vicious war. Other stars include Vikings‘ Travis Fimmel and Niamh Algar.
The show ran for two seasons before being cancelled due to structural changes within HBO Max’s parent company, Warner Bros. It was one of a number of shows to be pulled off the streaming platform in December, alongside The Nevers, The Time Travelers Wife, Love Life and more.
From the live return of Nelly Furtado to the confetti-filled transition into 2023, here’s what happened at the massive party at the Barunah Plains in Victoria, Australia
Now that we’ve waved goodbye to Beyond The Valley – and to 2022 – it’s time to take a look back at what went down over the last few days in December. The Australian festival christened its new home of Barunah Plains, Victoria with four massive days of music, tens of thousands of punters, a sea of tents, three towering stages and an impressive assortment of local and international artists.
If you weren’t at BTV braving the scorching Australian sun with us, live vicariously through our photo gallery of the best bits of the festival.
Day two: a vision in blue
Kee’ahn. Credit: Martin Philbey for NME
Kuku Yalanji, Jirrbal and Torres Strait Islander singer Kee’ahn delivered a honeyed set of smooth, soulful tunes to early afternoon crowds.
Day two: an angel in grills
Jesswar. Credit: Martin Philbey for NME
Jesswar lived up to their “angel” neck tattoo, expressing gratitude for fans who showed up early to watch the rapper perform biting cuts like ‘Bad Like Riri’.
Day two: Welcome to Country
Beyond The Valley 2022. Credit: Martin Philbey for NME
A Welcome to Country ceremony was performed on the Valley Stage. Barunah Plains encompasses two sides of the Warrambine Creek, a border between the Wadawarrung People of the Kulin Nation and the Eastern Maar People of Southwest Victoria.
Day two: petite and powerful
Tkay Maidza. Credit: Martin Philbey for NME
Tkay Maidza proved her star power with an incredibly energetic performance, commanding attention as she twirled around the stage and met her fans at the barricade.
Day two: a whole lotta fun
Remi Wolf. Credit: Martin Philbey for NME
Watching Remi Wolf is just pure joy. The American singer brought boundless fun and childlike antics to her Valley Stage set.
Day two: “I just wanna love you baby”
Aitch. Credit: Martin Philbey for NME
“Beyond The Valley, you look beautiful tonight,” Aitch called in his thick Manchester accent that had the crowd swooning, particularly when he launched into his Ashanti collaboration ‘Baby’.
Day two: Denzel does a shoey
Denzel Curry. Credit: Martin Philbey for NME
Denzel Curry braved an Australian tradition when he whipped off a fresh New Balance 550 to do a shoey.
Day three: the fourth Haim sister?
Hatchie. Credit: Martin Philbey for NME
Hatchie could have passed as the fourth Haim sister with a cool-as-you-like set of ’90s-inspired dream pop.
Day three: what’re you looking at?
Teen Jesus and the Jean Teasers. Credit: Martin Philbey for NME
Bundjalung singer Budjerah delivered a seasoned performance that belied his 20 years. His sweet vocals and endearing nature made him a crowd favourite, who enthusiastically sang ‘Ready For The Sky’ back at him.
Day three: Aussie music festival favourites
San Cisco. Credit: Martin Philbey for NME
San Cisco frontman Jordi Davieson and drummer Scarlett Stevens duetted ‘Messages’ from their 2020 album ‘Between You and Me’.
Day three: just ethereal
Vera Blue. Credit: Martin Philbey for NME
The voice, face and presence of an angel: Vera Blue dazzled the audience with her incredible vocal range, bouncing back gracefully from a few false starts for 2017’s ‘Mended’.
Day three: it’s confidence, man
Confidence Man. Credit: Martin Philbey for NME
Confidence Man were on their absolute A-game, changing into the third outfit of the set for ‘Holiday’ – complete with some fake-blood spitting from Sugar Bones.
Day three: suave suits
Lime Cordiale. Credit: Martin Philbey for NME
The Lime Cordiale boys were dressed to impress in matching, ’70s-inspired embroidered and rhinestone suits.
Day four: pics or it didn’t happen
Jay1. Credit: Martin Philbey for NME
British rapper Jay1 took the opportunity to snap some photos of his Australian fans during his performance.
Day four: not so shy now
Shygirl. Credit: Martin Philbey for NME
After releasing her debut album ‘Nymph’ this year, Shygirl’s enjoyed a burgeoning Australian fanbase. Crowds turned out despite the scorching weather to catch a glimpse of the English multihyphenate on the Valley Stage.
Day four: pure joy from SG Lewis
SG Lewis. Credit: Martin Philbey for NME
SG Lewis was a picture of pure joy, telling the crowd he was thrilled at how many people had turned out to watch his first Beyond the Valley set in five years. “Last time I was here there were less people,” he said.
Day four: getting amongst it
BENEE. Credit: Martin Philbey for NME
How BENEE still had so much energy after a massive year of touring, we don’t know. The New Zealand singer wasn’t afraid to get amongst it, jumping into the pit to get sweaty with fans.
Day four: a superstar returns
Nelly Furtado. Credit: Martin Philbey for NME
Nelly Furtado’s first show in five years was a short but sweet set packed with classics. The crowd did a great job of almost outsinging the pop star as they screamed along to 2000s hits ‘I’m Like A Bird’, ‘Maneater’, ‘Promiscuous’ and more.
Day four: happy new year!
Dom Dolla. Credit: Martin Philbey for NME
Confetti canons and streamers exploded into the sky as midnight ticked over and Dom Dolla appeared. Screams of “Happy New Year” resounded through the air before the Australian producer launched into ‘Miracle Maker’, closing out the festival’s Valley Stage and ringing in 2023.
Want more? Relive Beyond The Valley 2022 with our recaps of days two, three and four and find out more about the festival on its official website
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