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« Réponse #30 le: jeu. 14 juillet 2005, 04:22:32 »
Oueeee regarde kiceke en oh a gocheuh! :yerk:



Vous avez peut etre la version francaise, chai pas, dans le doute voici celle la. Article redige par Dave Mathews, chanteur-guitariste du Dave Matthews Band et non pas Dave Stewart des Eurithmics comme TSP a pu le dire! :o Quelle naze! ( :hehe: ... je vous laisse lire tranquille...)

Bloom, the world is bloom

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« Réponse #31 le: ven. 19 août 2005, 16:47:54 »
Citation de: "NME.com"
RADIOHEAD headed into the studio yesterday (August 18) to continue work on the follow-up to 2003’s ’HAIL TO THE THIEF’.

The band announced the plans for their as-yet-unnamed seventh studio album in a posting on their official website radiohead.com.

Singer Thom Yorke said: “We are going into a proper studio on Thursday (for a leettle (sic) while) with 192 faders which is a lot of choice a bit like the supermarket and it may all go off before we get to it so we have to eat quick.”

Radiohead have been recording on and off at their own studio since the beginning of early 2004, but it is unknown how much of that time has been spent working on the new album.

Guitarist Jonny Greenwood recently told Billboard: “"We don't take time off very well. We're enjoying it still, so why just go home and do nothing?"

A statement from the band’s management revealed that the group are "putting some ideas together" in the new studio to "see where they want to go with the next step musically".

Radiohead are currently without a record contract having fulfilled their commitments with EMI following the release of ’Hail To The Thief’.

However, their management dismissed recent rumours that Warner Music were lining up to sign the band, saying: “The band (are) not looking for a record company in any way, shape or form. They are out of a contract, but they're not actively looking for another one. They're getting on with doing what they do."

In another post, Yorke said: “No record contract as such. Any offers? What we would like is the old EMI back again, the nice genteel arms manufacturers who treated music a nice side project (and) weren't (too) bothered about the shareholders."

http://www.nme.com/news/113416.htm

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« Réponse #32 le: sam. 20 août 2005, 13:40:27 »

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« Réponse #33 le: lun. 5 septembre 2005, 13:29:25 »
Citer
Journalist Andrew Mueller put an interview with Radiohead online, back in the day when Radiohead were supporting R.E.M. on their 'Monster Tour' ten years ago. The interview, published in Melody Maker, is available on Andrew Mueller's website as well as interview with band from 2003. [thanks Nevrandil]

IN A BLUE YORKE STATE OF MIND
Radiohead in America
Melody Maker, October 1995

Since Radiohead's debut single, "Creep", went supernova in the States in 1994, the band as a whole, and Thom and particular, have reacted to the fame thrust upon them with the bewilderment and disgust of a Methodist who inherits a brothel.

"IT'S a very good idea," nods Thom Yorke. "It's not the idea I'm arguing with. The idea, in itself, is fine."
Thom, sunglassed and shrouded in an enormous fake black fur coat, is sitting on a luggage trolley in the lobby of the Sheraton Hotel in Hartford, Connecticut. He's just stumbled off the tour bus after a long drive from Philadelphia. Behind him, a bow-tied porter hovers vaguely, as if unsure whether to heave this bedraggled apparition into the street, or ask him which room he'd liked to be wheeled to. Crouched on the floor in front of Thom, Radiohead's bassplayer, Colin Greenwood, is earnestly outlining his plans.
"My question," continues Thom, at pains to sound reasonable, "is where the fucking hell we're going to find five hundred fucking ping-pong balls at short notice in this fucking place on a Sunday afternoon."
A pensive silence ensues. Thom has a fair point. I'd hardly been able to find a cold beer in Hartford at eleven o'clock last night.
"We'll just have to think of something else," says Thom, and chews on a thumbnail.

AN hour later, with everyone washed, changed and infused with caffeine, we pile into a minibus to the venue, and Colin explains a few things. Tonight, Radiohead will play the last of their shows as the support act on R.E.M.'s "Monster" tour. They have been warned to expect some sort of practical joke by way of farewell. Clearly believing that revenge is a dish best served pre-cooked, Radiohead (Thom, Colin, drummer Phil Selway, guitarists Ed O'Brien and Jonny Greenwood - from whom, presumably, Thom stole the "h") have been plotting their retribution in advance.
"Mike Mills," says Colin, "told us not to wear anything we want to wear again."
"Paint," speculates Thom, gloomily. "It'll be paint. Or custard pies. Oh, God."
"So the idea with the ping-pong balls," continues Colin, "was that we'd get the roadies up in the lighting gantries above the stage to drop them on R.E.M. during the last song."
A contemplative hush settles as we drive through Hartford. If you've never driven through Hartford, the effect can be recreated in the comfort and safety of your own home by going to sleep. I flew in from London last night with Melody Maker photographer Pat Pope and Radiohead's press officer, Caffy St Luce. Our efforts to hit Hartford and paint the town red had come to naught; we couldn't even claim to have painted the town beige. The first place we tried was a sports bar, decorated with fading hockey pennants and populated by four lone, middle-aged men staring morosely into their drinks. We asked the barman what people in Hartford did for fun. "They come here, sir," he replied. We finished up in a deserted cocktail bar where the star turn was a drink called a Zombie. "Limit two per customer," said the menu. I asked a waitress what happens if you drink three. "You can't walk," she replied.
"I wonder why people build cities in these places," says Thom, balefully surveying the fist-chewingly unremarkable scenery. It's a real graveyard with streetlights, this place, the kind of town where you could fire a Gatling gun down the main road without hitting anybody - and if you did, you'd be doing them a favour.
The venue for tonight's show is the Meadows Music Theatre, a giant half-indoor, half-outdoor affair, something like Wembley Arena with a back yard. It's early afternoon, hours before showtime, but we've arrived early so Radiohead can soundcheck and do some of the aimless milling about that constitutes the major part of any rock'n'roll tour. In Radiohead's commodious dressing room, Thom draws a smiling face and the words "Thanks for having us, you've been brilliant, love Radiohead" on a scrap of paper and gives it to a roadie who will secrete it amid the sheets on Michael Stipe's lyric stand. This gesture is at odds with the received wisdom on Thom Yorke, which is that he's slightly less amenable than a cornered mongoose.
"Yeah, well," he shrugs. "They've really been brilliant to us. We're getting a whole hour to soundcheck every night, and you know how often that happens to support bands in real life."
Gratitude notwithstanding, the other members of Radiohead have been talking, and a Plan B prank has been hatched. R.E.M.'s stage set is an extravagant homage to Alexander Calder that includes a backdrop of enormous red lampshades, swinging from the stage roof. The idea now is that as R.E.M. close their show with "It's The End Of The World As We Know It (And I Feel Fine)" the lampshades will be joined in flight by all five members of Radiohead, suspended from harnesses. Colin, Jonny, Phil and Ed look well pleased with this scheme. Thom looks rather less so.
"It'll never work," he says. He's Catweazle with attitude.
Radiohead go off to do their soundcheck, which I watch from the hill at the back of the empty arena. Between songs, Ed plays snatches of "Radio Free Europe", R.E.M.'s first single. I've often thought that it'd be a great gag for a support act to close their set by playing the headliner's biggest hit, but I suspect Radiohead want to be invited back one day.
Back in the dressing room, Radiohead are informed that the harness jape is off - R.E.M.'s tour manager isn't having it. Someone else says, probably quite rightly, that Radiohead's insurers would pop a rivet if one of their clients got injured in a mid-air collision with a giant item of lounge furniture.
Phil brings one of the big red props into the dressing room for further discussion.
"We could," he offers, "just put them on our heads and run around the stage."
He tries it on. He looks silly beyond description.
"I can't see," he announces, muffled.
"Typical," snorts Thom, momentarily recalling, as he sometimes does, the deadpan snarl of John Lydon. "Very bloody Keith Moon, aren't we? Other bands seem to be able to misbehave without looking like utter wankers. I wonder what our problem is."
He clomps off to wait in silence for showtime, fidgeting with some artwork he's got stored in his Macintosh laptop. Jonny, meanwhile, is trying to evade a phone interview with some local radio station. He asks if I fancy doing it. "They'll never know," he says. He explains that several Japanese and Taiwanese magazines currently trailing exclusive interviews with Radiohead's right-angle-cheekboned guitar hero are, in fact, running with the thoughts of his mates, cousins, or anyone else who was sitting around his house in Oxford when the phone rang.
"Go on," he goads. "It's easy. How are you finding touring with R.E.M.? Do you feel under pressure to follow the success of 'Creep'?"
It's a tempting offer, and the trust Jonny is offering at such early acquaintance is touching - after all, there's nothing to stop me saying "We're only supporting R.E.M. for the money, all of which we plan to invest in companies which test cosmetics on baby seals and pay Malaysian children three cents an hour to drill those pointless little holes in the ends of toothbrushes, and I am sleeping with your sister". However, I've done more than a few phone interviews myself, I know how prone they are to literal and metaphorical crossed wires even when you're talking to who you think you are, and I don't want to wind up a fellow hack unnecessarily. There is some honour among scoundrels.
"Suit yourself," he says. "I'll ask one of the crew."
Jonny tells me that his driving ambition is to leave America having said "Wanker" and "Bollocks" on every radio station in the country.

GIVEN that Hartford is what it is - the kind of place where they'll have to close the zoo if the chicken dies - it's not surprising that the venue looks full to its 30,000 capacity an hour before Radiohead are due on.
To get to the arena from backstage, I have to run an ideological gauntlet of stalls operated by the organisations R.E.M. have invited on tour with them: Greenpeace, Rock The Vote, the National Coalition To Abolish The Death Penalty, and some people who'd like it to be more difficult for other people to buy handguns. There's a couple of groups with more nebulous names, like People For The American Way and Common Cause, which sound excitingly like rogue shotgun-wielding militias of squirrel-eating far-right rednecks that have snuck under R.E.M.'s wire, but these also turn out to be cheerful liberals encouraging others to be cheerfully liberal. I talk to a few of them. I probably even agree with most of them. I've just never grown out of that shockingly juvenile reflex of rebelling against any opinion that is being thrust at me in tones of righteous certainty, even if it's my own. By the time I get to my spot on Radiohead's mixing desk, I'm almost goose-stepping.
Radiohead are brilliant tonight, but as they rarely display any aptitude for being anything else, it's not surprising. As for R.E.M.'s threat of practical jokes, this pretty much turns out to have been the practical joke itself. Ed is briefly tormented by a radio-controlled car operated from the wings by Mike Mills, but no custard pies or paint bombs are deployed. Nevertheless, Radiohead have convinced themselves of the worst: as soon as the last note of their last song (a rousing version of "Nobody Does It Better", dedicated to R.E.M.) fades, they down tools and leg it as fast as they decently can. As Radiohead complete their flight, R.E.M. wander on stage bearing a tray of champagne glasses, seeking to toast their support act, and find nothing but 30,000 people laughing. After a couple of agonising minutes, Thom, Ed, Jonny, Colin and Phil are retrieved, and the R.E.M./Radiohead mutual admiration society drinks its health to sustained applause.
Backstage at the end of the night, every friend or relative of every member of R.E.M. and Radiohead makes both bands stand together for souvenir last-night pictures. Peter Buck gently taunts Radiohead for their eventual, agonised decision not to storm the stage during the encore. Colin brings me a beer.
So, Colin. Do you feel under pressure to follow the success of "Creep"? How are you finding touring with R.E.M.?
"I can remember listening to R.E.M.'s first couple of albums on my Walkman on the way to school," he says. "They're one of the reasons I wanted to be in a band. This is still really strange."
During R.E.M.'s set, Colin had shepherded me out onto the stage, to a position just behind Peter Buck's amplifiers, where we spent the set giggling like two starstruck teenagers who'd snuck into someone's soundcheck.
"They've been so good to us, and it's been really good for us, especially Thom. This seems to have been his year for meeting his heroes. Elvis Costello introduced himself at this thing we did in Italy. I think that kind of thing has helped Thom a lot."
Bill Berry, R.E.M.'s drummer, comes over to say goodbye. He's wearing a purple Radiohead t-shirt.

THE following night, in a New York City feeling the first chills of winter, Radiohead are due to play a secret show at the Mercury Lounge, a tiny venue on East Houston. The band leave Hartford by minibus while myself, Pat and Caffy get on a train, which breaks down, then a bus, which gets a flat, and then another bus, whose unspeakably sadistic driver hits upon "Planes, Trains & Automobiles" as just the video everyone is going to want to see by this stage.
When we get to the Mercury, almost hysterical with irritation, Radiohead are mid-soundcheck. I stand up the back and try to be inconspicuous, which isn't easy in a brightly-lit venue almost too small to change your mind in.
"There you are," grins Thom from the stage. "Any requests?"
Someone's in a good mood, at least. I suggest "Sulk", a deliciously bitter tune that sounds roughly the way you feel when trapped in an interminable bus journey while being subjected to a film which could have been based on your misery, except that you know Steve Martin is going to get home eventually.
"We were going to do it anyway," says Thom, with a smirk. They play it, and things suddenly seem like they could be worse: my favourite band of the moment play a four-minute concert for an audience consisting of me and the bloke on the mixing desk.
Thom and I head for a coffee in a place up the street. The waitress is wearing a Sleeper t-shirt - evidently one of New York's sub-species of ardent anglophile indie-rock fans. She double-takes at Thom, but obviously can't quite place him. She carries on double-taking while we talk.
"The thing that's really freaked me out about doing a tour with a band as big as R.E.M.," begins Thom, "is seeing how being so famous can change the way everybody, and I mean absolutely everybody, behaves towards you."
Someone once wrote that the curse of being Marlon Brando, I think it was, was that you'd never see people being themselves.
"Absolutely. And it is really hard to do, to be yourself in front of somebody famous."
The waitress is beyond double-taking and is now staring. She's worked it out.
"I find it. . .fuck, you know, I don't want it to happen. But that's presuming we're even going to make another record that people like."
Colin was saying last night that you'd found meeting a few people in your position helpful. What happens? Do you have those magnificent, unfathomable conversations that artists always want everyone else to believe that artists have, or do you just stand around gawping like a fan?
"No. . .it's more. . .you're there, and there's millions of things you can ask, but just the fact that you've met them becomes enough. I mean, even someone like Elvis Costello you can still judge on first impressions to some degree, and he was really nice, really trying to be nice. He can obviously be extremely sour, just like I can be, just like a lot of people under pressure can be, but he was really nice."
I think the reputation he's got - rather like the reputation you've got - is more than anything to do with an inability to suffer fools gladly, or even at all. If you can't cope with imbeciles, and you work in the music business, you're going to upset people.
"You're right, and the music business is quite bitchy and competitive, but after all that, you meet people you really admire, and suddenly that whole competitive thing is just not important. I found that helpful. Just being able to say I've met him. That's enough."
So you just talked shop, like everyone else.
"I bloody hope not. Although, to some degree, you do find yourself in the same boat, having gone through the same experiences, and they're quite a limited set of experiences, and they can turn you into quite a limited personality. So, I think, it's a shock when you discover that there other people who have gone through that, who are a few years ahead of you in the time machine, and have come back and said it's okay, you know, they're still alive."
Since Radiohead's debut single, "Creep", went supernova in the States in 1994, the band as a whole, and Thom and particular, have reacted to the fame thrust upon them with the bewilderment and disgust of a Methodist who inherits a brothel. The common take on "The Bends", the title track of the album Radiohead made against the backdrop of that success, was that it was a vicious, splenetic rail against the fact that stardom is not the liberating force that people imagine. The truth is that fame is actually incredibly limiting, and ultimately, unless you can ignore it, rise above it or find a way to have fun with it, utterly cretinising. "The Bends", like The Byrds' "So You Want Be A Rock'n'Roll Star", Costello's "Hand In Hand" and "Pump It Up", or Nirvana's "Serve The Servants" and "Pennyroyal Tea", sounded like one of those records often made by newly successful bands - they've got what they always wanted, and discovered that they don't want it.
"Well, no. . .," says Thom, sounding almost apologetic for tearing down this hastily-constructed theory. "That song was really just a collection of phrases going round in my head one day. The crazy thing about that song is that there was no calculation or thought involved - it was just whatever sounded good after the previous line. It was written way before we'd ever been to America, even, but yeah, it's always interpreted as this strong reaction against the place and everything that went with it for us."
Understandable, though. The lyric is loaded with sleepy-eyed views from aeroplane windows, an alcohol drip-feed, the fear that the surface everyone sees is all you've got left.
"Oh, absolutely, but that hadn't started at all. I wrote it before we recorded the first album. We hadn't been anywhere. Is that the time?"
I imagine so.
"Shit, we're on in half an hour."
I pay for the coffees while Thom waits outside, polishing his sunglasses on the hem of his baggy jumper.
"Is that the guy who sang 'Creep'?" asks the waitress.

STREWN around the Mercury after another typically incendiary show are record company flyers plugging "The Bends". These trumpet excerpts of the blanket critical praise "The Bends" has attracted. Radiohead have predictable difficulty taking any of it seriously.
"Radiohead toss and turn like the best Pearl Jam and U2 anthems," recites Jonny, from one leaflet.
"With the emphasis on toss, presumably," adds Ed.
"Thom Yorke's voice," reads Thom Yorke's voice, "is as enigmatic as Billy Corgan's."
Thom blinks a few times.
"Thanks a fucking bunch," he splutters, less than enigmatically.
Colin, meanwhile, is perturbed by the critical line taken by Rolling Stone. "It's four stars in quotation marks," he grins. "Does that mean they just swore at it?"
Outside on the pavement, a few dozen people have waited for Radiohead to emerge so they can tell them that they're, like, rilly rilly awesome. One woman apologises to Thom for her boyfriend, who'd been making a nuisance of himself down the front during the gig, and had come very close, at one point, to having Thom's guitar shoved down his throat. Sideways on, to judge by Thom's expression.
There's a record company meet-and-greet bunfight we're supposed to be at, though nobody is keen on the idea. Thom and I get in the last of the fleet of taxis that Caffy has flagged down.
"Right," he says. "Here's the plan. We hit the room, we charge around it as fast as possible, we shake hands with and smile at as many people as we can, whether we know them or not, and then we get out and go back to the hotel. I hate these things."
Right.
"If it doesn't kill us," says Thom, "it makes us stronger."
It turns out to be fairly low-key and relaxed, and everyone eventually stays for more than a few drinks. Even Thom could be mistaken for a man who's not having all that terrible a time. When we get back to our lodgings at the Paramount Hotel near Times Square, it's long past midnight, so we stage a chaotic photo shoot in Pat's tiny room - to allow all of Radiohead to get in front of the camera, I have to sit in the bath. Pat's efforts to encourage Radiohead to look like stern, seen-it-all road warriors are not aided by Jonny who, as Pat loads new film, reads choice titles from the catalogue of the hotel's in-house video library. "I will give anyone in this room five dollars in cash," he announces, "if they will ring downstairs and ask for 'Honey, I Blew Everybody'."
When Pat finally despairs of getting any sense out of them, Thom and I head downstairs to a table overlooking the lobby. The Philip Starck-designed Paramount is a triumph of style over substance. Everything in the hotel has been built or chosen to look good, regardless of whether it's any use - this creed applies equally to the furniture, the staff and most of the guests. If everything written about Thom Yorke was true, there's no way he'd come in here except with by a beltful of grenades and a flamethrower, but he seems to find the place amusing. We order a tablefull of beers, though we're both well on our way already. Thom peers over the glass balcony at a tottering catwalk mannequin loitering in the lobby below, bulging out of a dress that could scarcely be less comfortable if it was made of barbed wire and nettles.
"Fashion victim," says Thom, pointing unabashedly. "Dear oh dear. Though what I really like is those Versace jeans that cost £300 and still look like jeans."
I've never seen the point of spending that much money on something you're only going to spill coffee on.
"Makes you feel good."
This from a man who is still wearing a fake fur coat that looks like it was assembled from the pelts of a dozen bathmats.
"Colin spent £900 on a suit, but he only wears it now and again. Doesn't want to get it dirty. I did have a lovely pair of £100 sunglasses, but they got nicked."
My point exactly. So. Have you made a load of money, then?
"Ed's the person to ask, because I find it all ultra-confusing. One minute we'll have half a million in the bank, the next minute we'll have nothing. Ed keeps saying 'It's okay, it's all about cash flow, it'll all come through in the next six months'."
You might want to keep an eye on him. It won't seem so funny when you're back busking outside Oxford station and Ed is sipping julep on the verandah of a plantation homestead with commanding views of Lake Tanganyika.
"Yeah. . .bloody hell."
Thom's squinting over the balcony again, this time at one of the under-dressed, alabaster-skinned goddesses that the Paramount seems to pay to saunter languidly about the building. We play a short game of she's-looking-at-me-no-she's-looking-at-me-no-she's-looking-me-yeah-right-I'm-the-pop-star-and-she's-looking-at-you-fat-chance.
"It's when they start coming up to you and saying hello that you get completely freaked out."
Happen often?
"No. I mean, yes, Andrew, it happens all the fucking time. I mean, no. The crew cop off a lot more than we do."
Always the way. Though that can be kind of funny. Other peoples' sex lives usually are.
"That borderline," says Thom, "is interesting, that duplicity between extremely cheap and extremely beautiful. But someone coming up to you after a show and invading your body space ridiculously, or. . .or being in a lift! I was in the lift earlier on, with my fur coat on, and this woman - she's obviously into teddy bears or something - got in the lift, and she was, like stroking me, and her opening line was 'Hey, we're in the green lift'."
Classy.
"Mmm. Maybe I should wear it more often."
Thom smiles, which he does more than he's given credit for. If he's relaxed into his role over the last year, he still seems unduly spooked by the way other people react to his work. He has bridled at several interviewers who've accused him of relentless miserabilism, of preaching to a constituency of adolescent misanthropes who regard his lyrics less as songs and more as pre-packaged suicide notes.
"There's a few key words that keep coming up. . .I mean, you're asking for my hard disk, and it's really only the RAM working at the moment. Um, what people actually usually say is that the songs are beautiful, and they say nice stuff about the way I sing and the atmospheres and things, and the lyrics. Which I find quite weird. I was trying to get away from that on 'The Bends' by printing them on the sleeve. I was trying to burst the bubble, saying they're just words, it's. . ."
They're important, though. You wouldn't bother writing them otherwise.
"The problem is having to deliver that sense of importance all the time. That's where the problem lies, because then you get into that Morrissey territory of contriving situations simply to perpetuate the way that you think people think you are."
How do you rate yourself as a lyricist?
"Inconsistent. Definitely inconsistent."
What's the best one you've written?
"Um. . ."
There's a very, very long pause. It's hard to say whether Thom is indecisive or embarassed.
"Suck your teenage thumb," he decides. "Toilet trained and dumb. When the power runs out, we'll just hum. This is our new song. Just like the last one. Total waste of time. My iron lung."
He rattles it out in an everyday, conversational tone.
"Some woman gave me Dylan's 'Highway 61 Revisited' the other day," he continues. "She said, 'Thom, you're a poet, listen to this,' so I listened to it, and then I read the sleevenotes and just burst out laughing. I mean, hang on a fucking minute. . ."
That was Dylan's act, though. Impenetrable, spurious nonsense that, for some reason, sounds like it explains everything. Michael Stipe does a fair bit of it as well.
"Well, I'm coming to the conclusion that your brain functions more honestly in spurious crap like that than it does in. . .things like 'My Iron Lung' happen every Saturday, say. The rest of the week it's just that spurious crap. When I was much younger, I did this four-track demo, and this girl, a really close friend of mine, listened to it and said, 'Your lyrics are crap, they're too honest, too direct and too personal, and there's nothing left to the listener's imagination,' and I've had that somewhere in the back of my head ever since. So now I want to write that spurious stuff that's coming straight out of my head. There's a song on 'Blood & Chocolate', by Elvis Costello, the one that goes on and on for yonks. . ."
"Tokyo Storm Warning".
"Yeah. Gibberish! Complete fucking gibberish! And it's just wondrous. Because you open yourself up to that, because that's the way human brains think. I just think Radiohead are in a really dangerous position at the moment, where we could end up supplying that pathos and angst all the fucking time, and I think there's a bit more to it than that."
A closing line, if ever I've heard one.
"Mmm. I'm dying for a piss, as well."

THE interior of the urinal in the Paramount's lobby is covered - ceilings, walls and floors - in gleaming, mercilessly reflective, polished steel. There is nowhere you can look without seeing everything else that's going on while you're in there, and from an alarming variety of angles. Thom and I pause, aghast, just inside the door.
"You go first," says Thom. I'll wait outside. I'm still too British for this."




Source=At ease web

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« Réponse #34 le: mer. 7 septembre 2005, 12:43:23 »
Citation de: "nme.com"
PLAY WITH RADIOHEAD!

RADIOHEAD are offering fans the chance to drum with them.

The band’s sticksman Phil Selway will be holding a drum workshop on September 25 at Dorchester Abbey in Oxfordshire.

The tutorial will kick off at 2pm and tickets are priced at £15 each.

The event is part of the Dorchester Arts Festival.

For tickets, visit oxfordplayhouse.com or call them on 01865 305305.

As previously reported on NME.COM, Radiohead headed into the studio last month (August 18) to continue work on the follow-up to 2003’s ’Hail To The Thief’.

The band have been recording on and off at their own studio since the beginning of early 2004, but it is unknown how much of that time has been spent working on the new album.

http://www.nme.com/news/113621.htm

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« Réponse #35 le: jeu. 15 septembre 2005, 11:05:40 »
Source www.lesinrocks.com :
Citer

Des membres de Radiohead et Pulp s'associent
C’est confirmé : Jarvis Cocker, leader de Pulp (et de Relaxed Muscle, à ses heures perdues), Phil Selway et Jonny Greenwood, membres de Radiohead, vont se retrouver dans le même supergroupe à l’occasion du film Harry Potter et la coupe de feu, qui sort dans nos salles obscures le 30 novembre. Récupérant les rôles déclinés par Franz Ferdinand pour cause de tournées intensives, ils deviennent ainsi les membres d’une formation magique nommée Weird Sisters. (13 sept. 2005)
 

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« Réponse #36 le: jeu. 15 septembre 2005, 12:04:07 »
Citation de: "PadKidA"
Source www.lesinrocks.com :
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Des membres de Radiohead et Pulp s'associent
C’est confirmé : Jarvis Cocker, leader de Pulp (et de Relaxed Muscle, à ses heures perdues), Phil Selway et Jonny Greenwood, membres de Radiohead, vont se retrouver dans le même supergroupe à l’occasion du film Harry Potter et la coupe de feu, qui sort dans nos salles obscures le 30 novembre. Récupérant les rôles déclinés par Franz Ferdinand pour cause de tournées intensives, ils deviennent ainsi les membres d’une formation magique nommée Weird Sisters. (13 sept. 2005)
 



 :lol:  :lol:  trop bon...

Hors ligne -- winter ballads --

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« Réponse #37 le: jeu. 15 septembre 2005, 20:27:21 »
c'est bien ce que je disais radiohead c'est pour les cretins ....[/b]  :lumena:
Immerse your soul in love

Hors ligne hunting android

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« Réponse #38 le: mar. 4 octobre 2005, 13:56:37 »
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Manitoba folk group tries to block Harry Potter film in trademark dispute

STEVE LAMBERT

WINNIPEG (CP) - A Winnipeg-based folk group called The Wyrd Sisters is asking an Ontario court to block the distribution of the upcoming Harry Potter movie across Canada.

The group is also suing Warner Brothers and three famous British musicians over a scene in Harry Potter and the Goblet of Fire that allegedly depicts a band called The Wyrd Sisters playing on a stage. "The name of the band is threatened by Warner Brothers actions," Kimberly Townley-Smith, lawyer for The Wyrd Sisters, said Monday.

 
 
 
 

"If everybody knows Harry Potter's Wyrd Sisters, we can't go out and find new fans because people are going to see us and go, well who are you? Some people are going to think we're ripping them off."

Townley-Smith has filed a statement of claim seeking $40 million plus punitive damages from three divisions of the Warner Brothers empire, singer Jarvis Cocker of the British band Pulp, and Johnny Greenwood and Phil Selway of Radiohead.

Townley-Smith said she plans to file more documents this week, asking for a court injunction against any public display of the movie in Canada.

The statement of claim contains allegations that have not been proven in court, and neither Warner Brothers nor the musicians involved have filed statements of defence.

The Canadian music magazine Chart reported that Warner Brothers issued a written statement in which they say the band in the movie do not have a name, and that they have no intention to use The Wyrd Sisters moniker.

The problem seems to have arisen from the book on which the movie is based, which refers to a fictitious Weird Sisters band.

Townley-Smith's statement of claim alleges the film depicts a Wyrd (with the spelling changed from the book to a include a y) Sisters band in a "involved, spectacular and memorable" performance which, because of the mass appeal of the film, will usurp the Canadian band's identity.

News of the litigation has led to outrage on the Internet.

Radiohead fans by the dozens have posted messages on the British group's fan site, accusing the Winnipeg group of trying to grab attention and cash.

"They just want their 15 minutes of fame," reads one message.

Some Radiohead fans have also posted more strongly worded messages on the Winnipeg group's website, prompting a plea from the folk band.

"This band has been our child. We gave birth to her, gave her a name and made many sacrifices to prepare her for the world out there," reads a message posted by band members.

"Now some multibillion dollar corporation comes along and takes away her name and dignity."

Townley-Smith said Warner Brothers first approached the band months ago and offered $5,000 for the use of the name.

Hors ligne zit0un

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« Réponse #39 le: mar. 4 octobre 2005, 14:40:46 »
:wow:
Je mets le lien Inrock ici
C'est complètement hallucinant, je croyais que Jonny était au-dessus de ces trucs commerciaux... Chelou, non ? Ils n'ont pas besoin de fric, Radiohead : qu'est-ce que Phil et lui foutent là-dedans ???!?
I got the poison, the poisonnnn, and I want more...

Hors ligne rag doll

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« Réponse #40 le: mar. 4 octobre 2005, 15:26:44 »
Citation de: "zit0un"
:wow:
Je mets le lien Inrock ici
C'est complètement hallucinant, je croyais que Jonny était au-dessus de ces trucs commerciaux... Chelou, non ? Ils n'ont pas besoin de fric, Radiohead : qu'est-ce que Phil et lui foutent là-dedans ???!?
:sarcastic:
et d'une, ils peuvent vouloir se faire du fric, comme tout le monde

de deux, ils ont des gosses, qui doivent probablement lire harry potter et à qui ça peut faire plaisir de voir papa avec harry (je ne sais pas trop pour  ça, ça dépend des âges de leurs gosses)

de trois, ils ont peut être trouvé un truc intéressant au fait d'incarner des musiciens dans un film, et/ou de travailler avec jarvis cocker;
il y a peut être un travail musical intéressant pour eux là dedans, surtout que faire des musiques de film ça doit être un boulot assez différent (il y a de nouvelles contraintes), rien que ça, ça peut les attirer

arrête de faire ta vierge effarouchée et attends de voir ce que ça va donner.
ce qui est bien avec radiohead, c'est qu'ils arrivent toujours à nous surprendre, alors te plains pas de les trouver là où tu ne t'y attends pas


en attendant, j'ai espoir que ça sera bien ... sinon je serai un peu dég :glob:

Hors ligne hunting android

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« Réponse #41 le: mar. 4 octobre 2005, 15:35:51 »
Moi perso je n'ai rien contre...C'est pas comme si leur nouveau single servait de musique de fond à la prochaine pub coca cola.

Jvais aller voir avec plaisir le nouveau Harry potter, et si il y a une apparition d'une partie de Radiohead...tant mieux.

Hors ligne zit0un

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« Réponse #42 le: mar. 4 octobre 2005, 16:03:05 »
Citation de: "rag doll"
arrête de faire ta vierge effarouchée et attends de voir ce que ça va donner.
ce qui est bien avec radiohead, c'est qu'ils arrivent toujours à nous surprendre, alors te plains pas de les trouver là où tu ne t'y attends pas

en attendant, j'ai espoir que ça sera bien ... sinon je serai un peu dég :glob:

 :lol: ça faisait longtemps que je n'avais pas entendu cette expression, tu viens de réveiller tout plein de souvenirs sans le savoir, lil doll.

Bon, c'est vrai, les Radiohead arrivent toujours à me surprendre, mais s'ils vont chasser la baleine, par exemple, je ne suis pas sûr de trouver ça très fun. Alors faire bisou-bisou à la Warner, mouais...

En même temps, tu as raison, faut pas non plus faire son ingénu, il peut en faire s'agir d'un projet musical fort intéressant où Jonny a carte blanche pour faire avec Phil et le pulpeux Jarvis des merveilles dont nous nous souviendront longtemps.

Tout ce que j'en dis, c'est que c'est juste dommage qu'ils ne fassent pas ça en dehors d'un blockbuster de Noël. A ce propos, ma compagne est fan invétérée de ce binoclard d'apprenti magicien, et me soutient mordicus que le dernier bouquin de JK Rowling est une vraie bouse. Un tome tout à fait... commercial. Tiens, ça y est, j'ai lâché le mot : c'est ça qui me fait un peu chier dans ce projet, l'association du nom Greenwood avec un projet totalement commercial. Je trouve ça bizarre.
Voilà.

Donc ce sera forcément bien, sinon je ne vois pas ce qu'ils fouteraient là, tous les trois.
I got the poison, the poisonnnn, and I want more...

Hors ligne novocaine

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« Réponse #43 le: mar. 4 octobre 2005, 16:12:46 »
oui, ben justement, c'est pas le tome 6 dont l'adaptation sort fin novembre, c'est le 4...

et puis oui, c'est commercial, mais des fois, le commercial peut être tout à fait plaisant
Le djembé est à la musique, ce que le couteau est à la purée

Hors ligne zit0un

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« Réponse #44 le: mar. 4 octobre 2005, 16:23:47 »
Pffff, bande d'anti-anticonformistes !  :drwatson:
Bon, de toute façon je vais suivre cette histoire de près. Et puis je ne vais pas me baser sur vos avis enflammés pour établir mon jugement : j'irai donc le voir aussi, ce film...  :hehe:
Avec ma copine, qui sera très contente (d'une pierre deux coups, en plus : quelle habileté !)
 :jeman:


Et puis, 3, 4, 6 ou quarante-douze, les Harry Potter c'est du pur commerce, tout de même ! Maintenant c'est sur, il y a du commerce plaisant : prenons Radiohead par exemple...  :jesors:
I got the poison, the poisonnnn, and I want more...

 

 
 
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