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Showing posts from July, 2006

Co-op Radio

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Technically, I'm only a part-time worker at the Co-op. But last week, I worked 39 hours: that's more than either mum or dad had spent earning. As a result, and thanks to my stationary position at the checkout, I've spent a fair few hours listening to the in-store radio station, Co-op Radio – and practically know it off by heart. There's the usual mix of cheesy adverts for products in store, headlines on the hour and an entertainment news bulletin... all things you'd expect from something so corporate. Suprisingly though, the selection of music being piped in is rather good! There's some old classics (David Bowie, soul music, funky bosa nova), there's some good pop (Sugababes and Kylie), new releases ( Smiley Faces from Gnarls Barkley and tracks from Under The Iron Sea ) and even some trendy indie (Damien Rice and Ray LaMontagne). Unfortunately, with the jingle "great music, great offers", it still needs a little bit of work...

Annoying adverts - for dummies!

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How to annoy the nation Step 1. Think of a word. Yes, only one, although preferably it should be one associated with the product in question. Write your word in below: Step 2. Now think of as many words as possible that rhyme with this word. Write them in below: Step 3. Nearly finished. Now all you have to do is come up with incredibly contrived sentences with these words at the end. If you put music behind them, you have yourself a song. Don't worry about syllables or meter: seriously, anything goes... It's hard to choose exactly which individual aspect is worst, but the new Kellogg's Frosties advert has ruined any childhood memories I have of Tony the Tiger being cool. Whether it's the faux -cockney line "I can 'ear the sahnd of Frosties hittin' mi plate" or the fact that lines such as "Or a Pi–rate" (4 syllables) and "E-venLadiesWithPerSonalisedNumberPlates" (12) are stretched/crammed into the same tune... maybe

La Fabuleux Destine d'Amélie Poulain

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I've been looking forward to the launch of Film4 for quite a while now - I don't often watch films, but at their best there is nothing better than sitting back and escaping for a couple of hours in them. Having a film channel on the telly means that I can just tape the films I want to watch and catch up with them when I want: although ironically, I was watching one of my favourite films on More4 . Amélie is possibly the greatest thing to come out of France since... as it's an almost perfect example of film-making. It is characteristically French, with the wonderful architecture of Paris providing the perfect backdrop. It's characters, no matter how insignificant or fleeting, are carefully crafted so that their part is integral to the story. "Special effects" are used, but sparingly and these add to the experience rather than being the experience. Plus there is an enormous warmth to the movie: it goes beyond the temporary "feel-good factor"

Mercury Music

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This week, I’ve splashed out a whopping £7 on buying an album - my first proper music purchase in months - and in doing so I think I've found my album of the year. In terms of hype, Lily Allen got a good Arctic Monkeying, but there’s one crucial difference: She’s actually worth it. On listening to the album for the first time, nearly every track made me stop and listen. The beats were catchy, the lyrics witty and the delivery perfect. Allen is the missing link in my collection between Madness, The Ordinary Boys, Miss Dynamite and The Streets. Go and buy "Alright, Still", and it will most likely be the soundtrack to your summer . Which is why I really don't understand the decision of the Mercury Music Award panel to leave her off this year's shortlist. Neil McCormick's article in The Telegraph today just about sums up my feelings. Of the 12 albums nominated for the 2004 Mercury Music Prize, I own 9 . Of the 12 nominated for the 2005 Mercury Music Prize,

Thunderbird 5

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Just what is the point of Thunderbird 5? Or, rather, what is the point of manning Thunderbird 5? If a satellite can intercept and receive every broadcast transmitted on Earth, filtering each and every communication for a distress signal, and then beam those transmissions to any location on the planet... why does it need someone to live in it and listen? Surely he could just listen from his house? Welcome to Thunderbozz. Looking for even older posts? Try reading The Story of Bozz ...