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Naomi Klein: Capitalism vs The Climate

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Global warming is a myth invented by the left-wing in order to bring down the foundations of modern capitalism. Famous Bolsheviks like Barack Obama, David Cameron and a surfeit of climate scientists - roughly 97% of those practicing in the field - are some of the many who seek to abolish the wonderful ideals of the free market through the promulgation of the myth of climate change. It is the proliferators of this myth - not global warming itself - that will end the world as we know it.

Or so the argument goes. The right - or at least a certain faction of the right - have made some pretty foolish statements over the years, but their obstinate denial of climate change goes beyond foolishness. Global warming, according to the vast majority of scientists, incontrovertibly exists. The great deniers are academically outnumbered, often ill-informed and constantly have to resort to shamelessly hyperbolic rhetoric in an attempt to disprove the experts. It would be funny if we weren't, you know, threatened with some pretty dire consequences.

The challenge that we, as inhabitants of this earth, have to confront is precisely what we can do to prevent the near certain catastrophes of global warming. Well, the first thing we can do, perhaps before anything else, is to learn about the situation. Naomi Klein's new book, This Changes Everything: Capitalism vs Climate Change, is a pretty good place to start.

Klein's fundamental argument is simple: in order to prevent global warming, we need an ideological shift away from neo-liberalism towards a fairer, greener and more egalitarian form of society. This means, among other things, a regulated economy that works for the public and the ecological good, less freedom for profit-driven corporations - the main contributors of greenhouse emissions - and an unhindered form of global co-operation in the pursuit of a greener future. Such an ideological shift should be welcomed, Klein suggests, for social as well as ecological reasons. The procedures implemented to tackle climate change could revive local economies, block harmful trade deals, create jobs and take back ownership of the essential means of production.

Such an ideological shift is necessary, Klein argues, as the approaches to tackling climate change that conform to rampant capitalism have failed miserably. Klein offers some startling examples of corporations that have manipulated movements, billionaires that have broken seemingly ambitious promises - Richard Branson's Gaia capitalism being a particularly striking example - and governments that have perpetually prioritized profits over people. Klein argues that we can't keep trying to convince ourselves that the current form of capitalism is somehow compatible with the protection of our planet. Each broken promise and each failed experiment results in more damage to our environment. The clock, as they say, is ticking and we haven't the luxury of biding our time.

So how does Klein propose that we achieve such an ideological shift? How can we attempt to slow down the world's most foreboding clock? Unsurprisingly, the ideological shift must be instigated by the people. The climate change issue is important enough to mobilize great swathes of the population. We must, therefore, create a culture where the average human being becomes an activist.

All the great social movements share this idea in common. The civil rights movement, the feminist movement and the LGBT movement all gave a voice to previously silent, sometimes apolitical, individuals. Activism, during such times, isn't restricted to those radical freedom fighters silently plucking away at the strings of heterodoxy. Activism becomes about normal folk - you, me, us - who seek to fight against a dominant hegemony that is deemed utterly unacceptable. To tackle climate change, we need a more inclusive mass movement - achieved through unity with and support for other social movements - that seeks to shift the ideological consensus away from rampant, carbon-burning capitalism.

Klein's book is successful precisely because it could, in small part, help garner support for the climate change movement. Those who were previously unconcerned about the effects of global warming - such as myself, for example - may begin to reconsider their role in the great debate. If the climate change movement is to gather speed, if we are to mobilize the masses, we need previously unconcerned folk to join the battle. Only then can we challenge the avaricious men and women who are ravaging our resources. Only then can we attempt to shift the ideological consensus. Only then can we look towards a better, more sustainable environment and a fairer, more egalitarian form of society.

Musical Places in Unusual Spaces

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In a couple of weeks, ANIMA, an eight-piece classical chamber ensemble, is premiering one of my pieces. The performance will take place 42ft underground in the Brunel tunnel shaft in London. It is becoming almost the norm now for 'traditional' ensembles to present music in non-traditional, site-specific places. I recruited Lizzie Ball and Gabi Swallow, two classical musicians as comfortable inside the concert hall as out, to chat about this phenomenon.

Younger generations have a more open-minded attitude in general to concert-going which previous generations perhaps as a whole did not. For example, mixing genres of music up within one concert, pushing performance and musical boundaries, has become a little more mainstream in comparison to the earlier years of very traditional concerts with a large space between performer and audience, not only spatially but often communicatively. (Lizzie Ball)


Playing in established concert halls such as Purcell and Wigmore has its advantages. There is a sense of history for both performer and audience alike when you walk onto the stage. They are safe, and much that goes hand in hand with them is safe; audience demographic, working toilets...

Attendance at established concert halls is incredibly healthy but they are run by the establishment. Many artists are realising that creating your own opportunities, can include branching out to new venues. As performers this allows us the artistic freedom to find the right space to match the music and not the other way round. (Gabi Swallow)


Lizzie Ball presents Classical Kicks, classical music and artists interweaved with jazz, folk and world music at legendary Ronnie Scott's jazz club in Soho, which "was born out of a desire to show the cream of UK classical talent perform great music in a more down-to-earth environment."

I like to see audiences become more involved in what they watch and I think in this age of crowd funding and social media, it has changed the relationships between audience and musician to a slightly closer one. It encourages loyalty and following which in this day and age, within an industry losing money and funding and unable to support artists in the way it perhaps once did, are the most valuable assets a musician can have. (Lizzie Ball)


What these down-to-earth environments also often have going for them is that absolutely priceless element of newness, mystery & surprise. Admittedly too much is often sacrificed for this, especially where repertoire is concerned. It is relatively easy for example (with strong emphasis on the word relatively) for a composer to secure a one-off world premiere as compared to a second or third performance. But when it comes to location, "the more unusual the space, the more audiences connect, because their expectation is not yet known; when something is taken out of its usual context, it will always be more intriguing. Likewise for the performer!" (Lizzie Ball)

Before my (one-off) world premiere in the tunnel shaft, I am off to Essen in Germany to play at Denovali's Swingfest with my band Piano Interrupted. The venue is another amazing music 'conversion'- originally an industrial space turned to the arts. The Weststadthalle where the performances take place, was part of Alfried Krupp's steel empire. (As an historical aside, Krupp was a key supplier for the Nazi regime. And the Swing Kids, which provides the inspiration for the name Swingfest, was the name of the anti-Nazi youth movement in Germany.)

Being part of an experimental project lurking vaguely on classical music's fringes, I am lucky enough to play in these types of spaces and places quite regularly. It feels (admittedly partly as a result of the promoters that are attracted to them) as if they somehow draw a very open-minded type of concert goer. Indeed audiences can now factor these special locations into their ticket-buying choice, and this potentially creates a win-win situation for the performer-listener axis.

As an audience member now you have the choice as to whether you prefer to experience music in a traditional or non-traditional setting and as a performer you are hopefully then communicating to an audience that feels comfortable with their choice or are deliberately choosing to experience something new to them. (Gabi Swallow)


As old steel factories go, the Weststadthalle in Essen actually feels surprisingly intimate. But without doubt one of the challenges with these types of non-traditional spaces is how to make that magical connection with the audience.

Every concert has its uniqueness and varying size and setting can play a huge factor. Once I played some Xenaxis on a street in Barcelona in front of 2000 people. It was perhaps not the most intimate of settings but what made it intimate was that there were many people who would never have listened to anything so abstract before and they were one of the most quiet, attentive audiences I have ever played for. That is what makes performing so special; you are constantly surprised by the power of music. (Gabi Swallow)


Lizzie recalls a time in downtown Bogota, with piano trio, Classico Latino where they "arranged for a piano to be wheeled into the town square and started to play our own arrangements of Colombian folk music."

A large crowd gathered of such a mixture of people, office workers, lawyers, cleaners, you name it. At the end, a tramp came up to me and said in Spanish, that we had made the composers' music come alive. He knew the name and composer of each song we played and was clearly a highly educated man. It moved me to tears and reminded me that with music, you can connect with people on a level that is otherwise not so common. (Lizzie Ball)


Not surprisingly then 'location, location, location' is not such a compelling argument when it comes to music; "a really great musical performance should essentially be able to work anywhere." (Lizzie Ball) Or as Gabi puts it: "The audience and the performer sharing the music: that is the most important thing."

This is a fundamental truth, and the reason why we as performers strive so hard to communicate and connect.

Chilean Art of Civil Disobedience: Review From V&A, London

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The Disobedient Objects exhibition is on display at the Victoria & Albert (V&A) Museum, London, until 1st February 2015. It narrates at least one hundred years of world history to remind us that in the multitude of global societies, one phenomenon repeats itself without fail: some people in positions of power direct the cultivation of society to be divorced from the reality of ordinary people. With this backdrop, it sets out the principle that the power to change the course of human societies ultimately rests with ordinary individuals and not governments or policy-makers.

Although this exhibition goes to calculated lengths to demonstrate that "many of the rights and freedoms we enjoy today were won by disobedience"*, this article examines the art-work of arpilleras (pronounced in Spanish as ar-pi-ye-ras), which toppled the Pinochet dictatorship in Chile in the 1980s. I had the treasured opportunity to hold a discussion with Roberta Bacic, a Chilean human rights researcher and curator whose collection of arpilleras is on display at the exhibition, and this article is based on Bacic thoroughly answering my questions during our meeting.

The spread of socialist movements in the northern part of Latin America posed a threat to the capitalist USA, which plotted the establishment of Augusto Pinochet's military regime in Chile in 1973 by overthrowing democratic rule. As part of the new dictator's propaganda of power, deliberate cleansing of the male gender was carried out in different class hierarchies of the country: men were kidnapped, executed, jailed, tortured and some times even thrown into the sea. Men and boys disappeared from their towns, and never returned; in a gender-imbalanced society where men held more social importance, their disappearances aimed to create an undeniable reality that no one is safe.

In the face of greatest adversity, an ever expansive creativity is born: this is what unfolded in Chile, as women carried out a nonviolent revolution by stitching the arpilleras with their stories sewn in the form of patch-work and dolls, and sent out their sorrow to distant shores through international organisations who sold these art-works. As I spoke to Bacic, she explained that whilst their hands were busy stitching, these women were surrounded in the safe company of each other and felt comfortable to weep or share their experiences. These gatherings for making arpilleras became the undercurrents of stitching demonstration against the regime, and also for stitching hope towards a secure future for their communities.

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¡ADIÓS PINOCHET! (GOODBYE PINOCHET!) Chile, about 1980.
Roberta Bacic Collection. Donation from Heidi and Peter Gessler, Switzerland. Photo Colin Peck.




The arpillera titled 'Goodbye Pinochet!' (photographed above), attests to this phenomenon: whilst no one possessed the right to hold peaceful demonstrations, this work shows women carrying banners against the dictator on the streets and protesting. It was stitched not just in the traditional two-dimensional patch-work, but it used small dolls to represent the female protesters, to insist that even though they were under threat if they held demonstrations, their resistance will surge out from their art-works.

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¿DÓNDE ESTÁN NUESTROS HIJOS? (WHERE ARE OUR CHILDREN?) Santiago, Chile, 1979.
Roberta Bacic Collection. Donation from Jacquie Monty, England. Photo Martin Melaugh.




The next arpillera, 'Where are our children?' (photographed above), was created by a woman whose child was abducted by the military; she stitched a pocket at the back of this art-work and left a hand-written letter for the stranger in a foreign nation who will buy it. The letter was this woman's account of how children in her community have been taken away. The arpillera shows a weeping mother, chained hands, falling doves and penetrating eyes of secret police: it is a dramatic testimony to the kind of power that Pinochet wanted to establish in Chile.

As I carefully looked at these arpilleras, I found the use of bright and bold colours to be compellingly moving. From where did these women find the hope to stitch in bright colours? How did they develop the resilience communicated in bold colours?

If we are to engage in a dialogue to cultivate penetrating empathy for other cultures, then a critical starting point would be to understand people from their own interpretation of reality. It did not matter to Chilean women if creating these works would facilitate psychological healing processes, and perhaps it was insignificant. Given the sense of trauma and fear with which they lived, this process became their sole means to express their outrage and to protest. The bright and bold colours in the arpilleras were not hand-picked, they came from unused clothes in their homes, including the clothes of the disappeared men and children.

The Pinochet dictatorship collapsed in 1988, and the arpilleras became an art of disobedience in neighbouring as well as in other countries of the world. Also on display in this exhibition is an arpillera from Colombia by the survivors of a massacre sponsored by their dictator over ten years ago, and an arpillera from Ireland that questions the USA's use of their Shannon Airport for refuelling planes, which carry weapons and terror suspects who receive no legal representation before the extradition process.


* Text from an opening panel of the exhibition.

Five Tips for Getting Glastonbury Tickets

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How did we get to Glastonbury-ticket-buying time of year already? It seems like only yesterday I was stumbling off-site, exhausted but with the biggest grin on my face after five days spent at my most favourite place.

If you haven't tried to get tickets before, you should know that it is not the most simple of processes. That's an understatement - it is horrible. You have to get up early and battle against every other sane human in the UK, and God knows where else, who knows the importance of securing their tickets to Worthy Farm next June no matter what the cost.

You may be lucky, you may not be - but here are a few tips to hopefully help you to secure that beautiful golden ticket...

1 - REGISTER

You can't attend if you aren't registered. For this you need to submit a photograph and your details and you will be given an all-important registration number. It is this number, along with your name and your postcode that will allow you to buy tickets on the day. You still have time - you can register up until midnight on Tuesday 30th September. Register here.

2 - HEDGE YOUR BETS

You might not really want to get there on a coach but these tickets go on sale on Wednesday 1st October at 7pm and I highly recommend trying to get these as well. Last year I managed to secure six tickets for me and my mates during the mid-week coach ticket sale. This was a relief because come that Sunday morning when trying to get tickets for more of my friends, sadly I was just another in a long line of people trying and failing. It's a competitive process - give yourself as much chance of success as possible.

3 - BE ORGANISED

Have a chat to your mates who also want to go and make sure that you all have access to each others details. Unless the process has changed this year, the only details that you need to enter once you get through to the page are name, registration number and post code. Put these in a document and circulate it to all of those trying to get tickets so that should you be one of the lucky few that gets through, you aren't having to frantically call your mates to gather their details. In the time it takes for your friend to answer, the page could have timed out and your glorious tickets could be lost forever.

4 - DON'T MAKE MISTAKES

Check and double check that all of the details that you have are right. If you enter in an incorrect post code or registration number - your order wont go through and the whole group of people entered into that batch will lose their chance for a ticket too. Don't be that guy...double and triple check that everything is correct well before sales open.

5 - TRY MULTIPLE METHODS AND MULTIPLE LOCATIONS

Although company is always lovely, this isn't a time for small talk. You need to be focused and utilising all methods of buying tickets. Get your mobile ready, your house phone and your computer at the ready. I have absolutely no clue how the Internet works but having people in different locations is definitely another good idea. Imagine if you all cram into one persons house only for the Internet to go down. Spread yourselves out across homes and offices (where connection could be faster).

Here's the link to where to buy them.

This article originally appeared on No Fixed Plans Traveller.

The X Factor 2014 Bootcamp Show Two

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Friday night saw Cheryl picking her six girls for judges houses, to say it was like a rollercoaster is an understatement. In fact I think a rollercoaster is less stressful. Thankfully though, Team Midas' Lola Saunders made judges houses, along with Lauren, Stephanie, Emily, Kerrianne and Chloe Jasmin.

Ready for round two...I am. Now ring the bell and let's get cracking.

Tonight, Mel B picks her six boys, followed by my Simon and the overs. Can van driver Ben Haenow smash it again? Time will tell.

First up for Mel B was Joe Slater (and his piano) and within seconds Mel was telling Cheryl it was "boring". It was quick and it was brutal. "My top six, there's no room for mistakes" says Mel, and with that It's home time for Joe. Next. It didn't get much better for Bre Musiq and Ben Quinlan. Mel B means business and both were sent home without a single compliment. In fact she told Ben to, "Get off" twice.

Three down and all the chairs are empty. If this keeps up I might end up getting one.

Next up was a real contender in the shape of Jake Quickenden. This guy is fantastic, great to watch and the girls love him. He is the complete package. Cheryl called it an, "Honest" performance and Simon said if it was his choice, "he would get a seat". Jake go and sit in that well deserved seat.

It wasn't perfect but Jordan Morris took the next seat. Danny Dearden followed and he quickly joined Jake and Jordan. Team Midas' Geoff Mull was willing to fight for his seat but there was no need. Geoff, go and sit down my man. Get in.

US air forceman Charlie Martinez didn't sound that great if I'm being honest, but Mel saw enough to give him a chair. Now just one seat remains. Here we go again...

Snoopy's friend, (not really Ed) Charlie Brown is likeable and usually much better than this. Simon was very harsh and compared him to a busker, but he also said if he passed him, he wouldn't "give him any money" he got a seat but Louis said he would be "unreliable"

Jack Walton is a real contender, another boy in this group with the all round package. I really like him. This lad is a dark horse. He got a seat after swapping with Charlie Martinez. Three singers remain but no seats. The pressure is on.

Another act willing to fight for a chair was Hayden Leeman. Good energy but vocally it wasn't on the money. A "confused" Mel gave him a seat, after swapping him with Charlie Brown. This is brutal.

Pug loving Italian Andrea Faustini is one of the best singers left in the competition. He is a step above most of the other acts and tonight he showed why. Assolutamente brillante. Di classe mondiale. 10/10. After Mel and Cheryl stopped crying, another seat swap took place with Andrea swapping with Hayden.

The last boy to perform is Paul Akister. There was never any doubt that he would smash it. He has come back this year, better, hungrier and more determined. Now who will lose their seat, right at the death?

Not Geoff, no, not Geoff, not Geoff. Pants. It's Geoff. Devastating. Geoff you have done Team Midas proud on our X Factor journey. Good luck mate.

That's it. Mel B's final six are: Jake, Paul, Andrea, Jack, Jordan and Danny.

Next up it's Simon with his overs.

I'd never seen Kisela Berice before but she was quite good, in fact good enough to take Simon's first seat.

I love Scarlett Quinn, she stands out from the crowd, so I was gutted when she forgot her words. I was even shouting them at the TV. Devastating to watch. Simon had no choice but to send her home. "Based on that audition, it's almost impossible to justify, putting you through" Scarlett give me a call. I know you have 'something'.

Next up is Team Midas' Ben Haenow with his version of Hotel California. Not being at all biased here but that was one of the best auditions in X Factor history. Ever. It was a faultless vocal from a likeable down to earth bloke. As Cheryl said Ben, "you have it" and Simon (thankfully) concluded "This is very simple, Ben, walk to the chair"

The thunder clouds are gathering. It's time for Cheryl's favourite singer Raign to sing for a seat. I will give anyone a second chance but vocally it wasn't good. Simon said she was "Marmite" and I was very surprised when he gave Raign a chair. Very surprised.

Look, office joker Stevi Richie is never going to win this, (well he better blooming not) but he always gives it 100% and he is fun and entertaining to watch. I may regret saying this but please give him a seat Simon.

Janet Grogan and Lizzy Pattinson's auditions were short and sweet but both did enough to take the last two chairs.

Ex soldier Jay James started off slowly but once his powerful voice started to get going, he smashed it out of the ball park. He is another serious contender. Whose seat will he take...find out tomorrow night.

Right, I'm off to sort out Cheryl's allergy to Raign...see you tomorrow.

Touring the Globe As 'King Lear', Joseph Marcell Talks 'Fresh Prince', Shakespeare and 'EastEnders'

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Shakespeare wasn't kidding when he wrote "all the world's a stage."

The Shakespeare's Globe Theatre current production of King Lear hits New York University's Skirball Center for the Performing Arts for 14 performances starting September 30 through October 12.

This New York run is part of a US swing of a tour that began in the spring of 2013 with stops throughout the UK, Europe and Asia with several month breaks in between, and wraps Dec. 1 in Napa, California, not before they hit a dozen major American cities.

"It's the longest show I've been in," says Joseph Marcell, playing the title role, in a phone call from his Philadelphia hotel. The tour also stopped for four performances in his native St. Lucia, which the 67-year-old actor left with his family at the age of 8 for England. He wouldn't call those Caribbean performances a "homecoming," although he had many friends in the audience, because he's been a "wanderer."

No doubt Marcell, despite working steadily as an actor on the stage, film and television since the early 1970s, is best known for playing the droll, proper British butler Geoffrey in the American sitcom Fresh Prince of Bel-Air (1990-1996).

After six years on the popular show, Marcell became one of the most envied British actors to cross the Atlantic. "It opened the door for them all," Marcell comments cheekily. However, he admits to the Walford Gazette that he was quite lonesome during that period when Tinseltown did not have the expat support system that exists today, such as the 'BritsInLA' social club.

"The hardest part was the weekends. I'd sit in my apartment in Studio City and wonder, 'What am I going to do for my Sunday lunch?'"

Marcell feels fortunate his time in Hollywood was two decades before the emergence of social media and TMZ, but even then the producers alerted the actors of "the cultural pitfalls, such as being at the wrong places, showing off" and the expected "decorum." There was also an understanding that "the audience was our bread and butter."

It took a while for his fellow sitcom actors to reach the conclusion "this guy is cool," and he says Smith was "a generous man" about their scenes together. "It really was a pleasure working with Will. The straight guy is so uncelebrated. It's the heart of the job."

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It was on the Fresh Prince set that Marcell learned "a look was much better than a word."

Asked whether his Geoffrey was influenced by John Gielgud's Hobson in the 1981 Dudley Moore film Arthur, Marcell says he was "certainly influenced" by that performance, as well as Mr Belvedere, the American sitcom that ran 1985-1990, and Admirable Crichton, the classic butler play written by J. M. Barrie in 1902, the same year it was first staged in London, which is home to Marcell these days when he's not on the road.

But despite those actors who came before him in such an archetypal role, Marcell points out, "You need to find a way to make it your own," much in the same way he approaches Shakespearean roles. I point out that both Frank Langella and John Lithgow have also played Lear on New York stages since January.

"All the silver foxes are out," he quips, adding that he wouldn't go see any of them while he is in the midst of such a tour. "My mistakes, my mistakes only."

In the same way Fresh Prince was "very stringently rehearsed," his current eight-person Globe troupe "rehearses all the time. We don't sit back and say it's done. It's very technical on how every line is presented. It's up intonation, not down. The thing is always fresh."

Marcell is no stranger to Shakespeare. Trained at the Central School of Speech and Drama in London, he also attended the University of Sheffield in Yorkshire, England. As a student he was in Julius Caesar, and that play was also his first professional job as a member of the Royal Shakespeare Company. He serves on the Globe's board, and he previously starred as Leonato in its production of Much Ado About Nothing in 2011, and in its Coriolanus in 2006.

It's been interesting for Marcell to see the cultural differences where the current production takes them. "Turkey and Romania couldn't understand how Lear's daughters could have treated him so bad. Denmark loved it from beginning to end. Austria lapped it up."

Following his Fresh Prince experience, Marcell yearned to get back to theatre. "After six years, I didn't want to do another [American] sitcom," although he did act in 26 episodes of the American soap the Bold and the Beautiful, produced in Los Angeles.

Speaking of soaps, Marcell's CV also includes two stints on EastEnders. He was interviewed by a Walford Gazette writer in 1996.

"I remember the Walford Gazette," laughs Marcell, who's chuffed to learn that his second EE tenure hasn't yet played on US public TV stations, even though it ran on BBC1 in 2006. His EastEnders character Aubrey Valentine, was once a member of a band called 'The Five Hectors', along with Patrick Trueman, played by Rudolph Walker, an interviewee of the Gazette . Aubrey makes a play for Patrick's wife Yolande.

At the time, it was something of a reunion for Marcell and Walker, both whom appeared in Empire Road, which was the first the British television series in 1978 to be "acted written, produced and directed by a non-white organisation." Marcell aspired to follow in Walker's thespian footsteps, taking pride that he was also of Caribbean descent.

A Trinidad native, Walker's first professional role in 1966 was starring in the title role of Othello, and he won great notices for his roles in The Tempest, Macbeth and Romeo & Juliet, at the Young Vic, among other respected theatres.

"Every actor wants what [Walker] accomplished," Marcell says. While EastEnders gave Walker fame over the past 13 years much in the same way Fresh Prince did for him, I had to break the news to Marcell that Patrick Trueman just had a stroke.

But that's show business for you.

Accessible Festivals: Reading 2014

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I love music. I always have. I remember singing lyrics to songs age 3. Music reminds me of past times, it's part of my identity and it brings me close to other music lovers.


This year wasn't my first music festival or my first time at Reading. However it was the first time I could really share the full festival experience and highlight how amazing these events are for everyone.


I hope you enjoy the video report we made for you:




As you can see, disabled people are provided with many facilities, services and support from amazing people. As a wheelchair user I benefitted from the accessible toilets and raised viewing platforms. This meant I could see the bands, but still be a part of the electric atmosphere.


I was in awe of the 'signers' interpreting the lyrics from 12 of the main acts. A few times I caught myself watching them more than the bands.


Amongst my drinking and singing, I managed to get some additional bonus features for you. I grabbed interviews with Louise (the disability coordinator from Festival Republic), Jacob from Attitude is Everything, and Mohawk, a festival-goer.




Of course, there are still improvements Reading, and indeed other festivals need to implement. The bumpy/muddy ground is tricky and camping can be hard. Only by feeding back our ideas can these improvements be made.


So I'd recommend anyone to go to these types of events, enjoy them, show the world disabled people rock out too, and share your thoughts nicely to these open-minded organisers.



Martyn

Tweets @martynsibley
World Changer @ www.martynsibley.com
Co Founder @ www.disabilityhorizons.com
Social Media Man @ sma.sunnierdays.co.uk
Healthy Goodness @ www.todaherbal.co.uk

You've Either Got or You Haven't Got Style

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As the latest incarnation (the twelfth) of Doctor Who, Peter Capaldi seems to have divided opinion. Some find him too grumpy. Some reckon he's too old. Some don't consider him attractive enough. Some wonder why he can't be a bit jokier. Some even wish that he could have been a she.

Those viewers wanting a sex change in their TV favourites won't have been disappointed if they'd tuned into BBC 1 last Thursday (September 24) evening at 8pm. They would have witnessed the latest incarnation of another man also rather fond of a frock coat. Yes, Lawrence Llewelyn-Bowen has had quite the makeover.

In case you're wondering about the hair, the good news is that it's all still there. Now, however, it's bleached blonde and big. It was always big, wasn't it? Only this time round, it's Barbarella big. As for his wardrobe. Well, let's just say it's nice that, after all these years, Liberace's dresser is still in gainful employment.

But it isn't only Larry who has been regenerated for a new age, so too has the whole Changing Rooms concept. The same, but not quite the same, if you know what I mean. It's amazing what a quick lick of paint and a few gallons of Elnett can do.

Your Home In Their Hands has the strutting, pouting, preening Celia Sawyer as its host. Hostess might be more to the point as on first appearance, she looks as if she might show you to your table in a Las Vegas strip club.

From Four Rooms fame, she's now downsized to three.

I'll briefly explain the format. Every week, two couples hand over the keys to their suburban palaces. A pair of amateur interior designers, and boy! do I mean amateur, are each given a room to transform.

After two days, the owners of said palaces return to pass judgement. The designers then come together to work on a third room, normally the lounge/diner. Three days later, the owners again return to deliver their verdict. On the evidence of the designs thus far, it's guilty and the death penalty would be too lenient a sentence.

All the while, Celia is on hand to critique. Apparently, she is qualified to do this because she is an interior design guru, having done up the houses of the rich and famous for over a decade. Who knew Stevie Wonder had that many homes.

Episode 1 saw Kelly and Andy from Harefield wanting to revamp their bathroom, bedroom and lounge. Andy not wishing for anything too va va vroom preferred white, cream and beige. If only the Kelly he was married to was Kelly Hoppen, they'd have been no need for the agony he was about to be put through.

Their designers were Nick - a visual merchandiser ( OK, window dresser) - and Kirsty, who was something to do with the theatre and looked like Zandra Rhodes on acid.

Nick's bathroom just about passed muster, as long as you didn't mind the two words that came into your head every time you went to the toilet being 'Easy Jet'. The predominance of orange was a tad blinding. All the same, Kelly and Andy seemed to like it.

This couldn't be said for their bedroom, which Kirsty had renewed to the best of her ability- tricky when you haven't actually got any. She described her style as maximist opulence with a hint of fairy land thrown in for good measure. Andy's horrified face simply said: "Pass me the magnolia".

When it came to the lounge, Nick and Kirsty joined forces in an uneasy alliance. Let's be honest, it was the decorative equivalent of Obama and al-Assad.

With each brightly coloured species of bird that Kirsty produced from her ever expanding wooden menagerie, Nick rolled his eyes and suggested that she concentrate on what she was good at, which was sewing.
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Obviously, the end result was a nightmare, a recurring nightmare from which poor Kelly and Andy may never wake.

Over in Portsmouth, things were going little better for Yvonne and Dan. Unluckily for them, the two designers they got lumbered with were Janet, a boutique hotel owner who loved to upscale old tat
(turning it into new tat) and Anjou, a woman who described her style as Austin Powers in a tropical location. Yeah, but no, baby.

Yvonne and Dan had every reason to be terrified. And who could blame them? As they sat by the sea trying to reassure each other, Anjou was inflicting intolerable acts of cruelty on their kitchen in the form of luminous yellow units, a stripy floor and a myriad of mismatched tiles.

In the bedroom, Janet was turning it into a Parisian prostitute's boudoir. I'm not suggesting this is a style Dan was familiar with, but he was totally bowled over by it. This success and the fact that Anjou's kitchen made Yvonne cry gave Janet carte blanche to completely take over when they had to work their "magic" in the lounge.

Having had one too many of her ideas shot down in flames, Anjou surrendered and ceded all control to the panzer division that was Janet.

Much to my surprise and Celia's no doubt, Yvonne and Dan adored the lounge, proclaiming they wouldn't change a thing. Must have been the fake piano radiator cover which swung it.

Anjou's closing comment that her creative rival was rather like a dictator certainly got me thinking. What would The Berghof have ended up like if only Janet had been responsible for its decoration?

Of course, everything about this show is as appalling as the taste of the participants. By all rights, it should be on Living. It's formulaic, it's lazy programming, it's even lazier commissioning, it's badly presented, it's dreadfully scripted and, worst of all, it's a complete waste of licence payer's money.

Personally though, I can't wait for the next episode. In the meantime, has anyone got Anjou's number? We've just bought a place that badly needs doing up.

The X Factor 2014 Bootcamp Show Three

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We have reached the final countdown of bootcamp 2014. What a nervy and exhausting weekend....and that's just me. Last night, Team Midas lost Geoff Mull but Ben Haenow gave us a truly memorable audition.

Sunday night and Simon continued to choose for his category, keeping us hanging on after Jay James had been promised a seat on Saturday's show. Let the fun (really Dean) and games commence.

After a bit of deliberation Simon sent home Kisela, with two singers to go and no available seats can Fleur pull it out of the bag? It was a different start to her audition, (wonder where she got those glasses) and OK vocal, nothing special but good enough. Cheryl said she has, "got something" and Simon said it was her, "best performance". Simon gave her seat and to Cheryl's delight, the heavens opened and he sent home Raign.

Last act to perform was Helen Fulthorpe. With her kids watching in the audience, she gave it everything and more. She even made Mel B cry. With the audience screaming to give her a seat, Simon agreed and right at the death, another dream is about to be dashed. Just not Ben please.

Simon firstly picked Lizzy but them changed his mind and swapped her with Janet. You could cut the tension with a knife.

His final selection off to judges houses are Team Midas' Ben Haenow, Jay, Helen, Stevi, Lizzy and Fleur.

Last up is Louis and the Groups...come on Only The Young.

First up was 15 year old twins The Brooks. Again because of their age, if the get a chair, they are off to judges houses. They look great, good singers and young enough to work with. Cheryl said they were, "adorable". Louis agreed and gave them a seat. Pack your bags lads.

The biggest boy band in X Factor history were next, created at bootcamp the lads were given a lifeline. Singing 'Run' it understandably started rusty but gained momentum very quickly, bearing in mind they had only rehearsed for 24 hours. They did a fantastic job. If this moulds, this could be huge. I mean massive. Mel B loved them, Cheryl said they were, "fresh" and "exciting" and Simon said they were, one of the, "best bands" ever. Easy seat. Well done.

The female Jedward aka Blonde Electric got a seat after a very mediocre version of 'I love rock and roll'. You know Louis will love them and he does. One more seat taken.

In a huge shock the Pow Pow Girls were sent home. The crowd started booing shouting, "Bring them back" Simon even said to Louis, "sometimes you have got to listen to what the audience are saying" and after more booing, Louis decided to bring them back.

After all that chaos, it was nice to hear Overload's brilliant audition. Again, they have a very cool vibe to them and got a seat. Cheryl said, "you could have sang the yellow pages and they (the audience) wouldn't have cared"

The new bootcamp girl band, that included two friends of mine, Team Midas' Voice act Amelia and Abi. They gave it their best shot, again with more time together, there could be something special here. I really like them. Louis agreed and gave them a seat.

I'm getting tense now, this is going to the wire.

Five piece boyband Concept came out fighting and Louis gave them a seat, telling Blonde Electric it was game over. But after saying to Simon that he had, "lost the fun" Blonde Electric were brought back and the new girl band were sent home. Are you keeping up? Blimey.

Team Midas' Only The Young did a fantastic version of '9 to 5'. They look and sound great, a complete ready made package. Mel B gave them a standing ovation. In my professional opinion they could hit the studio tomorrow and record you a top 10 album. Three words, ones to watch.

Then chaos insued when Louis gave OTY a seat but sent home audience favourites Overload. Mel B said to Cheryl, "I though he was going to say Pow Pow (girls)" This was all getting ugly and the crowd weren't happy. I thinks Simon even used the word, "riot"

After much confusion and Overload saying they wanted to, "battle" for their place. Louis said the last place would be a sing off between Pow Pow vs Overload. After Cheryl intervened the new girl band joined the battle.

After three great performances, Louis saved....the new girl band. What a pantomime.

The groups going to judges houses with Louis are: Only The Young, Concept, The Brooks, New boy band, New girl band and Blonde Electric.

After three exhausting days, that is it. Just 24 remain and Team Midas are proud to have three of them.

Right, I'm off to get some sleep...see you next week

Chasing Shadows on DVD - A Chat With Alex Kingston

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I'm really bored of serial killer thrillers. If you'll excuse the pun, I think they've been done to death.

When I found out ITV were releasing a DVD of their new drama series Chasing Shadows, I rolled my eyes (having seen 60 whole seconds of the show the week before).

However, I was curious to give it a look from the start, not least because it stars three of my favourite actors, Alex Kingston, Reece Shearsmith and Noel Clarke.

The saga of Ruth Hattersley (Alex), DS Sean Stone (Reece) and DI Carl Prior (Noel) searching for a missing girl soon hooked me, and 45 minutes later I wanted to catch the second episode.

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Chasing Shadows DVD out now. ITV Studios Global Entertainment



I asked Alex her thoughts on finding freshness in a well-worn genre.

"Well I don't watch that much television, so I haven't seen too many shows where you've got serial killers being chased after by detectives," she explains one lunchtime in LA.

(I do a good job of disguising the fact I am in awe having spent years loving her work in ER and Dr Who.)

She adds: "It's a genre that's been around forever, and it will continue to be around forever because it's something that the public have an insatiable curiosity for, in the same way that you have endless detective shows or cop shows, lawyer shows, or whatever.

"It just seems to me to be part of our television culture in a way. So what drew me to play the role and do the show was the relationships really."

The dynamic between the three protagonists is fascinating: an alpha male cop, a single mum civil servant and a socially awkward detective. Little wonder Ms Kingston signed up.

"I was intrigued by the relationship between the character of Ruth and the character of Sean," she explains. "And then also having within that the triangle as well... I just felt it was something that I hadn't done before in terms of playing a role."

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Chasing Shadows DVD out now. ITV Studios Global Entertainment



Ruth Hattersley is not your typical TV crime buster as Alex explains: "She's not a detective, she's a civil servant. She's an analyst with the Missing Persons Bureau; she does a desk job, so she's not somebody who's used to chasing after villains, or anything like that.

"I just thought the idea of creating a department where these two characters are forced to work together - and he (Sean) being somebody who isn't easy working with other people; he has very, very poor social skills - I just thought it would make for something quite interesting, occasionally comic, you know?"

One of Chasing Shadows' greatest selling points is Reece Shearsmith's performance as said socially awkward hero Sean.

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Chasing Shadows DVD out now. ITV Studios Global Entertainment



"I like Reece's work immensely," enthuses Alex. "I was obsessed when he worked with Mark Gatiss and they did The League of Gentlemen; I was completely obsessed with that show.

"I love what they do and create as writers. And so I just thought this might be really interesting because Reece is going to want to create a character that's sort of quite an oddball. As an actor and a writer himself, he will always try and push as far as he can do within the confines of ITV - the network - and I just thought I'd enjoy working with him in particular."


Of course it doesn't hurt having charismatic writer, director and recent Star Trek veteran Noel Clarke on board either.

"I didn't know Noel before, and that was sort of an added pleasure, because the three of us are very different in personality and obviously in character and also in how we act, and actually I think it was a combination that worked out. It hasn't been disastrous," she laughs. "We actually all got on, despite our differences in personality."

As an actress in LA, Alex could have opted for a project with sun-kissed locations. But she preferred to suffer for her art in Blighty.

"It was gruelling to do. The hours long, and obviously for the sake of the show, the locations chosen weren't necessarily the most comfortable," she laughs. "But I have to say that certainly the work ethic amongst the actors and everything was really good. And despite the difficulties in day-to-day filming, we managed and we got on, so I hope that all of our hard work does pay off."

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Chasing Shadows DVD out now. ITV Studios Global Entertainment



As Alex has been busy in New York working with Kenneth Branagh on Macbeth, ironically she's still a little in the dark about Chasing Shadows.

"I haven't seen any of it," she laughs. "I just saw the bits and pieces of it when I was having to do ADR, but that was before it had been graded or anything like that, so I don't really have a sense of how it turns out at all."

With thanks to Alex Kingston for help with this blog post.

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Chasing Shadows DVD out now. ITV Studios Global Entertainment

'Cilla' Review: Episode 3 - Loss And Lessons In Downbeat Finale Starring Sheridan Smith, Aneurin Barnard

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After all the music and mayhem of last week's episode, it was time, finally, to get down to business, with Cilla revealing the steely backbone behind all that carrot-top hair and Liverpudlian charm.

Steely enough to make it quite clear to devoted but long-suffering Bobby just where his loyalties lay - with her, and not with the offer of his own recording career, even as she kept him firmly in his 'road manager' basket.

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Cilla was dependent on Brian Epstein, but her manager had his own demons

The scene when an unsmiling Cilla told Bobby 'No' was the turning point of this relatively downbeat finale - with writer Jeff Pope unafraid to show the determined starlet in all her self-belief, good AND bad, and the couple's conflicting frustrations.

READ ALSO: Sheridan Smith - 9 Facts In 90 Seconds

That all came good, though, just in time for Cilla to suffer a much bigger challenge - the sudden death of troubled Brian Epstein, admirably played by Ed Stoppard in all his suave exterior, demons within.

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Bobby was willing to put Cilla's career before his own, and so they remained united


Fortunately, with the kind of timing that seemed to be dramatic licence but was actually based on fact, Cilla's first TV contract was at his bedside when he was found. He had set the stage for Cilla's next, equally impressive chapter - that of primetime TV entertainer, one that would make her millions and define her in the eyes of the younger generations, well, until they sat enthralled through this colourful, moving and nostalgic three-parter, anyway.



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Holly Willoughby Gives Birth To Baby Boy: ‘This Morning' Presenter Welcomes Third Child, Named Chester William Baldwin

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Holly Willoughby has given birth to her third child, and taken to Twitter to share the happy news with fans and reveal her son's name.

The ‘This Morning’ presenter began her maternity leave just over a week ago, and she’s now welcomed her third child with her husband Dan Baldwin, a boy named Chester William.

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Holly Willoughby


Holly revelaed that she'd given birth on Monday night, writing: “I'm sooo happy to tell you all - we've just had a baby boy! Chester William Baldwin made a grand entrance at 8lbs 12. He's just perfect. X.”

At present, Amanda Holden is filling in for Holly on ‘This Morning’, while TV chef Gino D’Acampo is keeping her Team Captain seat warm on ‘Celebrity Juice’.

Amanda was one of the first celebs to congratulate Holly and her family on their new arrival, taking to Twitter and posting: “Congratulations and much love to @hollywills Dan Belle Harry and new baby Chester!! I'm delighted and thrilled!!”

Davina McCall has also sent a message to Holly, writing:




Holly and Dan already have one son, Harry, born in 2009 and a daughter named Belle, who was born two years later.

The presenter announced her third pregnancy in a blog-post entitled ‘Surprise, Surprise’ back in March.



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Katie Price To Renew Her Wedding Vows To Cheating Husband Kieran Hayler 'This Year'

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Katie Price is obviously a lot more forgiving than we thought after she revealed she intends to renew her wedding vows to her cheating husband, Kieran Hayler.

Katie announced that she was planning to divorce Kieran in April, after she discovered he had been having an affair with her best friend, Jane Pountney.

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Katie Price and Kieran Hayler


But after welcoming Kieran back into her life following the birth of their second child together in August, it sounds like the model is ready to forgive and forget after attending her friend, Kerry Katona's wedding earlier this month.

She old OK! magazine: “It did make me want to do it all again. I love a good old wedding. I haven’t even thought about what we’re going to do, but we are going to do it this year.”

The 36-year-old also explained why she had to pull out of being Kerry's bridesmaid, following reports that she threw a diva strop over her dress - something both of them have since denied.

"[Kerry] did ask me to be her bridesmaid and I said yes, but obviously Bunny came early," she said.

"I explained to Kerry that I’d just had a baby and a Caesarean and I couldn’t try on the dress.

“Because my body was changing, what could I do? Unfortunately with my figure I can only wear dresses that are made-to-measure – unless it’s Lycra.”

Read the full story in this week's OK! Magazine - out now www.ok.co.uk

katie price ok

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Kimberley Walsh: 'Cheryl Cole Visited Me Within An Hour Of Giving Birth But Jean-Bernard Fernandez-Versini Couldn't Cope With Gory Birth Talk'

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Kimberley Walsh has revealed that Cheryl Cole and her husband Jean-Bernard Fernandez-Versini visited her in hospital within an hour of her giving birth to her first child, Bobby Jay, earlier this month.

But Kimberley admitted that whilst her best friend and former Girls Aloud bandmate wanted to know all the gory details about the birth, Chezza's new hubby was less keen and had to leave the hospital room when things got too graphic.

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Kimberley and her partner Justin with their son Bobby on the cover of this week's OK! magazine


“[Cheryl] loves him!" she told OK! magazine. "I think it was a bit overwhelming for her and she cried when she saw him. She’s offered to babysit for us already.

“JB was with her and he said he needed to leave, as he couldn’t cope – I think there was too much birthing conversation.

"He told Cheryl that he’d wait for her downstairs, which I think was probably wise as Cheryl wanted to know all the gory details.

"I could just see JB’s face. I fully appreciate it’s quite full-on for a man.”

And it sounds like little Bobby already has a better wardrobe than most of us, thanks to a generous gift from the 'X Factor' judge.

“Cheryl spoiled him rotten! She bought him a full-on Fendi bomber jacket.”

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Kimberley and Justin


Kimberley also revealed that her first baby wasn't the easiest, following some last minute complications during her labour.

“He’d been in the right position for the last three months but he turned after my waters broke," she explained.

"The obstetrician tried to turn him but he kept flipping back so she made the call to assist with forceps. I’m grateful we got him out with forceps, it could have easily ended in an emergency C-section.

Read the full story in this week's OK! Magazine - out now www.ok.co.uk



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Lynda Bellingham's Husband: 'Losing Her Is Going To Create The Biggest Hole In My Life'

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The husband of cancer-stricken actress Lynda Bellingham has spoken for the first time about her impending death, saying he doesn't know how he is going to cope without her.

Michael Pattemore has spoken of his heartbreak after the former 'Loose Women' star revealed she intends to stop having chemotherapy for her terminal cancer and wants to spend one last Christmas with her family.

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Lynda Bellingham and her husband Michael Pattemore


“The past 10 years with Lynda have been the best of my life," he told Yours magazine.

“Believe it or not, we’ve never even argued, which I think is probably because we share the same sense of humour.

“She’s so funny when she’s telling her jokes and so genuinely kind, not to mention so talented. And she’s probably one of the most loving mothers I’ve ever seen.

“I am the most positive-thinking guy in the world. Unfortunately it doesn’t matter how positive I am on this one, the Good Lord is going to take her.

"End of. It’s scary and it’s going to create the biggest hole in my life. I just don’t know what the next few weeks will bring or how I’m going to cope.

"The only thing that’s giving me comfort is that Lynda is very much at peace with everything – we’ve managed to sort everything out.

“I just pray to God she gets to see Christmas Day again. It’s what she wants.”

Lynda, who was once known as the 'Oxo mum' thanks to appearance in the TV ads, has thanked fans for their support in an open letter sent to her former co-stars on ‘Loose Women’.

She told them: "Thank you so much for the support you have no idea how much it means to me. But please understand I am in a good place."

The much-loved actress went on to pass on some advice to viewers, saying: “Grasp it all, don't be afraid, enjoy the bits you can and tell your family you love them while you have the chance.”

The full interview with Lynda and Michael appears in Yours magazine – on sale now

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‘Hollyoaks' Spoiler: Ziggy And Tegan Stranded As Hostage Situation Develops (PICS)

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Things are about to turn nasty in ‘Hollyoaks’, when the students taking part in a charity fundraiser are caught up in one of newcomer Big Bob’s heists.

The villain, who met Trevor in prison, takes several villagers hostage while trying to steal drugs from the hospital.

While at first, viewers may think Tegan and Ziggy are lucky to be trapped in a lift and unaware of what’s happening, their situation soon becomes worse.

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Bob holds the residents hostage


Grace, Esther and Freddie are among the residents who find themselves caught up in the drama, when Bob shuts down the entire building.

A source tells Inside Soap: “Bob is planning on using Freddie to help him pull off a major heist, which involves stealing drugs from the hospital.

“But after Lindsey spots the pair acting suspiciously, it really spooks Bob and he’s forced to reveal his weapon - sparking a massive panic.”

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The lift plunges to the floor before Leela can rescue Ziggy and Tegan


When the villain cuts the building’s power supply, Ziggy and Tegan are left are trapped in a lift and it soon becomes apparent that nobody knows where they are.

As the rest of the gang are planning their escape from Bob, Leela receives a voicemail from Tegan and discovers the pair’s location - but will she be too late to save them?

Meanwhile, Myra makes a shocking discovery of her own - could it affect Finn's trial?

Watch ‘Hollyoaks’ on Wednesday 8 October to see the situation begin to unfold.

See all the snaps from next week's show below.



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Music and the Arts Should Not Be Relegated in Our Children's Lives

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On Tuesday, Nicky Morgan, the newly appointed secretary of state, will outline her vision for education. I'm eager to hear her speech, as I am keen to learn how she plans to tackle the squeeze on music and other arts in children's education.

Earlier this year, I began to investigate the state of music education, filming my experiences for a TV series, Don't Stop the Music, broadcast on Channel 4. I was pretty shocked to discover that while music is fantastic in some schools, it's in a parlous state in others. In a school I worked with in Basildon, for instance, there was little in the way of music lessons, barely any instruments, and no music budget. And the Basildon school is not alone.

I've spoken to key voices across the sector - the voices of musicians, teachers, head teachers, educationalists and the wider music community. It's clear that concerns have been raised for some time.

Three years ago the Government came up with the National Plan for Music Education, and in it declared: "Children from all backgrounds and every part of England should have the opportunity to learn a musical instrument."

But every child is not getting this opportunity. Whilst some schools are doing excellent work, music education remains a lottery. A recent report from the exam board of the Royal Schools of Music (ABRSM) showed that while there have been advances, 1.4million children in the UK aged 5-17 have never played a musical instrument. And of the children from more disadvantaged backgrounds who have never played an instrument, 40% said they had no opportunity to learn at school.

For decades politicians have put education at the top of the agenda. But we seem to have ended up with a target and league-table based system, and a too-narrow focus. Head teachers are under tremendous pressure to ensure that targets around literacy and numeracy are met. Yet the Government says the national curriculum is broad and balanced - but is this true in practice? From what I've seen, creativity in the curriculum is being squeezed hard.

Just last week Mike Cladingbowl, Ofsted's director for schools, said that whilst there was an obvious need to focus on English and Maths, this should not be at the expense of other subjects. And he wants to investigate whether they've got the balance right between those core subjects and others such as music and art. But this needs support from the very top - and I hope to hear it in Nicky Morgan's speech today.

Talking to voices across the sector, it's clear that several issues have contributed to music education's current problems. And it's also clear that a committed, multi-faceted approach to tackling them is needed.

It's essential, for instance, that teachers are adequately trained in music education and feel confident to teach it effectively.

Funding is also key. Whilst it's great that the government recently announced an extra £18million for music education, this still falls far short of what is needed - short term solutions won't help address the real problems. We need guaranteed, sustained funding beyond 2016, for at least the length of the National Plan for Music Education - which runs until 2020.

In Basildon, I was able to help with resources and support to teach Year 5 pupils to play instruments - instruments I managed to pull together through a local 'instrument amnesty', an initiative I decided to roll out across the UK. The results in just one term in Basildon were inspiring: not only did children enjoy learning to play, it boosted their confidence and for some even improved results in other key subjects.

This is no surprise when you consider that study after study have demonstrated the positive knock-on effects of a good music education for subjects like literacy and numeracy, and a host of other outcomes.

We need to make sure that every child, whatever their background, gets a good music education at school. Spurred on by my experiences and what I've learnt from the sector, I've started a campaign, and a petition calling on education secretary Nicky Morgan to deliver on the Government's promise set out in the National Plan for Music Education, to give every child a good music education and the opportunity to learn an instrument.

In just a couple of weeks nearly 70,000 people have already signed up. We want to work jointly with the sector to build on their good work, galvanise the public and help improve music education for all.

Please join us and sign my petition at dontstopthemusic.co.uk/add-my-name or follow on Twitter on #dontstopthemusic

Maroon 5 Video For 'Animals' Stars Adam Levine As Butcher Stalking New Wife Behati Prinsloo

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Adam Levine and his new bride have found a bizarre, some might think, way of celebrating their marital bliss - appearing together in a Maroon 5 video in which Adam gets to stalk his wife. Hmmm...

The video for the latest song, 'Animals', from Adam's band Maroon 5 finds Victoria's Secret model Behati Prinsloo entering a butcher's shop and asking for two cuts of meat. Adam, whose distinctive tattoos mark him out despite his butcher's uniform and glasses, is busy slicing meat behind the counter, and thus his obsession is ignited.

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Adam and Behati find a way of bringing their marriage to the office


A few arty shots and several bars later, and his distinctive vocals kick in with Maroon 5's usual catchy beat and hooks.

Nothing usual about the video, though, which (we think) aims to highlight the similarities between humans and animals... including lyrics such as "preying on you tonight", "eat you alive" and "I can smell your scent for miles".

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Adam Levine plays a butcher in this unusual video


Adam continues to hang out in his abattoir, smearing himself with animals' blood - as you do - leaving only to stalk Behati into a club, across the dancefloor and into her bed... except it turns out this is just his fantasy, based on the millions of photographs he's secretly taken of her. So that's okay then.

Hmm... so how did YOU spend your honeymoon? Not sure we'll be seeing George and Amal emulating this exercise in PDA any time soon, but each to their own...



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The Rise of Like

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I recently shot a music video for a song called War of Words by the very talented Ella on the Run. If you like catchy electro, check out Ella's earlier track, Golden Boys.

Ella on the Run - Golden Boys

During a packed day of filming I realised that I've come down with a serious affliction: I'm a 'liker'. Likers are people who use the word 'like' in a variety of ways that have nothing to do with a comparison or expressing a fondness for something. I had that Matrix moment of self-awareness when I heard myself saying the words, "I was like, you can't do that."

In this instance I'd replaced the perfectly satisfactory word 'said', with the words 'was like'. Once I'd realised that I was a liker, I caught myself using like in place of a pause. Instead of the dreaded 'er' I was subbing in the equally unattractive like. I found I was also using like as an unnecessary additional word, "So we went to the pub and there was like this guy who had no trousers on." There wasn't like this guy, there was just a guy.

Growing up in North West London, I was often mocked for being moderately well spoken. I don't think I was a defender of the Queen's English, but I certainly never used like as some sort of linguistic condiment, to be sprinkled liberally over every sentence. I wondered when I'd been struck by the affliction and just how far like has spread.

The news isn't good. Like has spread everywhere. Chances are you know a liker. You're probably no more than ten feet from one right now. You could well be a liker yourself. A quick, unscientific straw poll of half-a-dozen friends revealed only one non-liker; my UK manager, who has no time for superfluous words. A movie industry couple are severe likers, using like almost every other word. A well-respected businessman and senior partner in one of the world's largest professional services firms, is a moderate liker. A European musician, who has been living in London less than four years, is another severe liker. Primary school teacher; chronic liker. National journalist; severe liker. If you're a liker, chances are you won't even be aware of it.

Listen to Radio 1 and it's full of likers. Nick Grimshaw is a serious liker. Dev is another big liker. By the way, if you haven't heard his hilarious Strictly fan messaging service for Scott Mills check it out here.

Like is totally mainstream and, because we're deeply impressionable beings, it won't be long before it conquers the nation. None of the people I've spoken to realised they were likers, and most vowed to immediately cure themselves of the affliction. The trouble is it's very hard to undo linguistic programming, particularly when it's taken place without the subject even knowing it.

What really worries me about the rise of like is just how easily it's spread. Language is an expression of thought, and if it's that simple for an unwanted verbal affliction to invade the subconscious of so many people, what other ideas and behaviours might we have caught without realising it?

I'm making a conscious effort to stop mis-liking and am going to try to use the word like properly. For example, I really like this video of Jungle performing live in Bratislava.

Jungle - Live in Bratislava

Of course, that's easy to write. If I was saying it in person it would be like, "I like really like this like video of like Jungle performing like live in like Bratislava."

‘EastEnders' Spoiler: Rape Storyline Photos Show Linda Shocked After Dean's Attack (PICS)

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Next week’s ‘EastEnders’ sees Linda Carter left visibly shaken after Dean Wicks’ shock attack.

Viewers have seen Dean growing closer to Linda in recent weeks, after initially showing an interest in becoming more than friends, and after a night of drinking, he sexually assaults the pub Landlady.

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Linda shows her maternal side ahead of the attack


“Linda’s being very maternal,” actress Kellie Bright, who plays Linda, tells Inside Soap. “There’s a lot of talking, they are drinking some wine - he’s drinking more heavily than she is.

“It gets to a point where Linda starts to backtrack a little when she feels that Dean is misconstruing her concern.

“She ends up making an excuse and leaving the room to make a hot chocolate for them, because she’s aware he’s drinking quite a lot.

“He comes into the kitchen, and before she has time to acknowledge what’s happening, it’s happening.”

eastenders
Linda is left stunned


‘EastEnders’ viewers will then see Linda struggle to decide whether to tell her husband Mick, while attempting to comprehend what’s happened.

Kellie and Matt Di Angelo, who plays Dean, worked with Rape Crisis South London to ensure make sure the storyline is depicted correctly and sensitively.

“I feel honoured to be given the responsibility of raising awareness of such an important issue,” explains Kellie.

“To be entrusted with this storyline, which will not only highlight the issue but also educate against myths surrounding rape, is a privilege.”

Watch ‘EastEnders’ on Monday 6 October to see the events unfold.



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