The Girl Who Kicked the Hornet’s Nest (Swedish With English Subtitles) – Daniel Alfredson

Daniel Alfredson - The Girl Who Kicked the Hornet's Nest (Swedish With English Subtitles)  artwork

The Girl Who Kicked the Hornet’s Nest (Swedish With English Subtitles)

Daniel Alfredson

Genre: Thriller

Price: $ 4.99

Rental Price: $ 3.99

Release Date: October 29, 2010


The final installment of Stieg Larsson's "Millennium” trilogy finds Lisbeth Salander fighting for her life in more ways than one. In an intensive care unit and charged with three murders, she will have to not only prove her innocence, but also identify and denounce the same corrupt government institutions that nearly destroyed her life. Once upon a time, she was a victim. Now Salander is fighting back.

© © 2010 Music Box Films, LLC

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The Girl Who Played With Fire (Swedish With English Subtitles) – Daniel Alfredson

Daniel Alfredson - The Girl Who Played With Fire (Swedish With English Subtitles)  artwork

The Girl Who Played With Fire (Swedish With English Subtitles)

Daniel Alfredson

Genre: Thriller

Price: $ 4.99

Rental Price: $ 3.99

Release Date: July 9, 2010


Based on the international best-selling novel, The Girl Who Played With Fire is the explosive follow-up to the literary and cinematic hit The Girl With the Dragon Tattoo. In this second installment of Stieg Larsson’s phenomenal “Millennium” trilogy, Lisbeth Salander is a wanted woman. A researcher and a Millennium journalist about to expose the truth about the sex trade in Sweden are brutally murdered and Salander’s prints are on the weapon. Her history of unpredictable and violent behavior makes her an official danger to society. Mikael Blomkvist, Salander’s friend and Millennium’s publisher, is alone in his belief of Salander’s innocence. Digging deeper, Blomkvist unearths evidence implicating highly placed members of Swedish society – as well as shocking details about Salander’s past. He is desperate to get to her before she is cornered – but no one can find her anywhere.

© © 2010 Music Box Films, LLC

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The Girl with the Dragon Tattoo (Swedish With English Subtitles) – Niels Arden Oplev

Niels Arden Oplev - The Girl with the Dragon Tattoo (Swedish With English Subtitles)  artwork

The Girl with the Dragon Tattoo (Swedish With English Subtitles)

Niels Arden Oplev

Genre: Thriller

Price: $ 4.99

Rental Price: $ 3.99

Release Date: November 7, 2009


Forty years ago, Harriet Vanger disappeared from a family gathering on the island owned and inhabited by the powerful Vanger clan. Her body was never found, yet her beloved uncle is convinced it was murder and that the killer is a member of his own tightly knit but dysfunctional family. He employs disgraced financial journalist Mikael Blomkvist (Michael Nyqvist) and the tattooed and troubled but resourceful computer hacker Lisbeth Salander (Noomi Rapace) to investigate. When the pair link Harriet’s disappearance to a number of grotesque murders from almost forty years ago, they begin to unravel a dark and appalling family history. But the Vanger’s are a secretive clan, and Blomkvist and Salander are about to find out just how far they are prepared to go to protect themselves.

© © 2010 Music Box Films, LLC

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Fry’s English Delight: Series 8 – Stephen Fry

Stephen Fry - Fry's English Delight: Series 8  artwork

Fry’s English Delight: Series 8

Stephen Fry

Genre: Comedy

Price: $ 5.95

Publish Date: November 11, 2015

© ℗ © 2015 Testbed Audio

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Johnny English – Peter Howitt

Peter Howitt - Johnny English  artwork

Johnny English

Peter Howitt

Genre: Comedy

Price: $ 9.99

Rental Price: $ 3.99

Release Date: July 18, 2003


He knows no fear. He knows no danger. He knows… nothing! When the priceless Crown Jewels are stolen, bumbling Johnny English (Rowan Atkinson) is the only Secret Agent in the country (literally!) who can solve the crime. His prime suspects: a sinister businessman (John Malkovich) and a beautiful woman (Natalie Imbruglia) with a mysterious interest in Johnny's top-secret mission. Can the clueless super spy save the day without denting the nation's pride… or his super-cool Aston Martin spy car? Your whole family will howl with laughter as the clumsiest secret agent ever unleashes an onslaught of outlandish stunts, hair-brained heroics and outrageous goof-ups in this hilarious spy spoof!

© © 2003 Universal Studios. All Rights Reserved.

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Workaholic – English edition – Morgan Magnin, Rosalys & Univers partages editions

Morgan Magnin, Rosalys & Univers partages editions - Workaholic - English edition  artwork

Workaholic – English edition

Morgan Magnin, Rosalys & Univers partages editions

Genre: Manga

Publish Date: February 4, 2012

Publisher: Univers partages edition

Seller: Univers partages editions


Amina works as an executive in a state-of-the-art IT company. She joined that company right after getting her degree and progressively climbed up through the ranks. Greater responsibilities also imply greater pressure. Amina spares no effort working overtime. And it’s not unusual for her to leave the office around midnight. But strange events will occur on a stormy night… A complete story, as a tribute to josei manga. “Lady” Collection, comic book, 32 pages. Translated from French by Noctural Azure.

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Johnny English Strikes Again

Johnny English Strikes Again Opens Friday, Oct 26, 2018

A cyber-attack reveals the identity of all active undercover agents in Britain, leaving Johnny English as the Secret Service’s last hope. Called out of retirement, English dives head first into action with the mission to find the mastermind hacker.

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English Motets – The Gesualdo Six & Owain Park

The Gesualdo Six & Owain Park - English Motets  artwork

English Motets

The Gesualdo Six & Owain Park

Genre: Classical

Price: $ 10.99

Release Date: March 30, 2018

© ℗ 2018 Hyperion Records Limited

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The Women (2008) – Diane English & Debi Mazar

Diane English & Debi Mazar - The Women (2008)  artwork

The Women (2008)

Diane English & Debi Mazar

Genre: Comedy

Price: $ 9.99

Rental Price: $ 2.99

Release Date: September 12, 2008


Veteran producer/director Emmy Award-winner Diane English ("Murphy Brown") helms the proto-feminist comedy drama, following the gossip, wisecracking, and overall disillusionment that erupts among a group of socialite friends when their dearest and most envied learns of her husband's marital infidelity at the hands of a backstabbing shopgirl. This all female cast is lead by Golden Globe-nominee Meg Ryan ("When Harry Met Sally"), Academy Award, Golden Globe and Emmy Award-nominee Annette Bening ("American Beauty"), Eva Mendes ("Hitch"), Emmy Award-winner and Golden Globe-nominee Debra Messing (TVs "Will and Grace"), Jada Pinkett Smith ("The Matrix Reloaded"), and Academy Award-nominee, Emmy and Golden Globe-winner Candice Bergen ("Miss Congeniality") with supporting roles by Academy Award-nominee, Emmy Award and Golden Globe-winner Bette Midler ("Beaches"), Academy Award, Emmy Award and Golden Globe-winner Cloris Leachman ("Young Frankenstein"), and Carrie Fisher ("Star Wars").

© © New Line Cinema Picturehouse Holdings, Inc., HBO Picturehouse Holdings, Inc. all Rights Reserved.

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Hugh Grant delivers in Amazon’s brilliant ‘A Very English Scandal’

A delicious three-part import with a first-class pedigree, “A Very English Scandal” tells the true story of British politician Jeremy Thorpe and his secret lover, played — in a dream pairing — by Hugh Grant and Ben Whishaw. Full of sly humor, poignant commentary and bizarre twists, it’s almost like the perfect marriage of “The Crown” and a Coen brothers movie.


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Workaholic – English edition for iPhone/iPod – Morgan Magnin, Rosalys & Univers partages editions

Morgan Magnin, Rosalys & Univers partages editions - Workaholic - English edition for iPhone/iPod  artwork

Workaholic – English edition for iPhone/iPod

Morgan Magnin, Rosalys & Univers partages editions

Genre: Manga

Publish Date: February 9, 2012

Publisher: Univers partages editions

Seller: Univers partages editions


Amina works as an executive in a state-of-the-art IT company. She joined that company right after getting her degree and progressively climbed up through the ranks. Greater responsibilities also imply greater pressure. Amina spares no effort working overtime. And it’s not unusual for her to leave the office around midnight. But strange events will occur on a stormy night… A complete story, as a tribute to josei manga. “Lady” Collection, comic book, 32 pages. Translated from French by Nocturnal Azure. This ePub is optimized for iPhone/iPod. If you want to read it on iPad, please search in iBookstore for the iBooks optimized especially for iPad for a more beautiful experience.

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Fry’s English Delight: The Complete Series 1 (Unabridged) – Stephen Fry

Stephen Fry - Fry's English Delight: The Complete Series 1 (Unabridged)  artwork

Fry’s English Delight: The Complete Series 1 (Unabridged)

Stephen Fry

Genre: Arts & Entertainment

Price: $ 5.95

Publish Date: July 1, 2009

© ℗ © 2009 Audible Studios

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Starlit Adventures (English) #3 – Rockhead Games

Rockhead Games - Starlit Adventures (English) #3  artwork

Starlit Adventures (English) #3

A Pretense with Innocents

Rockhead Games

Genre: Graphic Novels

Publish Date: October 22, 2015

Publisher: Rockhead Games

Seller: Rockhead Games


Bo & Kikki go to Stonelit Island to try and help Buna to get a beautiful stone back, but things turn out not being like they seemed to be at first.

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Starlit Adventures (English) #2 – Rockhead Games

Rockhead Games - Starlit Adventures (English) #2  artwork

Starlit Adventures (English) #2

That Bird is on Fire

Rockhead Games

Genre: Graphic Novels

Publish Date: October 22, 2015

Publisher: Rockhead Games

Seller: Rockhead Games


The Starlits are having a sweets party and Farmer Lu shows up to deliver some milk, but accidentaly bumps into a Sibling Star that falls to the Low Lands. Bo & Kikki must go out and recover it!

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WTO Jon’s diary English Special Edition – Reed Riku

Reed Riku - WTO Jon's diary English Special Edition  artwork

WTO Jon’s diary English Special Edition

Comic Manga Graphic Novel Harry Potter The Maze Runner The Walking dead The hunger game of Throne Lord of the ring Narnia Final fantasy Resident evil I am number four Golden compass insurgent support English, French, German, Italian, Portuguese, Spanish, Catalan, Galician, and Basque amazon unlimited comic english animation fantasy adventure lending library for prime members free books, graphic novel prime eligible kindle edition free, free books grey kindle edition, kindle ebook free prime ebooks, kindle books kindle fire, marvel fantasy adventure Superman batman angry bird minecraft warcraft attack on titan anna todd anonymous a game of thrones bleach bilingual bible blue jeans bible Chinese maker charles dickens chuck darwin dragon ball dragon warrior deadpool kills the marvel universe dan brown don english grammar ff7 facebook hacker free books five nights at freddy’s graphic novel globalwarming god of war google Japanese minecraft pride and prejudice patrick sword art online slam dunk twilight war and peace zombies

Reed Riku

Genre: Other

Publish Date: September 17, 2016

Publisher: CS Publish

Seller: Kenneth Lu


Tales of Terra Ocean Long before the distant past, Earth was an organic whole without form and void 。 A divine goddess named Pan Gu separated Earth from Heaven to form Terrestrial continents 。 Once every sixty six thousand six hundred and sixty six year, a disastrous scourge would be brought upon this land 。 Floods, drought, famines, earthquakes and disease epidemics spread through out Earth 。 Four Sages walked across the continents and discovered the myth of contrary forces, which were interconnected and interdependent in the dynamic natural cycle 。 Relying on absorbing the spirits of sun, moon, fire, water, wind and earth, an animating force was formed within beads which could summon the catastrophic destruction brought upon land but also able to preserve the existence of mankind 。 Weapons were forged with spiritual beads, passed down through generations and were dubbed 「 Eternal Summoning Weapons of the Ancient 」。 As the plot progresses throughout this book, readers will be able to browse inside an ordinary youngster’s extraordinary journey, retroactively entering the chronological time warp of paranormal summoning monsters, and witnessing a new era of fantasy stories 。 This book guarantees an unprecedented scale in the classical Chinese literature 。 A literature of fantasy moniker 「 Tales of Terra Ocean 」

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Starlit Adventures (English) #1 – Rockhead Games

Rockhead Games - Starlit Adventures (English) #1  artwork

Starlit Adventures (English) #1

The Root of the Problem

Rockhead Games

Genre: Graphic Novels

Publish Date: October 2, 2015

Publisher: Rockhead Games

Seller: Rockhead Games


Bo & Kikki need to find a cure to help Pat the Starlit getting better, with the help from Wisey and friends.

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Marrying Mr. English, The English Brothers #0.5 – Katy Regnery

Katy Regnery - Marrying Mr. English, The English Brothers #0.5  artwork

Marrying Mr. English, The English Brothers #0.5

Katy Regnery

Genre: Fiction & Literature

Publish Date: December 18, 2015

Publisher: Katharine Gilliam Regnery

Seller: Draft2Digital, LLC


"Katy Regnery is a fresh new voice. I eagerly await every Katy book and I tell everyone I know to read them!" –Carly Phillips, NY Times Bestselling Author  Note: Marrying Mr. English is a STANDALONE PREQUEL to the English Brothers series and can be read before or after the other six books.  Trust fund playboy, Tom English, was supposed to find a "good woman" and marry her by midnight on his 32nd birthday. If he didn't, his grandfather promised to disinherit him. Unfortunately for Tom, three days before he was set to get married in Vail, his fiance elopes with her skiing instructor leaving Tom high and dry. With only a week before his birthday, it looks like Tom will forfeit his millions.  When Eleanora Watters, a smart, sassy – totally broke – waitress, spies down-on-his-luck Tom English in the breakfast-all-day diner where she works, she doesn't think much of him. He's at least ten years older than she is and he looks like another trust fund jerk with a silver spoon shoved up his…a-hem. But Tom surprises her. Set up on a blind date by Eleanora's cousin, the two bond over books, and after spending just a few hours together, Eleanora offers to marry Tom in order to help him secure his fortune.  After a whirlwind marriage in Las Vegas, Tom and Eleanora begin to realize that they're not as unlikely a match as they once seemed, and their feelings for each other deepen. But when Tom's grandfather sees through their scheme and threatens to cut them off, Tom will have to decide if he wants the money more than the Colorado waitress who seems to be something between "a dream and a miracle."  This full-length, standalone prequel can be read before OR after the six English Brothers novels!  _________  *All books in The Blueberry Lane Series can be enjoyed as standalone novels.* THE BLUEBERRY LANE SERIES : THE ENGLISH BROTHERS (Blueberry Lane Books #1-6 & 11) Breaking Up with Barrett Falling for Fitz Anyone but Alex Seduced by Stratton Wild about Weston Kiss Me Kate Marrying Mr. English THE WINSLOW BROTHERS (Blueberry Lane Books #7-10) Bidding on Brooks Proposing to Preston Crazy about Cameron Campaigning for Christopher THE ROUSSEAUS (Blueberry Lane Books #12-14) Jonquils for Jax Marry Me Mad J.C. and the Bijoux Jolis THE STORY SISTERS (Blueberry Lane Books #15-16) The Bohemian and the Businessman The Director and Don Juan  

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Goldfish Girls L [English Edition] – Junpei Goto

Junpei Goto - Goldfish Girls L [English Edition]  artwork

Goldfish Girls L [English Edition]

Junpei Goto

Genre: Manga

Publish Date: May 30, 2013

Publisher: GPub

Seller: GPub


"Based on an unbelievable yet true story –" A Japanese comic artist Junpei Goto’s new work, composed of simple sentences and beautifully-colored illustrations, is not just an ordinary picture book! Now that our all-time favorite books placed by our pillows are transforming into e-books, what kind of works can be treasured in the modern world? The answer is: The world impossible in printed ink, expressed in 16.77 million RGB colors that only a liquid crystal display is capable of unfolding. Please adjust the brightness setting of your display to max, and enjoy the beautifully-colored story of a blossom of youth! Try our Lite-version as a starter!

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Ricky Gervais Guide to… THE ENGLISH (Unabridged) – Ricky Gervais, Steve Merchant & Karl Pilkington

Ricky Gervais, Steve Merchant & Karl Pilkington - Ricky Gervais Guide to... THE ENGLISH (Unabridged)  artwork

Ricky Gervais Guide to… THE ENGLISH (Unabridged)

Ricky Gervais, Steve Merchant & Karl Pilkington

Genre: Comedy

Price: $ 1.95

Publish Date: April 3, 2009

© ℗ © 2009 Glyn Hughes

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The Girl with the Dragon Tattoo (Swedish With English Subtitles) – Niels Arden Oplev

Niels Arden Oplev - The Girl with the Dragon Tattoo (Swedish With English Subtitles)  artwork

The Girl with the Dragon Tattoo (Swedish With English Subtitles)

Niels Arden Oplev

Genre: Thriller

Price: $ 7.99

Rental Price: $ 2.99

Release Date: November 7, 2009


Forty years ago, Harriet Vanger disappeared from a family gathering on the island owned and inhabited by the powerful Vanger clan. Her body was never found, yet her beloved uncle is convinced it was murder and that the killer is a member of his own tightly knit but dysfunctional family. He employs disgraced financial journalist Mikael Blomkvist (Michael Nyqvist) and the tattooed and troubled but resourceful computer hacker Lisbeth Salander (Noomi Rapace) to investigate. When the pair link Harriet’s disappearance to a number of grotesque murders from almost forty years ago, they begin to unravel a dark and appalling family history. But the Vanger’s are a secretive clan, and Blomkvist and Salander are about to find out just how far they are prepared to go to protect themselves.

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Workaholic – English edition for iPhone/iPod – Morgan Magnin, Rosalys & Univers partages editions

Morgan Magnin, Rosalys & Univers partages editions - Workaholic - English edition for iPhone/iPod  artwork

Workaholic – English edition for iPhone/iPod

Morgan Magnin, Rosalys & Univers partages editions

Genre: Manga

Publish Date: February 9, 2012

Publisher: Univers partages editions

Seller: Univers partages editions


Amina works as an executive in a state-of-the-art IT company. She joined that company right after getting her degree and progressively climbed up through the ranks. Greater responsibilities also imply greater pressure. Amina spares no effort working overtime. And it’s not unusual for her to leave the office around midnight. But strange events will occur on a stormy night… A complete story, as a tribute to josei manga. “Lady” Collection, comic book, 32 pages. Translated from French by Nocturnal Azure. This ePub is optimized for iPhone/iPod. If you want to read it on iPad, please search in iBookstore for the iBooks optimized especially for iPad for a more beautiful experience.

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Handel: Water Music – The English Concert & Trevor Pinnock

The English Concert & Trevor Pinnock - Handel: Water Music  artwork

Handel: Water Music

The English Concert & Trevor Pinnock

Genre: Classical

Price: $ 9.99

Release Date: October 31, 1983

© ℗ 1983 Deutsche Grammophon GmbH, Hamburg

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Air – The Bach Album – Anne Akiko Meyers, English Chamber Orchestra & Steven Mercurio

Anne Akiko Meyers, English Chamber Orchestra & Steven Mercurio - Air - The Bach Album  artwork

Air – The Bach Album

Anne Akiko Meyers, English Chamber Orchestra & Steven Mercurio

Genre: Classical

Price: $ 9.99

Release Date: February 14, 2012

© ℗ 2012 Entertainment One Music

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The English Assassin (Abridged Fiction) – Daniel Silva

Daniel Silva - The English Assassin (Abridged Fiction)  artwork

The English Assassin (Abridged Fiction)

Daniel Silva

Genre: Arts & Entertainment

Price: $ 17.95

Publish Date: March 22, 2002

© ℗ © 2002 Random House Audio

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Rockshow – Paul McCartney, Linda McCartney, Denny Laine, Jimmy McCulloch, Joe English, Howie Casey, Tony Dorsey, Steve Howard Jr. & Thaddeus Richard

Paul McCartney, Linda McCartney, Denny Laine, Jimmy McCulloch, Joe English, Howie Casey, Tony Dorsey, Steve Howard Jr. & Thaddeus Richard - Rockshow  artwork

Rockshow

Paul McCartney, Linda McCartney, Denny Laine, Jimmy McCulloch, Joe English, Howie Casey, Tony Dorsey, Steve Howard Jr. & Thaddeus Richard

Genre: Concert Films

Price: $ 15.99

Rental Price: $ 3.99

Release Date: January 1, 2013


In 1975 and 1976 Paul McCartney and Wings undertook the epic Wings over the World tour, the largest scale tour they would ever undertake as a band. From this tour came both the legendary "Wings over America" triple live album and the concert film "Rockshow". Although filmed on this tour at the enormous Kingdome in Seattle, "Rockshow", originally a cut down version of the concert, was not premiered until November 1980 in New York and April 1981 in London. It was released on Betamax and later on laserdisc. Now for the first time the complete full length concert is being made available fully restored from the original 35mm film and with restored & remastered sound, including a 5.1 mix for the first time. This is Paul McCartney and Wings live on stage in a concert that is destined to live forever!

© © 2013 MPL Communications Inc. under exclusive license to Eagle Rock Entertainment Ltd

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The English Patient – Anthony Minghella

Anthony Minghella - The English Patient  artwork

The English Patient

Anthony Minghella

Genre: Drama

Price: $ 9.99

Rental Price: $ 2.99

Release Date: November 15, 1996


Winner of 9 Academy Awards(R) in 1996, including Best Picture, Best Director (Anthony Minghella) and Best Supporting Actress (Juliette Binoche), this powerful motion picture is an experience you will never forget. During World War II, a mysterious stranger (Ralph Fiennes) is cared for by American allies unaware of his dangerous past. Yet, as the mystery of his identity is revealed, an incredible tale of passion, intrigue, and adventure unfolds. Also starring Kristin Scott Thomas, Colin Firth, and Willem Dafoe.

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Goldfish Girls L [English Edition] – Junpei Goto

Junpei Goto - Goldfish Girls L [English Edition]  artwork

Goldfish Girls L [English Edition]

Junpei Goto

Genre: Manga

Publish Date: May 30, 2013

Publisher: GPub

Seller: GPub


"Based on an unbelievable yet true story –" A Japanese comic artist Junpei Goto’s new work, composed of simple sentences and beautifully-colored illustrations, is not just an ordinary picture book! Now that our all-time favorite books placed by our pillows are transforming into e-books, what kind of works can be treasured in the modern world? The answer is: The world impossible in printed ink, expressed in 16.77 million RGB colors that only a liquid crystal display is capable of unfolding. Please adjust the brightness setting of your display to max, and enjoy the beautifully-colored story of a blossom of youth! Try our Lite-version as a starter!

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Fry’s English Delight: The Complete Series (Unabridged) – Stephen Fry

Stephen Fry - Fry's English Delight: The Complete Series (Unabridged)  artwork

Fry’s English Delight: The Complete Series (Unabridged)

Stephen Fry

Genre: Arts & Entertainment

Price: $ 5.95

Publish Date: May 4, 2009

© ℗ © 2009 Audible Studios

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Ricky Gervais Guide to… The ENGLISH (Unabridged) – Ricky Gervais, Steve Merchant & Karl Pilkington

Ricky Gervais, Steve Merchant & Karl Pilkington - Ricky Gervais Guide to... The ENGLISH (Unabridged)  artwork

Ricky Gervais Guide to… The ENGLISH (Unabridged)

Ricky Gervais, Steve Merchant & Karl Pilkington

Genre: Comedy

Price: $ 1.95

Publish Date: April 3, 2009

© ℗ © 2009 Glyn Hughes

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First Listen: The Vaccines, ‘English Graffiti’

Always provocative, the band jettisons post-punk thrash in favor of a sturdier Top 40 pop sound that recalls the early to mid-’80s.

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The English Trailer For ‘The Little Prince’ Is Here And It’s Magical

The English trailer for ‘The Little Prince’ is released.
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Turner India Appoints Head for English Entertainment Channels


Rohit Bhandari will oversee the network’s HBO and WB channels.

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International

English Country Style 2015

Maybe the influence lies in part with a new season of Downton Abbey here in the U.S. or the fact I am on Mid-Century modern overload, but one of the looks I would love to see regain its status in 2015 is English Country Style. Popularized after World War II by celebrated decorator John Fowler, the look was characterized by comfort, tradition and a touch of elegance. By the time the nineties rolled around, the American version was on steroids, reaching its zenith as rooms were overfilled with chintz on chintz patterns, dog paintings hung on sashes and bows on brightly glazed walls and a general overabundance of collectibles while our friends across the pond no doubt winced. It’s high time some of key decorative elements returned.

One of my favorite aspects of English Country Style is the quirky and unusual accessories and no one does it better than the British. I attended the Decorative Antiques and Textiles Fair in London last September and discovered some rather unusual objects that gave the term “conversation piece” a whole new meaning. An antique light fixture constructed from submarine doors, an early 20th century elephant on wheels and a trio of walnut trunk tabletops with butterfly centers were just a few of the items that caught my once jaded American eye. And no English interior would be complete without the requisite dog accessory — everything from toys from the fifties to a handsome pair of English hound lamps was featured.

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Photo credit: Jose Manuel Alorda

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Photo Credit: Decorative Antiques and Textiles Fair

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Photo Credit:Decorative Antiques and Textiles Fair

If you happen to find yourself in London this month, the upcoming Decorative Antiques and Textiles Fair (January 20th through the 25th) at Battersea Park is a must-see. From Art Deco to post-war Modern design and everything in between, the show is one of the best fairs I have attended in a long time. Go early for the best selection, rub elbows with show regular Oprah Winfrey and perhaps you too can channel design-wise your own Lady Grantham.

2015-01-04-Light.jpg
Photo credit: Jose Manuel Alorda

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Photo credit: Decorative Antiques and Textiles Fair


Style – The Huffington Post
FASHION NEWS UPDATE-Visit Shoe Deals Online today for the hottest deals online for shoes!

Dasha, Ben English

Sexy euro chick Dasha takes the oversize tool of porn stud Ben English deep in her tight asshole in this brutal anal flick. The submissive starlet takes Ben’s enormous manhood in her mouth, giving him a deepthroat blowjob before he lays her down missionary and starts to fuck her. Her hole is firm and moist and he puts her through several nasty positions, making her moan and massive breasts jiggle wildly as he slams her. Eventually he bends her over doggy and opens up her tight rear end, slamming his prick deep inside her ass hole. There are some fantastic shots of his pecker sliding the whole length into her tiny booty hole. Dasha takes a messy anal cumshot.

Big Asses Porn

Chats with ZZ Top’s Billy F. Gibbons, Rich Robinson, The English Beat’s Dave Wakeling and Leela James, Plus Sin Cos Tan

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A Conversation with ZZ Top’s Billy F. Gibbons

Mike Ragogna: Billy, in addition to ZZ Top’s tour, there’s a new double disc retrospective CD at Warners being released as well as your Live At Montreux concert at Eagle Rock. Considering your over forty years together are being presented yet contrasted with these two releases, what have you observed to be the biggest changes between the ZZ Top of 1969 and now?

Billy F. Gibbons: We have a much better way of getting to the gigs. Back then it was a van with all the gear stuffed inside and now we go by motor coach and our gear is transported in a semi. The crowds now are a bit bigger… We once played a gig attended by exactly one paying customer but we gave him the full show; bought him a Coke at the end to show our appreciation. Did we mention the food? We’ve come a long way from hash and Big Red Soda but always reserve the right to go back.

MR: Your Live At Montreux 2013 DVD and Blu-ray presents ZZ Top features material from the very early days. Do those songs still have the same impact on you and the guys as they did when you first began performing?

BFG: Absolutely, yes. The prism of time has a way of turning coal into diamonds. We loved those early songs then and still do now. You know… We’re the same three guys–wait for it–playing the same three chords.

MR: Do you have a couple of favorite moments from the Live At Montreux 2013 performances? You’ve played Montreux before, but other than its having been recorded for a release, in your opinion, was there something particularly magical or different about this concert that separates it from prior Montreux performances?

BFG: It was definitely special. We wanted to do something to honor the memory of Claude Nobs who founded the festival and had been our friend for many years. He died quite unexpectedly earlier in that year so we knew we had to do something very special. Since he was a jazz aficionado, we thought we’d jazz things up a big and, to that end, flew in two jazz cats from Austin–Mike Flanigin on B-3 and Van Wilkes on second guitar. Yes, in Claude’s honor, ZZ Top was a five piece groove unit for part of the set.

MR: Does the band have any favorites from the catalog that you still can’t wait to get to in the set list?

BFG: We have an inclusionary policy. If we recorded it or sort of know it we’re game to play it. We perform songs from “ZZ Top’s First Album” quite regularly and do some stuff we’ve never recorded like Willie Brown’s “Future Blues.” That song dates from 1930 and, as you know, Willie Brown is named checked by none other than Robert Johnson in “Crossroads.” He recorded it for Paramount Records, the label that Jack White has been highlighting of late. And we also do some new stuff.. quite a few off our most recent album, La Futura, the title of which may very well have been inspired by that selfsame Willie Brown, don’tcha know?

MR: At the time, how surprising was the huge success of “Gimme All Your Lovin’,” “Legs” and “Sharp Dressed Man” as both audio and videos hits to the band?

BFG: We approached the video revolution very gingerly. The band figured to just kind of stay in the background and keep the focus on the pretty girls and that little red car. Seems like everybody didn’t mind we were bystanders in our own videos and the rest, as they say, is history.

MR: In the eighties–the age of videos breaking or significantly supporting recording artists–ZZ Top created some of the most fun and outrageous clips in rotation. Your videos maintained a video theme for the group, as if each video were an episode of a series. How did the scripts come together and was there a point when ZZ Top was writing songs with the videos in mind?

BFG: We worked with our renegade director, Tim Newman, Randy’s cousin, as it happened. Tim is very inventive and intuitive. Although we didn’t write songs with video actually in mind, yet we do tend to think and, perhaps, create, with a subliminal cinematic sense.

MR: What are your thoughts about some of your other trademark songs like “Tush” and “La Grange”?

BFG: They’re great. “La Grange” put us on the map in terms of Top 40 radio and we just love to do that “haw, haw, haw” part. “Tush” was written in about as long as it takes to perform. It just jumped up during a searingly sweltering soundcheck and it’s been part of the set ever since. The subject matter in both songs seems to retain a certain universal appeal.

MR: “Degüello”, with “I’m Bad I’m Nationwide,” “I Thank You,” “Cheap Sunglasses,” and more is considered one of the band’s best albums and personally, I don’t think there’s a weak moment. Might this have been the album that changed everything up as far as ZZ Top’s approach to creating projects?

BFG: The entirety of the “Degüello” recordings, and certainly the mixing, unfolded in Memphis and that soulful setting kind of changed the way we thought about recording and the mystery of the process. Great records made in Memphis goes back for decades and when ZZ hit town, the skill set was in place when we jumped in. “I Thank You,” being a Sam and Dave song that was a Stax Records hit is just that–a thank you to Memphis and the vibe it imbues.

MR: Beautiful. So the band is coming up on 45 years of working together with its original lineup. What’s the musical and personal partnership like with you, Dusty and Frank after all these years?

BFG: It’s intact and ready to go for another 45. We three have a really fine time getting out there playing. We maintain a constant reunion of that early era if you like, so one can think of the last 3 decades as keeping one foot in them blues! On occasion, arriving at a venue early, the game is racing radio controlled cars over the parking lot. Yes, remaining eighteen is our mental immaturity and there ain’t nothin’ wrong with that… Rock on…!

MR: What do you think the state of bluesrock is in these days? Do you think there are any acts out there that might represent some of the best of the field?

BFG: There’ a host of great acts out and about. Like what Black Joe Louis & the Honeybears are doing in Austin and how the Black Keys are putting it down from their current Nashville base. There are lots more… What about Serbian blues chanteuse Ana Popovic? The girl can play. As far as pure singers are concerned, we’re big Shemekia Copeland fans.

MR: Traditional question…what advice do you have for new artists?

BFG: Get out there and play! We don’t know of any other way, especially, if you don’t have pin-up looks.

MR: Any plans or projects in the works for the band or individually in the immediate future?

BFG: We’re thinking about our next album…already have some songs rattling around. The big news for us is a string of dates coming up in a few months with Jeff Beck. That is going to be a tour when we wish we could be in the audience.

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A Conversation with The Black Crowes’ Rich Robinson

Mike Ragogna: Rich, The Ceaseless Sight, what’s the vision of the album and what was the creative process?

Rich Robinson: I knew I wanted to make a record and it worked out perfectly, time-wise. I knew we weren’t going to be touring after 2013. Instead of going in with full songs, I had more skeletons. I had a chorus or a verse or whatever and then when we got into the studio, we used that energy of, “We’ve got to get this done.” We had a short time, we only had a month to make the record. A lot of times, that happens in Woodstock, or in the studio in general. You have a couple of ideas, but when you get in the context–especially with me, because I like to write with drums in the room–you get in that context and it kind of clears the path and allows for that energy to come through and create those songs. I didn’t necessarily have a context going into this record. For twenty-five years, I’ve always tried to approach making records as a collection of songs that create something slightly greater than one song as a whole piece. The sequence of a record, the songs of a record, how does the verse fit into a song, how does the chorus fit into a song, how do they songs fit into a record, how does the record fit into my body of work? How does that fit into twenty-five years of doing this? To answer the question of the uniqueness of this record, a lot of times, I would have songs done before I went into the studio. For twenty-five years, I would have ten or fifteen almost done going into the studio, but this time, like I said, I’m just using skeletons.

Some songs took a while to write. “Down The Road” was a song where I had this verse part for a long time and every time I would sit down with it it wasn’t ready to be finished and then I finished it and that was it. Then “I Know You” and “Giving Key” I wrote right there on the spot. It took about five minutes to write those songs. In a sense everything just flowed for those two songs. It doesn’t make eitehr song more or less valid, it just makes them different. Over the years with Crowes there have been songs that took me a long time to write. I wrote the verse to “Nonfiction” early on Southern Harmony but I dind’t finish it until Amorica. It took a year and a half to find the right parts to make that. There’ve been songs like that over the years. I just kind of look at it as this one giant experience as opposed to this singular experrience. But I like how they all fit into a greater piece of work.

MR: “Ceaseless Sight” has larger a concept, “Giving Key” has a larger concept. It looks like lyrically and conceptually, you took a bigger swing with this album.

RR: Yeah, I think so. I think creatively and lyrically, yeah. I focus on the music first and throughout writing the songs, I’ll come up with a melody idea or maybe a concept for the actual song, just a general, “This is about this” or “This might be about that.” Then I just sit and listen to the song over and over again in the studio and just start writing, finishing lyrics to it. But absolutely, the whole point of this record is to look forward and not look backwards and to let go of a lot of s**t. I think at least for me and I think a lot of people on Earth tend to look backwards or try to choose what’s easy or what you know. They don’t want to know what’s around the corner, and I think it’s comforting in that sense. I think we’re designed to be comforted by knowing what we can expect, so in that sense, this world is becoming more and more that way. Our politics are tailored to what we want and there are outlets now for that. “I only watch MSNBC” or “I only watch Fox News” or “I only read The Drudge Report,” you know what I mean? There doesn’t seem to be a general acceptance of what “is.” It seems like there used to be at least a general accepted idea that the world is round and gravity exists. Now it’s like, “is it really round?”

MR: You forgot how we’ve only been around for five thousand years and the dinosaurs came over on Noah’s Ark.

RR: Yeah, but the dinosaurs were vegetarians, so they didn’t eat humans and that’s why we lived. But that’s the thing! If we can’t all agree on some common, basic facts, we’re kind of f**ked. In that same sense, the way that we now consume everything–clothes and hard goods. But we also now consume politics. We consume news stories, we consume drama, we consume music, we consume books. It’s more of an approach from a service industry, so we expect our art now to service us instead of the art to challenge us…any sort of creative endeavor, since we’ve been in existence. If you were in 1600, you would go see a piece of art and you were privileged to go see it. But if you think about what you saw, the visuals were given, and it was always something greater than yourself, always something you could strive to be. It’s what Joseph Campbell talked about, it’s what the amazing people throughout the millennia talked about, something greater than oneself. Art always did that.

MR: But isn’t it the Selfie Era?

RR: Yeah, absolutely. I open an Instagram account and the majority of them are girls taking pictures of themselves, and then you see these dudes taking selfies everywhere, but it’s really interesting where that has gone. It’s an absorption of the self. If you used to be self-absorbed in the past, how many outlets could you deal with that on? Now we’re on a newer level with technology and the amount of absorption that you can have is f**king crazy. Not only can you absorb yourself in yourself, you can absorb all of the influences in life around you to yourself. You can choose the media that you can absorb, you can choose the movies, you can choose your fashion and your friends and it’s this f**king Bizarro World to me.

MR: It’s fun to glamourize and worship yourself!

RR: Absolutely! But on the flip side, and the great thing about life and the world is that everything’s a paradox. As you have that ability, there are people who are rejecting it and actually pulling out and saying, “You know what? I don’t want that.” You think about the resurgence of vinyl, you think about the resurgence of independent film and indie bands releasing records or these kinds of things and there is a movement that is growing and bubbling and it is real and they are great. There are really great bands out there. There are great bands that are out there playing and they don’t really play that game. And there are people who listen to those bands and have more respect. The harder you have to work for something, the more respect you should get. If you can walk into any store in America, hit a Shazam button and the Shazam will tell you exactly what the song is playing and then you can hit another button and all of a sudden, you own that song within three seconds. How can you have respect for that? How is that not disposable?

But if you go to a store and you buy a vinyl and you throw down physical money or a credit card, just the act of that in a living, breathing place where there’s smells, where there’s physical things that you can touch tactilely, your finger prints are on this thing and you see this album with artwork that someone took the time to make and there’s titles of songs and a gatefold. When you go home and you pull the vinyl out and put it on the turntable, something chemically happens in your brain that says, “You are experiencing something,” and you have more respect for it because it took a lot more work to do that. Listening to the record takes more work. You go to put a vinyl on and you listen to it, you’ve got to sit by it because it’s short. One side of a record is fucking short and if you get up and leave and watch TV or whatever by the time you get back your needle’s f**ked because it’s been digging into the end of the side. You have to be vigilant about it. If you’re vigilant about something, you have more respect for you’re going to pay more attention to it. It’s something that I think gives us all a deeper experience. That’s what it’s about. That’s what this record’s about. Something authentic and deep.

MR: And from a lyrical standpoint, you were clearly looking for something bigger to talk about.

RR: Oh yeah, absolutely. Universal themes that have run through humanity since the dawn of time, since people started thinking. We’ve gotten away from those things. And also spirituality, what spirituality means and where I am as a person and where we are as humans, what the f**k are we doing here? Are we literally here to just buy more s**t? It’s because, like I said, it’s so easy to just surround yourself with what’s familiar. That’s the easy way out. It’s easy to become pessimistic. It’s easy to just think, “Oh, everything sucks, everything sucks.” But the world is your perception and if you just turn your perception around and think, “Everything’s cool,” not everything does suck… There are some problems, but it’s not the problem that’s the problem, it’s how you perceive the problem, you know what I mean? In that sense, a little optimism always goes a long way.

MR: Rich, it could have been easier to just create within The Black Crowes, but you went for the solo career. It was because you wanted to say different things than what was going on with the band, right?

RR: Absolutely. Also, my brother is the mouthpiece of the Crowes and what his beliefs aren’t what my beliefs are necessarily. A lot of times when he would do press he would say a lot of things that I didn’t necessarily agree with or weren’t my position. So it’s kind of cool to get away and express myself this way. In The Crowes my expression was music, I wrote the music and Chris wrote the lyrics. Music is a more esoteric expression. There’s nothing that’s concrete in the expression of music. It’s very subconscious and ethereal and different people will get different things out of it. That’s what I love about it, but there’s also another element to that which is lyrical, and there’s also another element to expressing yourself which is being able to come out from this thing that is what it is and has been around for so long that the band is kind of stuck in it. I wanted to pull away from that and start a more free form of expression just for myself. That’s what I hoped to accomplish on the record, and all my records, but as time goes on and as I do more and get more comfortable with it I get to open up and see the light and see positivity.

MR: And it’s a ceaseless sight.

RR: Yeah, exactly.

MR: What advice do you have for new artists?

RR: I’ve worked with some younger bands producing and writing and the only thing that I try to tell them is whatever you do, do it for the right reason. If you write music that moves you, if you write music that’s authentic and sincere eventually someone will come around and like it, but if you only want to be a celebrity the world’s better off if you just fuck off and go do something else. Figure out another way to be a celebrity. Be on a reality TV show or whatever the f**k it is. The creation and your intention behind the creation is too important to the world. I think that people who create should feel a responsibility in their creating. You can argue whether it’s good, bad… Everyone’s going to have their opinion. Some people are going to like it, some people are going to hate it, but if your intention is true and you’re true to yourself and you write something that’s authentic and means something to you, that intention will move forth in the universe. That’s all that is lacking. If you can do that, then f**k it. Whether you’re playing in front of five people for the rest of your night or five hundred thousand people it’s still righteous because it’s coming from a more righteous place.

MR: Is this what you would have told the fifteen year-old who wrote “She Talks To Angels?”

RR: S**t, I kind of did. That was something that moved me, I wrote it and I was proud of it and it was genuine. That’s how I’ve always done it. I think there are people out there who do that, but I just think if you say, “I’m gonna go start a band,” what everyone seems to do now is focus on social media. “If I do this I’ll get fifty hits,” and then you go back to this whole selfie thing and it’s all about shameless self-promotion. “If I like this guy on Twitter then my band gets out there and the four thousand people this guy has will look at my band.” It’s almost like this weird corporate branding gone wild. It’s cross branding. “Well I like that guy and he likes me and that guy…” what it becomes is, “You do for me and I’ll do for you,” and that’s all it is. You have that and then some bands are great at videos, they have their video faces down, and then the next thing will be the social media faces and their image and the music is last. The music should come first. None of that other s**t matters. If you’re coming from a sincere place and writing music that means something to you that vibration goes out into the universe and that’s what’s righteous. If it’s meant to be the laws of attraction will attract fans to you and the fans that like you will like you because what you’re doing is not full of s**t. It’s not duping anyone, it’s not bulls**t, it’s real. That’s just how I see it.

MR: So you left because of what you had to say, what you had to get out from inside.

RR: Exactly.

MR: What does the future look like for Rich Robinson?

RR: We’re touring, obviously we have a bunch of dates coming up, it’s going to be cool, these shows are going great, the band’s really gelling well together. Joe [Magistro] and I have been playing together for ten years now, and Matt and Ted and Dan who are all in the band. We just started playing together about a month ago but it’s going really well. We’re going to focus on that, we have that going on and then we’re planning on doing another art show in the fall with my brother-in-law. We paint and do that, we’re also working on a sculpture.

MR: Do you take the paint set on the road with you?

RR: No, I work on bigger canvasses and I use oil so they wouldn’t dry. I have to sit still to do that kind of stuff.

MR: Were you always the kid who was creating things?

RR: Yeah, kind of. I would say so. It brings joy. If you follow your joy, you’re good to go.

Transcribed by Galen Hawthorne

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photo courtesy of The English Beat

A Conversation with The English Beat’s Dave Wakeling

Mike Ragogna: Dave, you’re doing a pledge campaign tied into your new album?

Dave Wakeling: We are, indeed. This pledge campaign is to attract Medicci-like benefactors who pledge to buy the album in advance for any of the exciting premiums we put in, like you can shred guitars with Dave for an afternoon or you can go for dinner with me or you can travel on the tour bus for a couple of days or travel in the van in California. We’ve always been quite close to the people who come to our concerts, we’re pretty easy to get hold of, but this takes it a step further, now. It’s quite been fun. People can come to the studio and sing on the chorus of a song, for example, and depending on how good their voice is that’s how loud it will be in the mix.

MR: What is it that you’re expecting ultimately from this?

DW: We’ve got demos of about twenty songs and we’re feeling thoroughly confident, I must say, that we’ll use those demos and play them and put the lyrics up on the pledge page. It’s a way of trying to attract people to pledging for the project by giving them access to the behind the scenes, warts and all. Well, hopefully no warts. I think it’s really quite interesting because the record company largesse is taken out in a way, isn’t it? Everybody pledges to buy an album for ten bucks and that actually pays for the studio to make the record. I like it. It’s another different thing that’s happening with the twenty-first century, isn’t it. The record industry has turned on its head somewhat. It’s still the same thing, it’s not completely different, it’s just a hundred eighty degrees different.

MR: What do you think about that? What do you think about being a band in this environment versus when you had a different recording and marketing paradigm?

DW: I prefer it. Don’t get me wrong, the record company business was terrific, but then you realized you were paying for everything a couple of years later. So that part of it wasn’t that much fun. But there was something charming about a young executive being willing to lend four alcoholics half-a-million dollars to see if they could remember any of their tunes when they get to the studio. That was very decent of them. So they did have their role, but there’s something clean about this that’s nice. It’s not all bribery and money under the table; it’s pretty straightforward. I think it’s a little bit like working live on the road, I’m now doing the traditional ceremony of playing, going home to the tour bus and I’m now at Wal-Mart buying myself flour, soup and a pair of dumb bells. I’m thinking of getting some of these kettle bells. They’re new, aren’t they? Have you ever used them?

MR: Yeah.

DW: What do you think? Do you like them?

MR: You have to be very careful to do it right, otherwise you can hit yourself in a very bad spot.

DW: [laughs] I was just trying it as you said that, it’s not good. I’m sticking with the regular blue ten-pounders and such. You can’t do that in the back of the bus. You can’t swing a cat in the back of the bus. In fact, there’s a sign, “No logs in the bog and no swinging cats,” or something like that.

MR: Are there rituals that you don’t want to violate after all these years?

DW: There are rituals, yes, but they’re all mainly to do with violation. That’s why we all end up in groups. Let’s cut to the chase here: Anybody in a group, anybody who works with groups, deals with groups, writes about groups or even goes to watch groups and listens to music are basically a sociopath. Something happened at a very young age that made us run to music from the awful pressures to whatever it was that was going on outside. Take all that with a pinch of salt. That’s all we risk now, is a pinch of salt. We can’t risk anything stronger than that now.

MR: The English Beat is considered one of the great ska bands, though your music has other influences like punk and reggae.

DW: We wanted to mix it up, you know? We wanted a punky reggae party and it came out very similar to a ska beat, sort of up-four peppy beat with an equal off beat hitting with the on beat. On this new album I’m to try to see if I can get what I originally wanted: I wanted the Velvet Underground jamming with Toots & The Maytals. That’s what I wanted. I wanted the urban angst that I felt from Birmingham, but I wanted the uplifting sense of life and joy and survival from Toots & The Maytals’ rhythm section. I wanted those two bands jamming together and then I would sing over the top of course like Bryan Ferry or Van Morrisson or one of those.

MR: In the United States, your music was featured in High Fidelity, Ferris Bueller’s Day Off…

DW: …and Clueless, that’s the big one. “Tenderness” was in Clueless, and then you’ve got Gross Pointe Blank and then the Scooby Doo episode entitled “Dance Of The Undead,” which is probably my greatest artistic creation to date, frankly. There are two songs in this battle of the bands and the songs are so well-matched against each other it takes Scooby Doo to come in on all fours–or the two back ones, anyway–shredding guitar to win it for the Hex Girls versus the power of the song we wrote. That was really one of my proudest moments.

MR: There’s something about The English Beat meeting Scooby Doo that just seems right.

DW: I met one of the original writers who drew me a very nice picture and he told me a lot of stories about those original sessions at Hanna-Barbara in the valley, and I’m right on the same page. I knew it even as a kid, but when I checked, yep, I knew it.

MR: When you look at The English Beat now versus when you started it, what are the differences?

DW: I never guessed that I would write a song that anybody would hear other than the other people who were stupid enough to join a pop group with me. So for them to come out and for people to like the songs and it goes on for a few years and then really famous people cover your songs and it’s still on the radio when it’s twenty or thirty years later, it really is the greatest gift that a troubadour could ever hope for. You hope to wander round the world singing your odes or whatever they are and you hope that you touch hearts along the way. I’m honored and sort of humbled, which is weird for me. I don’t get humbled that often. Only by women. They’re very good at humbling me.

MR: Are any of the songs in particular that you love to play live?

DW: Yeah! Especially these last couple of weeks, because I just started talking to a producer called Dubmatix, out of Toronto. We started working up some versions from the demos and I’m just on fire with it. He’s a great musician and he’s got a ton of really good samples. I heard stuff while I was writing the songs and I wanted to include it to set the mood and the atmosphere. There’s a song called “Said We Would Never Die,” and in my head as I was singing it, I could hear a breathing machine in an ICU and I heard an old-fashioned sixties black and white English movie ambulance siren and the beep-beep of the machines, and it made an orchestra of medical emergency sounds. We’ve been working on that this last couple of days and he’s done a fantastic job. I told him, “Black and white English movie rainy day ambulance siren” and it was just the absolute perfect one. You could almost see the film. [siren noises] “I say, sir, are you having some trouble? Tally-ho! White Hall double two, double two!”

MR: Do you feel like modern technology has actually enhanced The Beats’ sound or creativity?

DW: I think it’s enhanced everything. It’s allowed the classic songs to get more life and breath and radio stations with wider and deeper playlists have ended up championing some of the songs. They weren’t always top forty monsters at the time, IRS records hadn’t really joined that game. We were college darlings and we made top two hundred on the billboard chart quite often, so we felt jealous at the time, I’ll be honest, because a lot of songs that were getting that top forty push weren’t as good. The massive hits rode more on the strength of their haircuts than their lyrics I thought. But anyway, you soaked it up, and the shows did well and our albums did well, but we never made any singles business. Now I feel happier with each year because I get to hear more and more of our songs on classic rock radio and I hear less and less of the ones that seemed like they were just trying it on at the time. “Wear this shirt, it should sound like this shirt.” “Okay, I’ve got it.” It just seemed a little slavish. Certainly I was jealous and now I don’t feel so bad about it because our songs have prevailed and of course I got a couple of really nice mentions. I always thought I was going to have to pay somebody to say it, but they brought out a best-of box set, a very nicely done job by Shout! Factory. Rolling Stone gave it a smashing review and said, “Wittily savage as Costello.” It was like, “Hello, there we go, me and Declan on the same page. Exactly. We just did a tour in England and a fellow from The Quietus magazine enjoyed the show, thank heavens, and said I was to be spoken of in the same breath as the greats of the genre; Weller, Strummer, Wakeling, which sounds like a company of accountants, doesn’t it? But it had a ring to me. Weller, Strummer, Costello, Wakeling. Yeah, there you go, that’s what I always thought. [laughs]

So here we are, I’m really glad that I still have both knees operating, I can still skank, I’m singing better than ever, which is remarkable, and enjoying myself on stage more than ever. The band is tighter than it’s ever been, there’s a really nice vibe. I just got on the bus today and everybody’s thrilled because they got a big wide bunk bed instead of a narrow one, so they’re all thrilled. I’m nearly at the end of my Wal-Mart ritual, I didn’t really buy much, some soup, some fruit, some almonds and walnuts, a kettle, an ab-roller. I have some remedial work to do, to be honest. I stopped drinking rather abruptly last September–again. I lost an enormous amount of weight, but sadly the weight didn’t send a message to my skin that it wasn’t needed so I’ve got to work on my tummy next. it’s a shame, it was just the right size when I was overweight from the beer, When I had a pot belly, the skin was just perfectly formed around it and quite soft. Now, oh dear, no. So I’ve given myself a challenge, frankly, there’s a lot of stuff going on between now and the record coming out in February and one of the things is I’m going to get this stomach looking great or else I’m going to get it made to look great. The challenge is on, I’m going to see what I can do.

MR: What advice do you have for new artists?

DW: Well, you have to work on a song all night until the hairs go up on your neck. If the hairs don’t go up on your neck, don’t put any more time into that one. If you’re going to try and write something that moves other people, you have to write something that has quite a dramatic effect on yourself. It has to give you quite a jolt when you write it, “Whoa, blimey! That’s a little edgy, Dave!” Or it makes you cry or you might be crying when you write it. So it has to be loaded with emotion. You don’t want to waste a word in a song, really. One bad line’s enough to take away the power of the two around it. You have to weigh every word. It takes me about ten minutes to write a song and then about nine months to finish it. That can include a week, really, of wondering if something should be sung as a semi colon or a comma, and I just drive myself nuts over it. You can’t sleep, you’re wandering around chain-smoking, “What’s the matter?” “Oh, nothing!” You don’t dare tell them it’s because you don’t know whether to use the word “yet” or “but.” [laughs] But it seems important at the time. I just think the nicest things are complicated things that come across as simple. What I really dislike is really simple things that are all tarted-up to look really complicated. That’s something I think you need to do. You need to put an enormous amount of work into it to make it feel effortless. That’s probably true for everything, but it’s definitely true for writing a song.

MR: What does the future look like for David Wakeling and for The English Beat?

DW: I’m doing everything that I want, I can’t imagine doing anything else. At the moment, I think I’m just intrigued by, “How do we make this record?” How do you make a statement that resonates with people who liked your records thirty years ago and still might but are different? And at the same time, how do you make a record that sounds like it’s this year? In the same way as in 1979, I didn’t want to sound like it was 1963 from Kingston, Jamaica. Now I don’t want to sound like Birmingham in 1979 because I want to be from California in 2014, so that’s the challenge–how to finesse that. That’s keeping me excited at the moment. One of the funniest bits of songwriting is the presentation. You’ve got somebody who’s got every sound in the world as a sample at their fingertips and they say, “Right, 1963 ambulance with a Boeing jet and two eggs frying,” and he can just do that and sing over the top of it. With the more options you’ve got the more diligence you’ve got to have. With each new idea for a song, on goes the headphoens and you’ve got to try and feel what that part does to me whilst I’m singing it and carefully think about instrumentation. I think with this record I wanted to try and make it so the vocals and the melodies are what come straight at you and everything else is around it dramatically to support and project. I think there are some really great pop records being made at the moment that manage to do that quite well and not necessarily having a whole band going, “One, two, three, four,” and everybody just starts at the beginning and stops at the end. They’re going to be constructive songs that have the minimum amount of support to make it appear effortless. It’s going to take an enormous amount of hard work to get to that point but we’ll get it. “Let the songs lead the way,” is what we normally say. “Does that make the hair go up on your neck more, or less?” If it makes the hair go up more you’re probably on the right track.

MR: Nice. We talked about a lot of things, is there something we didn’t cover?

DW: No, I’ve been busily going down the cleaning aisle and there’s not much controversy there. You’ll be pleased to know that Wal-Marts are starting to get a number of more organic and planetary options. I managed to get some surface wipes that are just made of lemongrass and thyme. Even at Wal-Mart they’re starting to be different.

MR: Guess everything evolves.

DW: You know, apart from me, sometimes. I get stuck. But yeah, just like Huffington Post, I remember when that started I was like, “Oh, that’s quite a good idea!” Now, it’s like the biggest news thing in the world. It’s kind of nice with all those correspondents and people being able to get involved and connect. It’s a bit like this pledge thing. They’re early days yet but I think it’s a sign of new society. To be honest, I don’t know whether we’ll have a chance to see it through. Some of the naysayers would rather stand in the jolly-good circle and execute each other. Shoot some sense into each other, that’s the only language some people understand. We might have to deal with that bunch, but there are some very interesting evolutionary changes going on. But my kids in California, for example, I find them very interesting because they don’t refer to any of their friends by what color they are. They don’t notice. It’s not a point of reference now. For my parents, it was a point of reference on who you didn’t speak to. “Oh, is that your black friend, then?” But now they don’t notice. They’re in the California sunshine so they’re all kind of the same color anyway, but they don’t notice. I just think that’s amazing. You sit in and listen sometimes, and the contents of their character is more important than the color of their skin. That’s how teenagers are now in America, that’s evolution.

MR: It’s a great thing. It seems like the people who will just go down swinging on stuff like that are people who were born in a certain era and they’ve seemed to all gravitated to these paranoid, fringe associations.

DW: I think you’re right. But things are moving generally in the right direction, though like you say, some people are afraid of social change. Most often, they’re people who have been brainwashed by their parents in one way or the other. I think they’re fascinating times and thank heavens we’ve got stuff like Pledge Music and stuff like Huffington Post and all sorts of different ways now to share and create information, which I think is all for the good. I’m pleasantly excited. And I’m pleased that I’ve done a very specific Wal-Mart run. I haven’t bought any junk food. I used to have somebody come to Wal-Mart with me and we always used to end up with four hundred bucks worth of junk food, but I haven’t got any junk food at all tonight, I’ve got fruit and nuts and healthy organic soups, I even bought a box of green tea but we’ll see about that. Only if all the rest of the tea and the coffee’s run out. But no, we’re going to try it, come on.

MR: I wish you luck with everything. The album’s coming in February?

DW: Yes, but if you go onto the pledge site we’re going to start putting up demos of the songs and lyrics of the songs and we’ll be showing little bits from the studio. From now, anybody who wants to pledge to buy the album or any of the other fancy prizes get to watch an inside scoop as it were on the making of the record and the demos and even interviews.

MR: This has been wonderful. I really appreciate your time, and let’s chat again in February when the album comes out!

DW: That would be great, man! It’s going to come out ostensibly the seventeenth, which is equidistant between my birthday on the nineteenth and Valentine’s on the fourteenth. I thought that was an auspicious week, so that’s what we’re aiming for. Who knows when it really comes out? When it’s done. That’s the plan, some time around then.

MR: Thank you so much for your time, Dave!

DW: Absolutely perfect timing, all the stuff’s being put into the Wal-Mart bag. That was good, I managed to do all my shopping and I spoke to a very nice fellow who contributes to one of the most powerful news media organizations in the world. You get to do some good things when you’re a singer.

MR: Oh, you…

Transcribed by Galen Hawthorne

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A Conversation with Leela James

Mike Ragogna: Leela, how did your stint as a star on TV One’s RnBDivas LA come about?

Leela James: My experience doing the RnBDivas L.A. show was great, challenging, unexpected. I figured I knew what to expect, and I didn’t. Without giving up too much, let’s just say I look forward to it airing.

MR: Just how cool are Chante Moore, Lil’ Mo, Michel’le and Claudette Ortiz to work with?

LJ: For the most part it was cool working with everyone on the show.

MR: You received the 2008 Soul Train Music Award for Best R&B/Soul or Rap Artist of 2008. In 2014, what do you think “R&B” and “Soul” mean these days?

LJ: Soul music, however cliché this might sound, is really just music that comes from the soul, and is meant for the soul. To me, soul music is the same today as it was yesterday; soul music doesn’t change, the people that sing it changes.

MR: Does the “reality” element of the show stay pretty real or does it rely pretty equally on scripted dramas, etc., you know, the way virtually every other reality show exists?

LJ: Every reality show is different, and I can only speak to my experience doing RnBDivas. I can tell you it’s real.

MR: Your latest video for your hit “Say That” features Anthony Hamilton. How did this come together?

LJ: Anthony Hamilton and I always talked about working together over the years, and this time things just fell into place and we were able to make it happen. So much in the music world–and I guess in the world in general–is timing.

MR: Your last album was a tribute to Etta James, and you were called “Baby Etta” as a child. How were you originally introduced to her music and just how inspirational was she to your creative growth and who are some of your other influences?

LJ: Fortunately, I was exposed to all kinds of music growing up, and Etta James stood out as one of my favorite artists. I was inspired by the sound of her strong voice, I remember it hitting me like a wave.

MR: What was the tipping point where you made the decision you had to be a musical artist full time?

LJ: I decided I wanted to be an artist full time the day I got a standing ovation as child after singing at talent show. The look in the eyes of the people applauding for me made we want to continue singing for as long as I could.

MR: Does the “acting” portion of the TV show put any kind of surprising demands on you?

LJ: Trying to balance the TV world with my music world was the only challenge for me. In TV, the schedules are strict and the hours are long, and you’re not always allowed to be the creative one. Sometimes, you just follow directions. What’s interesting is that on television there is no real sense of impending reward; In music, the hours are crazy as well but there is instant gratification when you perform at the end of the day.

MR: Leela, what advice do you have for new artists?

LJ: I would advise new artists to simply try and perfect their craft. Keep working, keep writing, keep training. Also, when they are ready for it, acquire a strong team.

MR: Is there anything creatively that you’re thinking of experimenting with in the near future and when is your new album coming?

LJ: You’ll just have to wait and see! My new album Fall For You will be available July 8!

SIN COS TAN’S “LOVE SEES NO COLOUR”

Sin Cos Tan is the musical partnership of producer-DJ Jori Hulkkonen–Pet Shop Boys´Chris Lowe, Jose Gonzalez and Tiga–and Juho Paalosmaa, songwriter and vocalist from the group Villa Nah. They make upbeat pop music that features spiraling synths and catchy lyrics. The band’s forthcoming album Blown Away – an album about a middle-aged American whose life takes a 180 after joining a Mexican drug cartel – is out in August.

Jori Hulkkonen from Sin Cos Tan says, “When we were writing the songs for the album, I tried to turn all my ‘safeties off,’ so to speak; there’s no such thing as ‘too uplifting’ or ‘too big’ when it comes to a chorus. With ‘Love Sees No Colour,’ we wanted to write a feel-good song that would work as a stand alone single for the summer, but when in the context of the album, the slightly darker twist would be more obvious.”


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