Thank you for this adding, Lundi.

After 20 years I'm starting to love Cursed song. Amazing!

 

I kind of knew that this song was about Paula Yates because in a biography about Rob I have read 20 years ago it says that she was by his side when he got his first tattoo - and in Cursed he sings 'Held my hand when I got my first tattoo'. So it must have been about her and everything else fits too.

 

In the biography I also read about a long holiday in South France in 2000 with Rob and Paula and some others. It was a much needed holiday for Rob at the time and you could tell that Paula was a very important person to Rob. At the end of that year she died of an overdose of drugs and in 2001 Rob made another attempt to quit drugs. This time it was successful and I always had the feeling that the drug death of a beloved person like Paula was the wake-up call for Rob to finally succeed in staying drug-free. This sentence in the article may confirm this: 'He saw similarities in them. He felt like he was lucky, that the only difference was how it ended.'

 

Yes -the way he turned his life around is amazing and shows tremendous strength and perseverance.

 

Something he had to work at every day of his life.

 

I admire his for that.

 

They are a bit late with this news but some interesting reading all the same ;)

 

 

Robbie Williams to feature on former Miss France Mareva Galanter's new song

 

Robbie Williams has recorded a secret song with former Miss France Mareva Galanter. The longtime pals have teamed up on a duet called 'Une Tahitienne à Paris' ('A Tahitian in Paris'), 14 years after they met at the Miss France final in 2009. The 'Rock DJ' hitmaker, 49, jumped at the chance to help boost the 44-year-old Tahiti native's music career. A source told The Sun newspaper's Bizarre column: “Mareva and Robbie have known each other for a while and he wanted to help her out. “He performed his song 'Morning Sun' at the Miss France finals in 2009, where he met Mareva, and they have stayed in touch on and off. “She has been working hard to make a name for herself in music for a number of years and when she reached out to Rob, he kindly agreed to help her out.” Robbie opens the song with the line: “Excuse me Miss, but do you speak English? “I don’t speak French well. I’m lost in the city. I come from Stoke city.”

 

And that's not all fans can expect from the former Take That star, who previously revealed he hoped to release two new albums. The 'Angels' hitmaker has an abundance of tunes recorded for his side project Lufthaus - which he founded with Tim Metcalfe and Flynn Francis - but he has more music he wants to release as well.

 

He teased: “I have got two albums coming out pretty soon. I have a vault of new Lufthaus stuff. I could do three albums of it as Robbie Williams but new stuff gets written and you get excited about that. I want to put an album out before the summer.”

 

The pop veteran has plenty of ideas for future releases, including a desire to make a follow-up to his 2006 dance LP 'Rudebox', which featured the Pet Shop Boys and featured production by Mark Ronson. Explaining his intentions for Lufthaus, he continued: “I am not sure if there will be a Lufthaus album. We (Lufthaus) did Ibiza and everybody goes mad and the DJ said, ‘They love us mate.’ We are trying to figure out what live entity Lufthaus is.

 

“I would like to do a 'Rudebox 2' (as well) but I change with the wind.”

The 'Angels' hitmaker confessed that he would prefer to play more of his lesser-known songs from his 'Under the Radar' compilations.

 

He said on the 'Robbie Williams Rewind' podcast: “I want to do more 'Under the Radar' gigs as there is Robbie the public entity but there are the guys at the front who want more. But there are 17,000 others who know 'Feel' and 'She’s The One'. It is f****** annoying I can’t do 'Andy Warhol' or 'Just Want People To Like Me'. That is what I would rather be doing but I am there to provide a service.” And Robbie has expressed his desire to pen tunes with James Blunt. He added: “I want to write with James. We have bumped into each other a lot this year. We keep saying we will get into a room but we are seldom in one place.”

 

Robbie released his 10th compilation album, 'XXV', in September, featuring new, reimagined versions of his hit songs, plus new material.

 

https://www.music-news.com/news/UK/158647/R...nter-s-new-song

Edited May 18, 20232 yr by Sydney11

Fingers crossed about the UTR gig! :cheer:

Felix is back <_<

 

@1659454820275871745

EXCLUSIVE: Lance Bass reveals he is working on a 'show' with Robbie Williams after they recently became friends

 

 

Image Daily Mail.com

 

 

Lance Bass looked dapper at the Lisa Vanderpump charity gala Vanderpump Dogs at the Maybourne Hotel in Beverly Hills on Thursday evening. The 44-year-old singer was with his husband Michael Turchin as they mingled with Lisa, Lala Kent, Paula Abdul and Kristin Chenoweth. Bass also caught up with DailyMail.com inside the splashy affair.

'I have not told anyone this yet, but we are working on a show together, we have been talking a lot about it,' Lance told Dailymail.com. 'I think it is going to be really good, we are excited about it.' And Lance added that the idea came about organically. 'We have become friends recently and we just started talking, we shared some ideas and we were like, "Let's do a show together."' Bass did not say what type of show it would be, but it would likely start out in London where Williams lives. He also said he has a lot of 'respect' for Robbie because he is so multi-talented. 'That guy can do anything!' added Bass. Lance, born James Lance Bass, in Mississippi, is a singer, dancer, actor, film, podcaster, and television producer. He rose to fame as the bass singer for the American pop boy band NSYNC. NSYNC's success led Bass to work in film and television.

 

Robbie was born Robert Peter Williams in Stoke-on-Trent in England. He is a singer and songwriter. He found fame as a member of the pop group Take That from 1990 to 1995, and achieved commercial success after launching a solo career in 1996. His debut studio album, Life thru a Lens, was released in 1997, and included his signature song, Angels. Meanwhile, Williams has recorded a secret song with former Miss France Mareva Galanter. The longtime pals have teamed up on a duet called 'Une Tahitienne à Paris' ('A Tahitian in Paris'), 14 years after they met at the Miss France final in 2009. The Rock DJ hitmaker jumped at the chance to help boost the 44-year-old Tahiti native's music career. A source told The Sun newspaper's Bizarre column: 'Mareva and Robbie have known each other for a while and he wanted to help her out. 'He performed his song 'Morning Sun' at the Miss France finals in 2009, where he met Mareva, and they have stayed in touch on and off. 'She has been working hard to make a name for herself in music for a number of years and when she reached out to Rob, he kindly agreed to help her out.'

 

Robbie opens the song with the line: 'Excuse me Miss, but do you speak English? 'I don't speak French well. I'm lost in the city. I come from Stoke city.' And that's not all fans can expect from the former Take That star, who previously revealed he hoped to release two new albums. The star has an abundance of tunes recorded for his side project Lufthaus - which he founded with Tim Metcalfe and Flynn Francis - but he has more music he wants to release as well. He teased: 'I have got two albums coming out pretty soon. I have a vault of new Lufthaus stuff. I could do three albums of it as Robbie Williams but new stuff gets written and you get excited about that. I want to put an album out before the summer.' The pop veteran has plenty of ideas for future releases, including a desire to make a follow-up to his 2006 dance LP 'Rudebox', which featured the Pet Shop Boys and featured production by Mark Ronson.

 

Explaining his intentions for Lufthaus, he continued: 'I am not sure if there will be a Lufthaus album. We (Lufthaus) did Ibiza and everybody goes mad and the DJ said, 'They love us mate.' We are trying to figure out what live entity Lufthaus is. 'I would like to do a 'Rudebox 2' (as well) but I change with the wind.' The hitmaker said he would prefer to play more of his lesser-known songs from his 'Under the Radar' compilations.

 

Robbie released his 10th compilation album, XXV, in September, featuring new, reimagined versions of his hit songs, plus new material.

 

https://www.dailymail.co.uk/tvshowbiz/artic...e-Williams.html

Edited May 19, 20232 yr by Sydney11

So TV show is still on cards? ;)

So TV show is still on cards? ;)

##Yeah ! , not sure if that's a 'drop a hint article' orchestrated by Rob . Guy's been missing for a while . I think Rob's up to something :lol:

Well said Rob !

 

@1660358828737667073

Robbie Williams admits he's 'had Botox' but it 'hurt so much' and left him 'battered'

 

Robbie Williams has opened up in an Instagram post about getting Botox and other procedures, saying he hasn't had one in five years as "it hurt so much", making him feel "battered" In a post on Thursday, 13 July, he shared a hand-drawn picture of himself laying down in bed with the words “I’ve had a few thing’s done” scrawled on it. In the caption, he said that he has had a few cosmetic surgeries on his face, but not within the last five years. “One time I had a few things done, botox, fillers and something done to my chin that made me look like desperate Dan. Perhaps [about] 5 years ago.

 

“Nothing since then. It was when I was on the Graham Norton Show with Justin Timberlake , Daniel Radcliff,e and Anna Kendrick.”

 

 

He continued: “I have to say I looked good…” Robbie, who attended this year's Cannes festival and looked like he was wearing pyjamas , then said that he may have some form of filler again in the future but that the last time felt like someone had “battered me in a Weatherspoons”.

 

“To be honest I would of done it again if it didn't hurt so much. “It felt like someone had battered me in a Weatherspoons. “Anyway I probably will do something again… Who knows… I might not… “

 

He finished his post by saying: “*cue 500 mums in the Comment section Shouting ''Robert,No!'' at me” with a hands over mouth emoji and a face with peeking eye emoji. People took to the comments to share their thoughts on Robbie’s latest post.

“Not a mum, but… Robert, no!!! Don’t start messing with your face. You look great. You don’t need Botox and fillers.,’ wrote one person. Another commented: knew it. Somethings always off about that interview and it's the fact your face doesn't move. If it makes you happy great but I love the lil lines that make up faces. Grow old with us! X [red love heart emoji”. A third said: “DEFINITLY NOOOOOOO Robert Peter Maximilian Williams, please no way!! Keep natural !

 

The former Take That singer was recently forced to stop a concert due to long Covid while performing at the Pinkpop Festival in the Netherlands.

 

https://www.ok.co.uk/celebrity-news/robbie-...es-had-30486565

Edited July 17, 20232 yr by Sydney11

Interesting article from Austria about the differences the author sees betweenn Rob and Harry. Please use Google translator as i am posting it in the original language (I am lazy :-) )

Von Robbie und Harry

Harry Styles hat ein großes Sommerkonzert im Wiener Ernst Happel Stadion gespielt, Robbie Williams musste seines auf der Kärntner Burg Hochosterwitz absagen. Gedanken zu beiden Auftritten gibt’s (trotzdem), vor allem zur Frage: Was ist ein männlicher Popstar 2023?

Von Lisa Schneider

Eines der Lieder, das laut durchs Stadion schallt, bevor Harry Styles am 8. Juli kurz vor 21.00 die Bühne des Ernst-Happel-Stadions betritt, ist „Angels“ von Robbie Williams. Ist das schön und ist das kitschig, ist das 90er-Jahre-Supergau, ist das Wahnsinn-wie-alle-mitsingen-auch-noch-so-viele-Jahre-danach. Keine Ahnung, wie sehr Harry diese Lieder selbst ausgesucht hat, die da als Warm-Up laufen, er hört sie jedenfalls, während er backstage wohl noch ein paar Klimmzüge macht und viel Wasser trinkt.

Vielleicht denkt er kurz die logischen Schlüsse, denkt an die Boyband-Vergangenheit, die ja auch Robbie mal geprägt hat. Harry muss weiterhin zumindest einen Song von One Direction im Programm haben, es ist bittererweise das Lied, das den Menschen an diesem Abend im Stadion fast das meiste gibt. Vielleicht hat er auch an Robbie gedacht, als er sich sehr ähnliche vogelartige (sind das jetzt auch Schwalben oder nicht?) Kreaturen auf die linke und rechte Brust hat tätowieren lassen, die trägt Robbie schon seit vielen, vielen Jahren unter Brusthaar und Goldkette. Robbie Williams hat im Mai schon zwei ausverkaufte Wiener Stadthallen-Konzerte gespielt, sein Konzert am Fuß der Burg Hochosterwitz in Kärnten musste witterungsbedingt kurzfristig abgesagt werden. Die Menschen wären atemlos gewesen, wie bei Harry - und doch ganz anders.

Robbie, bad forever

Robbie Williams ist jetzt 49 Jahre alt, 1990 ist das Jahr, in dem er mit Take That berühmt wird. Er ist der Quengel und der liebe Draufgänger, früher hätte man wohl „bad boy“ gesagt, immer ein bisschen drüber. Dass von allen gerade er die steilste Solokarriere hinlegen wird, hätte so vielleicht niemand gedacht - außer ein Mensch namens Guy Chambers, der immer schon ziemlich viel mehr über Pop und darüber, wie Popsongs sein müssen, gewusst als andere. Er schreibt Robbie in weiterer Folge Werke ohne Kunstfehler, Hits eben.

Man kann das eh alles schlecht finden, aber sehr weit drin im Kern von Liedern wie „No Regrets“, „Strong“ oder dann eben wieder „Angels“ sind Wahrheiten enthalten, wie sie der Mainstream (auch das ein Wort, das damals noch irgendwie mehr Bedeutung hatte) und jeder Mensch, der an Stelle des Herzens keinen Stein sitzen hat, gern mag. Und genau deshalb sind da auch Verstrickungen und Düstergedanken drin, weil niemand, der viel Erfolg hat, ein konstant schönes Leben führt: „I hope I’m old before I die“ (Zitat vom ersten Album „Life Thru A Lens“). Robbie wird auch älter, die Alben werden kurzzeitig besser, dann wieder schlechter. Der letzte Peak findet bei „Escapology“ statt (na gut, auch „She’s Madonna“ geht sich noch gut aus), und auch da heißt’s auf „Come Undone“: „I’m not scared of dying, I just don’t want to“.

Bühnenschmusen, früher

Wer erinnert sich an das hochheilige Live-At-Knebworth-Album, erschienen 2003 (im Zuge dieser Tour hat er auch in Wien Halt gemacht), eingebrannt in die Zellen vieler Menschen, die damals sehr jung, jung oder mittelalt waren? Wer erinnert sich an den Moment, als Robbie während der Performance zum oben erwähnten, in seiner Essenz vielleicht sogar allerbesten Song „Come Undone“, eine junge Frau auf die Bühne geholt hat? Sie hat ihm in Folge auf den Hintern gegrapscht, er ihr an die Brust, und dann wurde geschmust. Das hier hinzuschreiben, 2023, zwischen all den Till Lindemanns und Marterias und wie sie alle heißen dieser Welt, ist schon ein kleiner Wahnsinn. Das kann sich heute niemand mehr vorstellen, immer gilt: consent is all.

Harry Styles kann und würde das niemals machen. Er ist fast beschämt, wenn ihm eine junge Frau im Publikum auf die Frage, was sie sich denn zu ihrem Geburtstag am meisten wünscht, zuzwinkert. Harry Styles, die aktuell schönste Projektionsfläche vieler Teenies in UK und darüber hinaus, Harry Styles, der proper geschulte Popstar, der einfach ein ganz anderes Publikum und selbst auch eine ganz andere Sozialisation erfahren hat.

Es ist gut vorstellbar, dass Robbie Williams in bestimmten Lebensphasen ein kleines bissi Arschloch war („I had more blondes than brunettes“). Es ist nicht vorstellbar, dass Harry Styles genug Persönlichkeit hat, ein Arschloch zu sein. Das soll nichts rechtfertigen, es ist nur eine Beobachtung. Vor allem aber ist Harry Styles ein über die Schmerzgrenze hinaus schmähbefreiter Bühnenmensch, da bewegt sich nichts in Herz oder Gesicht, ab und zu ist da zwar schon Freude am Da-oben-Stehen, aber auch die ist am Ende der „Love“-Tour im Wiener Ernst-Happel-Stadion nur

Knistern und Distanz

Irgendjemand Schlaues hat Harry mal mit einem Roboter verglichen, und hat man’s einmal gehört, geht’s nicht mehr weg. Die Mimik bleibt sehr oft sehr eisern, die Sprüche, die Plattitüden, bei einem Großkonzert dieses Formats soll man bitte auch nicht viel anderes erwarten. Oder Moment mal, ja doch, wenn man vor 20 Jahren schon mal Robbie Williams auf ebensolcher Berühmtheitswelle genau dort live gesehen hat.

Nicht, dass die Fans die seltsame Distanz, die Harry Styles so um sich herum verbreitet, irgendwie spüren oder auch nur wahrnehmen wollen würden. Ohne jemandem zu nahe treten zu wollen, im Gegenteil, gerade darin lag das Schönste an diesem Harry-Abend: Das Stadion hat vibriert, dieses blöde „Knistern“ in der Luft, es war da, das Publikum war so drauf, als wär’s gerade von der Pride zurückgekehrt, Energie, Licht, es war alles Regenbogen und Glitzer und wunderschön. 13-jährige stehen hinter dir und weinen sich abwechselnd mit schluchzenden „Matilda“-Rufen die Augen aus dem Kopf, alle kümmern sich, es gibt immer Taschentücher, frisch gefüllte Wasserbecher oder grausame Federboas. Wie geht das zusammen, fragt man sich da, die Kühle und das Witzlose und das Wunderschöne und diese gute, gute Gruppe an Menschen, tolerant und jung und ziemlich sicher ziemlich viel besser als die, die vor ihnen gekommen sind. Humanisten mögen vielleicht eine Idee, richtige Humanisten auch die Menschen, die dazugehören. Und auch wenn all dieser hochtrabende Schmarrn keine Dreizehn- bis Siebzehnjährigen interessiert, ist es wahrscheinlich wahr.

Ad bissi Arschlochsein jedenfalls: Robbie hat natürlich immer sehr viel und in den besten Momenten sehr wenig von sich selbst gehalten. „So self aware / so full of shit“, später, Knebworth-Gold: „because I’m scum / Britain, I’m your son!“ Es ist möglich, dass das davon abhängt, in welchem Jahr man die ersten Musikverliebtheiten erlebt hat, prinzipiell ist es aber schon überhaupt immer eine gute Sache, wenn man das Gefühl hat, da oben steht ein Mensch.

Let Me Entertain You

Einer, der Millionen am Konto hat, aber einer, dem’s eben auch nicht so sehr gut geht immer. Einer, der zu viele Fehler macht und oft zu wenig gut ist, das Persönliche enttäuscht fast immer, das Beste davon kommt ins Lied. Einer also, der darüber singt und schreibt, der schwitzt und abgewrackt aussieht nach zweieinhalb Stunden Herumtanzen und Schreien und Singen und Posen und eh nicht nur Schmusen. Man liebt nicht weil, sondern obwohl, und wie soll man sich sonst verständig machen? Wassermelonenlieder schreiben? All das ist Entertainment, aber da, wo’s darüber hinausgeht, ist der Ort, wo’s gemeinsam nicht mehr ganz so weh tut. Deshalb schreibt hier, vielleicht schon bemerkt, noch immer ein Fan: Team Angels.

 

ROBBIE WILLIAMS: FROM COLLECTING TO MAKING ART

 

 

Robert Peter Williams, born on the 13th of February, 1974, is a renowned English vocalist and lyricist. He rose to prominence as a member of the popular ensemble Take That, a stint that spanned from 1990 to 1995, subsequently embarking on a solo journey in 1996. In 1997, he unveiled his inaugural studio album titled "Life thru a Lens," which notably featured his distinctive track, "Angels." His second album, "I've Been Expecting You," showcased hit singles like "Millennium" and "She's the One," both of which secured the top spot on the charts, marking his maiden number one tracks. With a tally of seven chart-topping singles in the UK and all but one of his 14 studio albums ascending to the No. 1 position in the UK, his discography underscores his musical success.

 

Six of his albums are positioned within the upper echelons of the UK's 100 highest-selling albums, with two of them firmly seated within the top 60. His accomplishments also encompass an impressive achievement recorded in 2006, as he clinched a Guinness World Record by vending an astounding 1.6 million tickets in the span of a single day for his Close Encounters Tour.

 

Williams' laurels are highlighted by an unparalleled tally of 18 Brit Awards, inclusive of four victories in the Best British Male Artist category, dual wins for Outstanding Contribution to Music, and an Icon Award for his indelible imprint on British culture. His prowess extended to international acclaim, securing eight German ECHO Awards and three MTV European Music Awards. Notably, his impact was so profound that in 2004, he was inducted into the esteemed UK Music Hall of Fame, securing this honor after being voted as the preeminent artist of the 1990s.

 

Acknowledging his commercial triumphs, the British Phonographic Industry (BPI) has validated his solo endeavors, bestowing certifications for over 20.26 million albums and 8.6 million singles in the UK. He's also asserted his musical dominance globally, with five of his albums reigning supreme on the Australian albums chart and a staggering worldwide record sale of 75 million units, thus solidifying his status as one of the most accomplished music artists in history. Furthermore, he claimed the summit of the 2000–2010 UK airplay chart.

 

His prowess as a live performer was evident in the three monumental concerts held at Knebworth in 2003, which collectively attracted an audience exceeding 375,000 attendees, signifying a watershed moment in the UK's musical landscape. The year 2014 marked a personal accolade for Williams, as he was granted the freedom of his hometown, Stoke-on-Trent, accompanied by the dedication of a tourist trail and the christening of streets in his honor. His thirteenth opus, "XXV," made its debut on the 9th of September, 2022, continuing his legacy.

 

A significant juncture in his career transpired in 2010 when, after a hiatus of 15 years, Williams reunited with Take That. The outcome was the collaborative album "Progress," which garnered spectacular commercial traction, standing as the second-fastest-selling album in UK chart annals and holding the distinction of the century's swiftest-selling record at that point. The subsequent stadium tour, which melded seven of Williams' solo hits into the lineup, etched its mark as the highest-grossing concert in UK history, amassing an astonishing 1.34 million ticket sales within a mere day.

 

However, by 2011, Williams once again bid adieu to Take That to recenter his focus on his individual musical journey. Notably, this departure was characterized by amicability, with frontman Gary Barlow affirming Williams' enduring welcome to rejoin the band in the future. In the interim, Williams has graced three distinct television appearances alongside Take That and engaged in several collaborative ventures with Barlow, notably including contributions to the West End musical production, "The Band."

 

Williams and Banksy

Having accumulated substantial wealth from music sales and live performances, Williams has curated an extensive personal assortment of artworks. In the current year, he divested of two pieces by Banksy, reaping a combined £7 million from these transactions. The motive behind these sales was to liberate physical space, facilitating the acquisition of "novel artwork crafted by emerging artists." Additionally, these proceedings are expected to provide financial support for his own creative endeavors, as stated by Williams.

 

Robbie Williams achieved notable success by effectively selling a pair of Banksy artworks through an auction, amassing a total of £7 million.

 

The vocalist offered renditions of the pieces "Kissing Coppers," "Girl with Balloon," and "Vandalised Oils (Choppers)" from his personal collection for bidding proceedings in January.

 

The auction house responsible, Sotheby's, concluded the sales of two of these pieces on Wednesday, the 2nd of March 2022.

 

The artwork titled "Vandalised Oils (Choppers)," presumed to convey an "anti-war" sentiment, garnered slightly under £4.4 million. Its initial projected value was placed in the range of £2.5 million to £3.5 million.

 

"Girl With Balloon" achieved a price of £2.8 million, following an initial valuation spanning from £2 million to £3 million. Williams initially acquired this painting directly from Banksy in 2006. However, the graffiti-style depiction originally emerged beneath Waterloo Bridge in London in 2002. Both of these recently transacted pieces rank among the most instantly recognizable creations by the enigmatic street artist. "Girl With Balloon" holds a particular distinction due to its canvas iteration being dramatically shredded at an auction in 2018, immediately after it had been sold for £1 million.

 

Hugo Cobb from Sotheby's aptly described the significance of these works during their original auction listing earlier in the year: "These pieces bring together the cultural legacies of two of Britain's prominent figures: Robbie Williams and Banksy. In a manner akin to their creator and possessor, they exude acerbic wit, iconic representation, irreverence, and unparalleled distinctiveness."

 

In addition, according to Sotheby's website, artists represented in Williams' collection include Peter Blake, Christopher Page, Morris Wade, Tracey Emin, Christopher Page, Jim Page Roberts and Jonas Wood.

 

Williams as a painter

Renowned singer-songwriter Robbie Williams and his close companion and creative collaborator, Ed Godrich, have dedicated the past five years to crafting authentic art in tandem. In May 2022, the dynamic duo is poised to unveil a set of innovative creations — a collection of 14 previously unrevealed canvases. This special presentation will take place at a dedicated selling exhibition hosted by none other than Sotheby's, signifying the inaugural public showcase of their combined artistic output. Their partnership, as described in their own words, is founded on the pillars of "friendship, communication, respect, and trust." The genesis of their artistic camaraderie sprouted from a mutual affinity for Abstraction and Outsider Art, fostering an environment that prompted them to delve into collaborative artistic endeavors. This collective effort has yielded an impressive portfolio of creations that, over the course of time, has grown to encompass a multitude of pieces — numbering in the hundreds. Their artistic expression is deeply intertwined with a nostalgic connection to the 1990s rave and music scene, which emanates from their works in the form of vibrant, euphoric, and rhythmically alive aesthetics.

 

In an interview with The Times, Williams disclosed that his inspiration for the art project was ignited by viewing Banksy's documentary, "Exit Through the Gift Shop." He recounted the impact, saying, "As I watched it, I was taken aback by a realization: Art isn't some exclusive domain. Anyone has the potential to engage in it." This revelation prompted Williams to take action. He recounted, "I ventured down to the art-supply store and procured an assortment of materials. I initiated my creative journey in my garage, producing pieces that were far from stellar in quality, yet that marked the inception of my exploration. Over time, my skills advanced, and I transitioned from creating subpar works to gradually achieving a level of proficiency."

 

Sotheby’s debut

Trish, Sharon, Janet, Debbie, Denise, Donna, Jacqui, Joanne, Kim, Lorraine, Mandy, Paula, Sandra and Tina - these names have remained under wraps until last year. In 2022 these 14 distinct works of art created through the creative alliance of pop sensation Robbie Williams and his collaborator Ed Godrich were unveiled at Sotheby's located in the heart of London.

 

The titles, intriguingly alluding to women's names that were prevalent during Williams' formative years in Stoke-on-Trent, are not the sole unifying element among these works. Executed in a monochromatic palette on a grand scale, these pieces are the fruit of a five-year partnership and exude a distinct thematic coherence.

 

According to Hugo Cobb, a specialist in contemporary art at Sotheby's, Robbie and Ed consider these paintings as a collective body of work. He emphasizes that although they share a common visual language, each painting possesses an individualistic character, distinctive visual mood, and defined authenticity. Cobb points to the themes of coherence, ambition, and authenticity as prevailing in the presence of these artworks.

 

One of the artworks from this series, titled "Beverly," achieved remarkable success at a recent Sotheby's auction, selling for £40,000, double the highest pre-sale estimation. Williams expressed that he and Ed are now prepared to divulge their creative vision to the world, aspiring for their audience to experience positivity, curiosity, and the uncovering of new facets with each contemplation of their paintings.

 

Working under the alias "Williams Godrich," the collaborative pair executed these 14 works on substantial polystyrene panels, a medium that contributes a distinctive texture to their creations. The process of layering details brings the characters to life, with their emergence often influenced by serendipity and the direction of brushstrokes. The collaboration between Williams and Godrich gives birth to multi-layered narratives within each piece, as they contribute distinct elements, culminating in the birth of a wholly unique entity.

 

The titles of these artworks emerged from a fondness for the obscurity of names that were once widespread during the 1980s, a decade that profoundly influences their art. In a video by Sotheby's, Williams traced his artistic curiosity back to album covers, which initially captivated him due to their images. This early connection between art and music eventually led to the formation of an "art band" with Godrich, providing Williams with a new creative avenue to explore.

 

Cobb highlighted the significance of the debut collaboration between Williams and Godrich, emphasizing their dedication and energy invested in this venture. While their future collectability remains uncertain, the unveiling of these artworks represents a pivotal and exciting moment in their artistic journey.

 

 

 

https://www.artmajeur.com/en/magazine/14-li...king-art/334030

@1717296347609493701

Why does Robbie always have to be doing something crazy, it surely is living on the edge :o

 

 

 

Robbie Williams Says He's Taking 'Something Like O*****c': 'It's Like a Christmas Miracle'

 

 

https://www.msn.com/en-us/music/celebrity/r...cle/ar-AA1j19Vf

Edited October 29, 20231 yr by Sydney11

Why does Robbie always have to be doing something crazy, it surely is living on the edge :o

Robbie Williams Says He's Taking 'Something Like O*****c': 'It's Like a Christmas Miracle'

https://www.msn.com/en-us/music/celebrity/r...cle/ar-AA1j19Vf

 

I was wondering if the press would pick up on that.

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Robbie Williams vows to be next Tom Jones and Rod Stewart and will perform into his 80s

 

Former Take That star Robbie Williams has revealed that he hopes to still be singing his heart out and touring the world with his concerts when he's in his 80s - taking inspiration from music legends including Tom Jones and Rod Stewart. Robbie Williams has vowed to be continuing rocking on stage into his 80s and wants to follow in the footsteps of Tom Jones and Rod Stewart.

 

The former Take That star has sometimes struggled to cope with the pressure of live performance but is in a more relaxed and sober state as he nears his 50th birthday next year. And he intends to be belting out hits like Angels and Rock DJ for three more decades.

 

Robbie said: "Who's the future of me? The future of me is Tom Jones and the future of me is Rod Stewart, hopefully, touch wood. Rod Stewart, at my age, releases the Great American Songbook, of which he did like 10, which sold 70 million records or something. He's still on tour, he's still performing, he's still putting albums out. So is Tom. Why? Rolling Stones. Why? They love it. They're compelled to, what else would they do?"

 

Speaking to comedian Rob Brydon for his podcast 'Brydon &', Robbie also told how he no longer uses drink or drugs but does have one secret trick if he is flagging during a gig - copious amounts of caffeine. The 49-year-old singer, who was photographed getting a fake tan yesterday as he prepared to do promo for a new Netflix documentary, said at a recent gig he was struggling through lack of sleep.

 

He explained: "You get on a plane and then you try to go to sleep, and you either do or you don't. And then whether you do or you don't you're still getting up to perform in front of 50,000 people and my head space is actually all over the place.

 

"And then I got up and the show was great, the audience were very loving and I'm about eight or nine songs in and my body just went 'night night now, go night nights now, sit down, that's enough now. Sit on this step and go sleep'. There’s a tray full of double espressos at the back of the stage that I hit when that happens."

 

Robbie also said in the interview he helps to conserve his voice because his brilliant fans sing along to all the words of his songs and so he "only sings 35% of my choruses" to rest his voice. He will give fans a warts and all look at his career in his new documentary for Netflix released next week.

 

He was so depressed at his lowest point he felt it might be "best if he just passed away". He makes the admission as he watched archive footage of himself over 15 years. At the weekend in a new interview, Robbie also described how hard it was making the new series and how he had to sometimes pause or fast forward some footage as he found it too painful. "It was like watching a crash you were involved in, but in slo-mo. It was like enduring your mental illness at a very, very slow pace, over a very, very long time. And it's a niche thing to experience, you know. There aren't many support groups for it. Another section shows his mental health suffering as is criticised heavily in the media. It reaches a climax with a gig in Leeds and Robbie has a panic attack that lasts the entire gig. "It's like those nightmares where you don't know what's happening and you can't remember anything and you're terrified. It was like that all night."

 

https://www.mirror.co.uk/3am/celebrity-news...xt-tom-31340314

Available NOV 9th .. . Will be interesting to hear Rob interview Rob , I can see the two of them getting on like a house on fire :P

 

 

 

https://podcasts.apple.com/gb/podcast/brydon/id1687943454

 

 

 

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Edited November 2, 20231 yr by Sydney11

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'Robbie Williams sees himself as a failure': inside the biggest music documentary of the year

 

When director Joe Pearlman watched the first episode of his four-part Netflix documentary Robbie Williams with the man himself, he was understandably anxious about his reaction. After all, Pearlman had spent 25 days in a row “basically living” with Williams and his family at their Los Angeles mansion, filming the megastar as he watched – often with visible anguish – footage of his turbulent 30-year career.

 

At the screening’s end, Williams, 49, turned to Pearlman and said, “My God, you know how to polish a turd.” “That says it all,” Pearlman smiles ruefully. “That’s how Robbie sees himself. To me this was one of the biggest filmmaking opportunities I could possibly imagine, but to Rob he’s a piece of s–t on the floor that I am trying to sort out.”

The director of several documentaries about the rich and famous, Pearlman, 34, has become something of an expert on the insecurities gnawing at rock stars’ psyches. Do they treat Pearlman as a quasi-therapist? “I’m totally unqualified to give anyone therapy but very quickly they get to do that,” he says from his London home on Zoom. “And now that’s become my calling card.”

 

Pearlman’s status as documenter of the stars shot up after his film Bros: After the Screaming Stops became the surprise hit of Christmas 2018. His portrayal of British brothers Matt and Luke Goss, as they prepared for their reunion tour after 25 years barely speaking to each other – the film was famously peppered with unintentionally hilarious comments: “I made a conscious decision because of Stevie Wonder not to be superstitious” – earned endless comparisons to the classic mockumentary Spinal Tap, a Bafta nomination and a Royal Television Society award.

 

Pearlman was too young to have heard of Bros, whose brief heyday came in 1988 with When Will I Be Famous and I Owe You Nothing. Initially, he had no interest in making a film about the pair, then he saw some rushes already shot. “Immediately I saw these two characters who were in equal parts hilarious and lovable. I was like, ‘How do I get this?’”

 

The film could have been cruel, but Pearlman treated the brothers with sympathy, not least in the sections discussing the premature deaths of their mother and sister (they weren’t allowed a day off to mourn the latter in 1988). “There are plenty of filmmakers who would have just taken the p–s,” Pearlman says. “What I was proud of was at the end you’re so happy the brothers are back together.”

 

What did they make of it? “Matt’s initial reaction was ‘I didn’t know I was that funny.’ Luke’s was ‘I feel like you’ve made me into the enemy’.” Wasn’t that awkward? “Of course. But we talked more and ultimately they were both really happy. It gave them this incredible cultural moment.” And a huge boost in record sales. “I would say so,” Pearlman smiles. He still “speaks a bit” to Matt. “Luke, not as much.”

 

Pearlman next made Harry Potter 20th Anniversary: Return to Hogwarts, a “reunion” featuring the franchise’s child stars Daniel Radcliffe, Emma Watson and Rupert Grint. Then last year’s Lewis Capaldi: How I’m Feeling Now, whose footage, shot over three years, of the Glaswegian singer’s battling anxiety, presciently foreshadowed Capaldi’s freezing on stage at Glastonbury this summer, after which he announced he was halting touring indefinitely to prioritise his mental health.

 

Before that was released, Pearlman was already working on the Williams series. Nostalgia documentaries – focusing on heroes from middle-aged subscribers’ youths – are currently all the rage. Williams, who was 16 when he joined boy band phenomenon Take That in 1992, became (thanks to his mega-selling single Angels) the biggest solo artist in the world in the early 2000s, and had relationships with both a Spice Girl (Geri Halliwell) and an All Saint (Nicole Appleton), was an ideal candidate for the genre, released directly on the heels of Netflix’s hugely popular series on David Beckham.

 

Yet many criticised the Beckham film, as well as this summer’s also successful Wham!, for being less documentaries than hagiographies, with the surviving member of Wham! Andrew Ridgeley and David Beckham himself seemingly allowed generous control of the narratives. Are Pearlman’s subjects allowed editorial input?

 

“No,” he says instantly. “The deal is you’ve got to trust me. What [director] Fisher [stevens] was able to do with David is amazing; plenty of other approaches would be very football heavy, but he really made it accessible for the masses, as you can see by the numbers. But I’m always looking for characters that are willing to go deeper and to talk about everything, where nothing’s off the table, who are not as concerned about protecting the brand.”

 

Yet Pearlman’s subjects are still confident of being treated with kid gloves. “I knew there were things that would trigger Rob and you tread carefully around those areas, but we’re doing this together. After all, when I first met him, he said to me, ‘I want to make something different’ and different is truthful.”

 

What was more challenging was finding new ways to portray Williams, who’s been upfront for many years about his addiction and mental-health issues. Pearlman came up with the conceit of filming Williams as he viewed and commented on archive footage, selected from 30,000 hours available, and largely focusing on the most painful points of his career. “This is someone who abused himself for years, so his memories of a lot of these times were often very, very woolly,” Pearlman says. “This was a way of forcing him backwards to confront the reality of those moments.”

 

Often Williams’s reactions are bleak – surveying footage of vitriolic “Blobby Williams” headlines, he says: “There was a sense that it would be for the best if I just … passed away.” Presented with his 2006 onstage unravelling in front of 90,000 people at Roundhay Park in Leeds, Williams simply fast-forwarded past it.

 

Williams described the process of filming for six or seven hours every day as “like enduring your mental illness at a very, very slow pace over a very, very long time”. “It needed careful manoeuvring because it was intense at times, especially reliving the addiction,” Pearlman says. “But then Rob relaxed into the process and it became much more of a conversation between us and much funnier.”

 

So relaxed did Williams and his wife, the actress Ayda Field, become, they even allowed their oldest daughter, Teddy, 10, whose privacy they normally fiercely protect, to watch some footage with her dad. “And Teddy delivered one of the greatest lines in the film unprompted when she asked Rob who he hated most in Take That!” Pearlman exclaims. (Spoiler alert: it’s Gary Barlow.)

 

After their brief shelf life, the Gosses clearly yearned to re-establish their reputation. But why did Williams with 75m record sales, who once set a world record by selling 1.6m concert tickets in a day, crave such validation?

 

“Rob has such a warped view of his career,” Pearlman says. “You just need to look at the numbers to see what he’s done but in his head it’s so dark and he’s pushing himself down so much, he sees himself as a failure. He says, “I’m just a d–khead from Stoke, why would anyone pay attention to me?’”

 

For Williams, the documentary signifies closure. “[it’s] put all the past to bed,” he’s said. Meanwhile Pearlman’s already making his next film about another (top-secret) megastar. “It’s away from music but still in the world of celebrity.”

 

Does he aspire to be as famous as his subjects? Pearlman looks horrified. “Absolutely not! Please don’t even print my picture with this article. I’m not here to tell my story, I’m here to tell your story.”

 

https://www.msn.com/en-us/movies/other/robb...ear/ar-AA1jjGlx

Edited November 3, 20231 yr by Sydney11