nirvanamusic

A long-lost Take That track from 1992 called “Falling For You Girl” has been uncovered. https://www.thesun.co.uk/tvandshowbiz/35097985/take-that-lost-single-best-ever/ This song was apparently recorded as the follow-up to Could It Be Magic, but for some reason it was never released. There’s a petition to get it released: https://chng.it/prBRBLQCG8

Agree 100%. I know Take That sold well for the times and far fewer songs reached Platinum but there are so many of their '90s songs which should be higher than they are. Pray still not being Platinum is the big one for me.

They must surely be above that? In the UK alone they have 28.2 million in combined singles and album sales. They have been succesful across Europe and the whole world at one point in the '90s. Is this figure still correct?

Take That confirmed to perform 'Greatest Day' 2023 remix at the awards show. I think this will be fantastic. https://variety.com/2025/music/news/take-th...rds-1236297629/ https://www.hollywoodreporter.com/movies/mo...ked-1236127601/ https://faroutmagazine.co.uk/baftas-2025-je...rform-ceremony/ https://deadline.com/2025/02/bafta-film-awa...bum-1236278679/

I don't think NMS was that bad in general, if I'm honest. I know Robbie had/has issues with him but I don't believe that to be the case for the others. Gary and Mark are on record thanking him for their opportunity. Robbie had it bad at times. However, out of all of them Jason had it by far the worst from NMS.

I watched it and thought it was really good. I have never classed Wham! as a boyband as they were a duo and I always thought there had to be at least three for a boyband group. I'm so glad Chris Porter persisted with Gary to go back to the piano and away from the New Jack Swing and dance routines. 8 number one singles in three years is crazy (93-96), the Spice Girls did 8 in four years (96-00). The Beatles 17 in six years (63-69) Elvis 15 in eight years (57-65) Westlife 14 in seven years (99-06) Boyzone 6 in four years (96-00)

I totally agree with you. Take That disappeared for YEARS before 'This Life' came out in late 2023. Granted Mark and Gary put solo albums out during that time but the team needs to work, day in day out. Nigel was fantastic at this and was always thinking: video/dvd concert releases, co-presenting shows even when they had no single to promote etc, fanzines. Basically keeping touch with their audience internationally. If he could do that in the 90s there is no excuse for not doing so now. In Take That: next steps thread we touched on this and said: Moving forward: Play shows in Africa, South America, and Canada for the first time. If Westlife can do it there in the last 5 years so can TT. Las Vegas residency. (Achieving these would mean all their fans worldwide would have had a chance to see them, and it means they did everything they could to connect with their audience) A joint tour with New Kids on the Block. This has been mentioned over the years by NKOTB. A joint tour with Backstreet Boys and/or a music collaboration. This has been mentioned over the years by BSB. Have an Oscar nominated song. Rule The World was truly robbed that year of a nom and should have gone higher through the shortlist rounds and been nominated. Reintroduce their back catalogue back into the mainstream, most notably through major films and adverts. Backstreet Boys have licensed their music excessively on adverts all around the world. I know Take That do in the UK but it needs to be bigger and broader, 90s songs also. The multiple inclusion in Anora hopefully has shown them the right song in the right film can cause positive word of mouth and streaming. Never Forget, for example, is crying out to be placed in a pivital movie scene. These management teams shop their artists songs to major movie studios in the US. That is how BSB have appeared and had their music in so many films over the past 10-15 years. They showed part of the meetings online. NSYNC likewise. A new original Christmas song to play yearly and become a staple. Continue to release new albums and promote songs. A more creative and engaging online presence including youth platforms, tik tok etc. Backstreet Boys in this week alone (2025) have commerated the anniversary of two tours and put up an iconic boyband dance routine to follow from one of their 90s videos. I would have said a Netflix documentary but that has been confirmed for next year. It would be nice for them to get the footage of them on David Letterman, Today show, MTV USA to remind the US audience of their hit. Plus the fact they were offered a spot on Baywatch, the biggest show in the world at the time. Be like the Americans and remind everyone of all your great stats, music, and achievements. Outstanding contribution to Music Brit Award. This is long overdue. It doesn't help that TT concentrated on just the UK for so long post reunion. That said would their albums have all gone over 2 million plus had attention and travel been elsewhere? It was only once Jason left that they started doing International promotion and tours again, the last 10 years. 11 new countries across Europe and the Middle East and 10 countries reintroduced over 10 years later (if not more) from last touring and promotion there. 21 new or reintroduced nations in the past 10 years. Robbie is fantastic for touring nations and fair play to him. I agree with you about merchandise. Look at Nirvana, they are practically a fashion brand at this point. Different t-shirts everywhere. I often wonder when I see all these shirts worn how anti-commercialism Kurt would have felt about that. With regard to the Beatles website would that just be fans reading those articles? I agree that more need to be produced for Robbie and Take That.

Westlife 23, three away from Oasis. Boyzone at 18 total are closing in on the Spice Girls, 19. One Direction, 17.

That's great, although I can't see any of them getting any more #1 singles. It is all about the album charts now for these groups. The Beatles #1 single Now and Then in 2023 was a one off ''the last Beatles song'' and had a novelty factor aiding it (AI). It's a shame Howard from Take That never released his debut single and album. It had a Latin, part Spanish, and Brazillian instrumentation sound to it, so would have been different to Robbie, Gary and Mark's output at least. However, he decided against it and went further into DJing instead. The advantage the Beatles have is that all the members had solo careers over numerous releases and including some having different bands.

Anora has been nominated for 6 Academy Awards: Best Picture, Director, Best Actress, Supporting Actor, Original Screenplay, Film Editing. I hope Greatest Day 2023 remix is played if any of them win as this is the song with the most traction from the film.

Rick Astley did. I suppose Pink, Hugh Jackman and Zac Efron have obvious ties to Michael but they all publicised the film. I think you are totally right though, I too think it is bizarre there haven't been any shout outs from celebrity friends. I think they all wrote their emails but waited to see what happened.

Unpopular opinion: I have been reading the comments by the Americans, I know I should know better!, but they do raise a good point. If he is this international superstar they have all missed out on, why has the box office been so low overseas? People are tending to struggle to provide an answer to that and a lot of the discourse quietens down after from his fans. Also, I don't agree with the above, in the past the BAFTAs were accused of bias towards British actors/actresses/films winning. However, people will assume this regardless in any country were awards are given to nationals nominated. Everything is a fix to some.

Can they not hold it in another US city? https://www.dailymail.co.uk/tvshowbiz/artic...d-LA-fires.html Having read this I can see why it might be in bad taste. However, waiters and ridiculous gift bags were already in bad taste to me prior. Rich people are given things for free, it's mad.

I became curious to find out what the general benchmark is for these types of films. There has been a lot! Worldwide box office (Musical Biopics): Bohemian Rhapsody (Freddie Mercury) $910.8 million 2018 Elvis (Elvis Presley) $288.7 million 2022 8 Mile (Eminem) $242.9 million 2002 Straight Outta Compton (N.W.A) $201.6 million 2015 Rocketman (Elton John) $195.3 million 2019 Walk the Line (Johnny Cash) $186.8 million 2005 Bob Marley: One Love (Bob Marley) $180.8 million 2024 Ray (Ray Charles) $124 million 2004 The Pianist (Władysław Szpilman) $120.1 million 2002 What's Love Got to Do with It (Tina Turner) $61 million 1993 Whitney Houston: I Wanna Dance with Somebody (Whitney Houston) $59.8 million 2022 Florence Foster Jenkins (Florence Foster Jenkins) $56 million 2016 All Eyez on Me (Tupac Shakur) $55.7 million 2017 La Bamba (Ritchie Valens) $54.2 million 1987 A Complete Unknown (Bob Dylan) *still in theatres* $51.5 million 2024 Back to Black (Amy Winehouse) $51 million 2024 Judy (Judy Garland) $46 million 2019 Notorious (Christopher Wallace) $44.4 million 2009 Shine (David Helfgott) $36 million 1996 Selena (Selena Quintanilla-Pérez) $35.7 million 1997 The Doors (The Doors) $34.4 million 1991 Get on Up (James Brown) $33.4 million 2014 Priscilla (Priscilla Presley) $33.1 million 2023 Respect (Aretha Franklin) $32.9 million 2021 Love & Mercy (Brian Wilson) $28.6 million 2014 Walk Hard: The Dewey Cox Story (Dewey Cox) $20.6 million 2007 The Buddy Holly Story (Buddy Holly) $14.3 million 1978 Better Man (Robbie Williams) *still in theatres * $11.9 million 2024 I'm Not There (Bob Dylan) $11.7 million 2007 One Chance (Paul Potts) $10.9 million 2013 Piece by Piece (Pharrell Williams) $10.5 million 2024 Control (Ian Curtis) $8.9 million 2007 Nowhere Boy (John Lennon) $6.6 million 2009 The Runaways (The Runaways) $4.6 million 2010 Sid and Nancy (Sid Vicious & Nancy Spungen) $2.8 million 1986 I Saw the Light (Hank Williams) $1.8 million 2015 Sex & Drugs & Rock & Roll (Ian Dury) $1 million 2010 Jimi: All Is by My Side (Jimi Hendrix) $927,100 2013 Maestro (Leonard Bernstein) * limited small run before streaming to qualify for awards * $823,800 2023 Blaze (Blaze Foley) $680,100 2018 Stardust (David Bowie) $62,250 2020 1970s: 1 1980s: 2 1990s: 4 2000s: 9 2010s: 12 2020s: 11 (13 assuming BS and MJ come out) Bruce Springsteen and Michael Jackson are also on the way. The good thing about Rob's being out is it is before people become truly jaded by the format. So Eminem made $242.9 million at the height of his fame which I suppose is a good barometer to go by in viewing where the figures should sit. The average budget I'm seeing is between $40-$60 million so the $110 million is ultimately what has hindered the project. Only the top 9 entries have made that much in box office or more. Budgets in millions (Top 10 most succesful music biopics): BR: $50-$55 Elvis: $85 8 Mile: $41 SOC: $28-$50 Rocketman: $40 Walk the Line: $28 Bob Marley: One Love: $70 Ray: $40 The Pianist: $35 What's Love Got to Do with It: $15 This was also at a time when there was money to burn and a healthy general pre-pandemic box office (though general figures are slowly coming back round). It has got to have been all on the monkey and sad to say but as a reviewer has stated using Gollum from LOTR's it will date in 20 years time. The story is fantastic though and let's see it rise through that list. Wicked used $150 million but has made $697.8 million and rising. Those kind of budgets you have to be so sure and confident to break even.

Surely having everyone see it at the same time creates more of a buzz. Why should other places in the world have to wait longer than others?

Again, why such a long wait?

Has the film opened in South America and Asia yet?

The exposure is good, either way. It might make some fans out of curious people at least. As mentioned by a previous poster it is the most publicity he has had there in 25 years. Do we believe people will go or stay away because of the headlines? It has definitely drawn attention.

https://www.dailymail.co.uk/femail/article-...ak-america.html Thoughts? As far as I'm aware in terms of doing some kind of long(ish) stint in the US, only Five, Busted, JLS, McFly and Take That have given it any kind of try there. One Direction and The Wanted were a hit before they landed through social media. Americans thought Five were Americans, attitude, style, sound etc. So does their one top 10 really count if you are disguising yourself into another culture? Busted were incredibly idiosyncratic and off the wall even for Brits at times. McFly have never sold enough records in Britain to warrant a major push in America. JLS likewise, they had zero impact outside of the UK and Ireland. However, they would have been the most obvious due to their sound, style, look and being a vocal harmony group. Take That only went over there seriously as a four piece with the knowledge of a split and played the game to a top 10 single, Back For Good. A last hurrah to prove to themselves if they played the US game for once they could have a hit and they did, Top 10. Westlife were right in the thick of Backstreet Boys and NSYNC so stood no chance. They also aren't versatile enough or dare I say it, interesting. America doesn't need a covers band. Boyzone wouldn't have been exciting enough/interesting/original for the US and were also blocked by BSB/NSYNC. Blue could have done well there but their airplay was pulled early in their career due to Lee Ryan's comments about the recent 9/11 tragedy. ''Who gives a f@ck about New York''. They wrote the song One Love partially to try and get on US radio and make ammends but the damage was already done. Based on what the article says, a group like East 17 potentially could have done alright in the States but never set foot there I don't think. It was such a HUGE gamble especially pre social media. The article goes on about One Direction breaking the mold and having what it takes. Did they? Or did they benefit in a time where you didn't have to physically show up to every nation and radio station. The way they all probably saw it was.. we want our music to travel as far and wide as possible in (potentially) such a short space of time. Be known all over the world minus the USA or known in the USA and potentially as a result worldwide (however, 98 Degrees were successful in America and nowhere else. As a result haven't sold anywhere near the acts listed) I would have chosen the first option. Success in America is all about having the ultimate wealth, fame and status but those reasons aren't good enough and have nothing to do with music.

https://deadline.com/2025/01/box-office-den...era-1236253670/ Do we believe that if this was a conventional film with an actor it would have done better? They should have re-introduced him during the production so that once the film opened there could have been some current reference of Robbie. George Michael fine, ok. But the Geri Halliwell reference there is a bit strange. He definitely has the same profile in the UK as her and would people in Britain ''stampede'' for a Geri Halliwell/Spice Girls film? I don't think so, I think this journalist is outdated in his views on British pop culture. People forget that now both Robbie and Take That have over DOUBLE the sales of the Spice Girls in Britain, over a much longer period.

" I know he wants to be authentic and seen as a human being, but the truth is that bands and artists who build strong third act legacies don’t do it by telling everyone they are terrible and running their own music down. They engage in self-mythologising about how amazing they are" This 100%. This was the difference between the UK Boybands Forever and Reign of the Boybands: Larger Than Life, the US only version. The Americans were very brand conscious and as a result it is a self and some industry talking heads giving a congratulatory pat on the back basically saying "we are the ones who made it in the States". They make 'I Want It That Way' out to be the greatest pop song of the last century, using words such as masterpiece etc.

Regarding Take That, Mark has seen it but hasn't posted since last year and his family has had to evacuate due to the LA fires. Howard isn't hugely into social media. Gary I'm not convinced will ever see it. The one interview I saw about it he said he was intrigued but nervous and not sure if he will. TBF he has taken a battering over the past year Netflix documentary, Boybands Forever and now the film. Some Americans don't understand this dynamic as have said as the one who could sing, write and compose of course he would have been the leader of the group. It seems to me that Gary lives an ignorance is bliss lifestyle and has spoken about avoiding situations which could open old wounds. The music is really a joke at Gary's expense (no pun intended) as commented by a few reviews. It Only Takes a Minute and Relight My Fire are covers and I Found Heaven was written by producers Ian Levine and Billy Griffin, so GB gets no credit. The latter a song all 5 hate and refuse to perform live. They are really the light camp comic relief of the film. Clueless and the blind leading the blind. Yes it is noted their first album was very hit and miss but by Pray and the second album they were completely cohesive, consistent and worldbeaters. This isn't really shown other than Gary now living in a mansion with a butler, but again it isn't their story to tell and time is limited. Had I known nothing of Take That I would have thought they can put on a show but aren't musicians. Obviously we know this isn't the case as aside from that one dreadful song they were forced to sing and the 4 covers they put out (but changed) everything was created from within. Gary on piano and writing/composing/producing songs, Jason on acoustic guitar, dance routines and styling, Howard creating the harmonies and Rob/Mark backing vocals/shared or full leads. They came across as a boyband who are told what to do by producers but that was never Take That. They weren't that kind of boyband.

A positive is that the film is so incredibly highly rated. I haven't seen ratings that high for a long time, and that can't be faked. Would the film have been as good on a lesser budget? It seems that huge production figure is what is really hampering the percentages and determining the fail factor. I can see it doing well on streaming but no one I know has Paramount+. I feel bad for Robbie because the reality is more mature individuals outside of America would simply address the fact he isn't known in their country then procede with their opinion. The whole failure and nasty, mocking vitriol isn't needed. A lot of them say his music, vocals, performance isn't good enough and below standard for America. ''They'll give anyone a biopic now.'' But the fact is, what have these individuals achieved personally themselves? We don't know.

I think Paramount took far too long to open up the wider release in the US which allowed the negative discourse to continue, swell and expand far longer than it should have, and maybe that has effected elsewhere. Just having six theatres was always going to produce low figures for people to run with. Personally and I have seen this mentioned a few times elsewhere, the film should have come out at least 10 years ago to have had some sort of success. Paramount acquiring the film for 25 million dollars was ambitious but unrealistic for that market. https://variety.com/2025/film/box-office/bo...man-1236272189/ Going back to the film Here starring Tom Hanks that was deemed the biggest box office flop of last year at 13.4 million worldwide on a budget of 45-50 million, not 110 million.

Hopefully once it is on streaming it will be a hit like 'Tiger King' was. It annoys me though that on Wikipedia and social media (the two places most people get their information) people had deemed it a flop before it was even released. I just think Americans --general public-- just want to continue with that narrative. After all nobody likes to admit they were wrong or accept change. It's just an ego trip for some people there. Robbie referenced this in his interviews ''why do I have to break America to be deemed a success?'' ''what about Brazil or Japan?'' It goes back to what Jason said in interviews in the '90s about how they (Take That) were just as happy to be successfull in Belgium as if they were in the US. I don't mean to be dissmissive but I'm surprised all his fans across Europe and Australia/New Zealand haven't all rushed into the cinemas. Unfortunately, it will obviously go onto Paramount+ and I don't know about anyone else but I don't know a single person with a subscription there.