Books: The World Was A Mess But His Hair Was Perfect "The Last Indie Music Scene 2000-2010"

The first, cohesive account of a seminal period in UK music history affectionately referred to as ‘Indie Sleaze’. At the turn of the millennium, Britain was suffering from a post-britpop hangover. The whirlwind successes of Oasis and Blur had fizzled out and the British music industry, stagnant and directionless, was churning out bland singer-songwriters, identikit girl-groups and boybands – music culture was a vacuum, waiting to be filled.

However, across the Atlantic, something was brewing. In New York City, The Strokes were exploding across the music scene, igniting a new wave of rock’n’roll that catalysed and inspired a new genre: indie rock. Suddenly, kids from both sides of the Atlantic wanted to pick up an instrument, cause a ruckus and join a band. Spawned out of regional D.I.Y scenes and the success of genuinely independent labels and venues, this is the story of ‘the last indie scene’ in the UK.

Based on thrilling, informative and often hilarious interviews, The World Was A Mess But His Hair Was Perfect chronicles the legendary gigs, records, parties, drugs and cheap decadence that coalesced to form a messy, dissolute movement and subculture. An impactful and entertaining social history, author Janine Warren conducts personal interviews with core movers and shakers from the era: from members of the Libertines, Franz Ferdinand, Bloc Party and The Cribs, as well as pivotal figures such as controversial NME editor Conor McNicholas and superstar producer Paul Epworth.

 

Title: The World Was A Mess But His Hair Was Perfect "The Last Indie Music Scene 2000-2010"

Author: Janine Warren

Pages: 336

Publisher: Omnibus Press

Language: English

Format: Hardback 

The Anniversary: MTV's Twin Channel M2 Was Launched 30 Years Ago.

On this date 30 years ago, MTV officially expanded its music video empire thanks to a commercial-free, second channel: M2 later know as MTV2, the network was created as an all-music-video spin-off to offset its parent channel's shift toward general and reality programming. 

So by 1996, several indie rock and pop outfits were finding their way onto MTV, but ghess what?, it was the days in which the original network started to changed music videos for reality shows. So why launch a second channel focused solely on music videos when the original was seemingly getting the job done?.

The reality shows were already springing up across MTV in the early/mid '90s, and the company wanted to keep fans satisfied with non-stop music videos, decided to go with this new network named at the time M2 -- which would later be rebranded as MTV2 in 1999 -- attempted to reach that goal, and was also used as an opportunity to feature a higher diversity of music videos than MTV was doing at the time. The channel launched via satellite with Beck's "Where It's At", the network inaugural VJs where the 120 Minutes host "Matt Pinfield", Rolling Stones' Jancee Dunn &  radio-industry veteran Kris Kosach, targetting viewers around 23/25 age to up.

Even when we know that MTV betrayed its music video roots for all its reality programming, 30 years ago, believe it or not, critics were having very similar conversations back in the mid-'90s. In fact, when M2 launched in '96, music writer Sean Piccoli wrote "MTV has" put some truth back into the promise of their title: Music Television. And they’ve made it harder to dislike them for all the dreck they pass off as programming on the original channel. Watching the foundling M2, whose start up and first hour were simulcast this week by MTV, it was stunning to see in this new venture how far the parent network has strayed from its roots."

He also highlighted some of the channel's additional programming: “M2’s only nonmusical programming, per se, came in a pair of minute-long segments featuring artists talking about things they love. In the first piece, Porno For Pyros frontman Perry Farrell, grinning like a dope against a backdrop of animated wallpaper, talked about getting hold of a bootleg tape with 20 versions of a little-known Jimi Hendrix song, "Gypsy Boy." In the second piece, Parliament-Funkadelic founder George Clinton reminisced about the heyday of urban break-dancing.” As he noted, M2 played 15 music videos in its first hour of broadcast, including clips from PJ Harvey, Hayden, Gary Young and A Tribe Called Quest,  then M2 is doing part of its job."

M2/MTV2 spent its first decade playing uninterrupted blocks of alternative, rock, and classic music videos, then gradually introduced lifestyle and comedy shows, eventually dropping music videos entirely around 2017.

Today, MTV2 -- much like its predecessor -- is unrecognizable from what it was when it first launched. Reality TV, comedy programs and game shows have taken hold of the channel, with a few music videos sprinkled in for good measure.

The Anniversary/Television Personalities: When MTV Launched A New Era In Music 45 Years Ago.

It was exactly on 1 August, 1981, when Music Television—known as MTV—launched its first broadcast with The Buggles' "Video Killed the Radio Star,"  ushering in a new era of pop music. It was the best of TV combined with the best of radio, video jockey Mark Goodman told the audience in the wee hours of the night. 

The nerwork turned out to be a potent mix, with video becoming as important as the music itself. Among the first videos shown on MTV were Pat Benetar’s “You Better Run,” Rod Stewart’s "She Won’t Dance with Me," and The Who's "You Better You Bet."

 Although MTV wasn't the pioneer of the music video concept—its origins can be traced back to the 1960s with The Beatles and The Monkeys—and in the late 1970s a show emerged that many consider the direct ancestor of MTV: the famous "PopClips" on Nickelodeon, conceived by former Monkeys member Michael Nesmith. It only lasted one season, but its brief contribution was fundamental to the arrival of MTV. 

Of course, every beginning has its challenges, even for MTV. The debut couldn't even be seen in New York, and many of the producers recount traveling to New Jersey to watch the launch in a bar. There were other places where it was available from the very beginning. The truth is, it's not known for sure who actually saw the channel's debut on August 1, 1981. Many of us remember it and were able to watch it because VH1, for its 30th anniversary, dedicated the first 24 hours to its broadcast, and today at least the first two hours are available on YouTube. After the first clip, everything went silent for a few moments, then Pat Benatar appeared, followed by a brief description of the evolution of human sound, and then more videos, which were scarce at the time, many of them from years earlier. There was even a Rod Stewart video from 1976. 

In those first few hours, viewers could watch REO Speedwagon, The Who, Blondie, Styx, The Pretenders, Robin Lane & The Chartbusters, Split Enz, and April. Wine, among others, and then the official presentation of the first VJs: the great Mark Goodman, J.J. Jackson, Alan Hunter, Martha Quinn, and Nina Blackwood. It's curious how Goodman comments on how quickly time has passed since the channel's launch, and now it reaches its 45 anniversary, unfortunately with more sorrow than glory. 

The network gradually took off until the "I Want My MTV" campaign, promoted by luminaries like Hall & Oates, Madonna, Cyndi Lauper, David Bowie, Billy Idol, The Police, and others, aimed to get cable distributors to include it in their programming. Little by little, its influence became omnipresent, with virtually no competition. Although programs like "Night Tracks" appeared on NBC over time, it wasn't the same. MTV's success made music videos essential for established artists and newcomers aspiring to success, benefiting the music industry by giving space to Black artists like Michael Jackson. This was also due to pressure from other artists, since initially there were hardly any Black artists on the programming. Then came "Thriller," and everything changed. The massive success of this video, which many consider the best in MTV history (for me, it's "Take On Me"), encouraged the creation of the VMAs in 1984, whose first ceremony was simple yet successful. Setting the course, and then, even though they continue to be delivered, their influence or value is worthless. 

Obviously the network evolved, delivering memorable moments and programs. For example, the famous "The Basement Tapes," the support for indie music in "120 Minutes," the metal in "Head Bangers Ball," the rap segment "Yo MTV Raps," the "Top 20 Countdown," the Spring Break specials, and the famous "MTV Unplugged," which began with XTC's performance and spawned memorable moments like those with Nirvana and R.E.M. Then came the creation of its younger sibling, VH1, MTV Europe, followed by MTV Latino, Alternative Nation, and AMP. Just as the channel was beginning to decline in the mid-90s, MTV2 breathed new life into the channel, recapturing its golden age and remaining on the air until its cancellation in 2003, leaving us with nothing. There were key moments like the famous "Unplugged," whose idea originated from an acoustic show with XTC, but it was Eric who truly made it happen. Clapton, Paul McCartney, R.E.M., and Nirvana showed that the format would reach massive heights. And what can be said about the VMAs, which after 1985 evolved into something unmissable? I remember the ceremony being considered a massive and unmissable event, until it stopped being innovative and enjoyable from the late 90s onwards. 

Unfortunately, little by little, the network content began to fade and replace music videos with trash reality TV, first was "Real World" back in 1992, and from then on it wouldn't stop, without knowing it, we were witnessing the beginning of the end, until everything became unbearable. Unfortunately over the decades, MTV went through many different phases before ultimately fading as cable TV was replaced by the internet—but not without forever leaving its mark on music.

In Memoriam: Actor "Sam Neill" Dies Aged 78

Actor Sam Neil, best known for his starring role in 1993's Jurassic Park, has died aged 78.

In a statement his family say Neill's death was "sudden and unexpected" but that he was "surrounded by family". Neill had previously been diagnosed with non-Hodgkin lymphoma, but announced earlier this year that he was cancer-free.

Neill was an undeniably versatile and accomplished actor, which was demonstrated no better than in 1993 which saw two of his most outstanding films, he first rose to fame in the 1977 film Sleeping Dogs, before going on to star in My Brilliant Career, Jurassic Park, The Piano, The Dish and Possession among other films.

He was one of a host of actors and directors who achieved international fame after an explosion of Australian films that began in the late 1970s — a list that includes Paul Hogan, Mel Gibson, Geoffrey Rush, Russell Crowe, Jane Campion, Peter Weir and Gillian Armstrong.

Actor Sam Neill might have officially been a Kiwi, but he did some of his best work in Australian film and television. This is his story. In 2023, Neill revealed he had been diagnosed with angioimmunoblastic T-cell lymphoma, a rare type of non-Hodgkin lymphoma, in early 2022. He entered remission later that year after a rare anti-cancer drug worked, but needed ongoing infusion treatment. He announced in April he was cancer-free.

The actor was also knighted in 2022, becoming Sir Sam Neill. "I said I didn't want the title for 10 or 12 years," he said in 2023. "Then when I thought I was dying a couple of years ago I thought, 'Oh bugger it, I may as well go out with the title,' so I changed my mind."Neill's range as an actor was remarkable, playing opposite Helena Bonham Carter in the Alan Ayckbourn comedy Sweet Revenge to chopping off Holly Hunter's finger in The Piano to poking his own eyes out in the sci-fi horror Event Horizon.

The actor first came to the attention of international audiences in Armstrong's 1979 film My Brilliant Career, which also introduced Judy Davis. He later appeared in Phillip Noyce's Dead Calm, a classy thriller set at sea and co-starring the then-relatively unknown Nicole Kidman.

Neill twice co-starred with Meryl Streep, in Australian director Fred Schepisi's Plenty and — again for Schepisi — in A Cry in the Dark, a film about the sensationalised aftermath of a dingo killing a baby in the Australian Outback. He earned an Emmy nomination for his performance in the title role of the 1998 mini-series Merlin and another as narrator of 2017's Wild New Zealand.

He perhaps achieved his highest level of fame in Jurassic Park, playing palaeontologist Alan Grant, who is summoned to an island off Costa Rica where a theme park has been built to house herds of cloned dinosaurs. He co-starred alongside Laura Dern, Jeff Goldblum and Richard Attenborough in the Steven Spielberg directed hit.

His character was thoughtful and reasonable, a scientist who warned the mastermind of the theme park before the chaos: "Dinosaurs and man, two species separated by 65 million years of evolution have just been suddenly thrown back into the mix together. How can we possibly have the slightest idea what to expect?" Grant survived the harrowing events when the creatures get loose, but didn't return for The Lost World: Jurassic Park II in 1997. He came back for the third episode in 2001 and Jurassic World: Dominion in 2022.

Born in 1947 in Northern Ireland, Neill emigrated to New Zealand at the age of seven. His family settled in Dunedin on the South Island and he was sent to boarding school in Christchurch.

After college, he took the lead in Sleeping Dogs in 1977 — the first feature made in New Zealand in more than a decade. There's no fuss, no entourage and no star ego, writes producer Vanessa Gorman, on filming with Sam Neill. Neill was also a vintner and under his Two Paddocks brand, he produced pinot noir and riesling wines from his winery in the Central Otago region of New Zealand's South Island.

On social media, he often posted images of his farm animals, many of them affectionately named after celebrities and friends, like Laura Dern the chicken, Kylie Minogue the duck and Helena Bonham Carter the cow. His memoir Did I Ever Tell You This? came out in March 2023 and he was awarded a knighthood in recognition of his "outstanding contribution to film" — a title approved by the late Queen Elizabeth II.

"I can't pretend that the last year hasn't had its dark moments," Neill told The Guardian in 2023, referring to his cancer diagnosis and treatment.

News: MTV To Shut Down Music Channels In UK/Europe After 40 Years

After nearly four decades on the air, MTV is set to end one of the most defining chapters in modern music television history. The iconic brand's parent company, Paramount Global, has confirmed plans to shut down all remaining MTV music channels by December 31, 2025, marking the end of an era for millions of fans who grew up watching music videos on television.

The closure will affect several MTV-branded spin-offs across Europe, including MTV Music, MTV 80s, MTV 90s, Club MTV, and MTV Live. According to industry reports, the decision is part of a broader restructuring effort by Paramount, driven by cost-cutting and the ongoing shift of audiences from traditional TV to digital streaming.

The end of an era of course, cause the affected networks, long known for non-stop music videos, countdowns, and throwback blocks back in the day, will cease broadcasting at the end of 2025 in the United Kingdom and Ireland, before similar shutdowns are implemented across parts of continental Europe and other international markets. While these spin-off stations are being phased out, the flagship MTV channel will remain on air. However, for years, and let's face it, the main cause of its decreasing and decadence was to carried very little music content, focusing instead on popular entertainment and reality programming such as Catfish, Geordie Shore,The Challenge, Ridicoulousness and many other crap like that.

The reasons behind MTV is calling to and end are various: 

• Streaming: According to them, the nowadays audiences no longer turn to television to discover new music. Viewership for traditional music TV has plummeted over the past decade, as fans now prefer platforms like YouTube, Vevo, Spotify, and TikTok, where music videos and clips are still available on demand and tailored to individual preferences. MTV's role as a tastemaker in music culture has long been eroded by these digital platforms, which allow instant access, interactivity, and global reach. Industry analysts note that the same generational shift that transformed radio also disrupted linear music television.

• Paramount's Corporate Reestructure: The closures also form part of Paramount's global cost-saving strategy following its merger with Skydance Media earlier this year. The company is realigning its international operations, cutting underperforming linear channels, and investing more heavily in its streaming platform, Paramount+. In early 2025, MTV’' U.K. production unit reportedly underwent staff reductions and programming cutbacks. The music-focused channels, which now deliver a fraction of their peak audience, were seen as unsustainable under the company’s new strategy.

• Changing Relevance Of Music TV:  When MTV launched in 1981, it revolutionized how artists connected with fans. The iconical slogarn "I Want My MTV" and the pioneering video premieres made it the ultimate gateway for music discovery. But as early as the 2000s, MTV began pivoting toward reality programming to sustain viewership and this was unfortunately the beginning of the end, since 2011, the U.K. network removed most music video blocks from its main channel, moving them to specialized spin-offs like MTV Music and Club MTV. Now, even those offshoots have reached the end of their lifespan, with digital platforms rendering their model obsolete.

• Nostalgia and Disappointment: The news has sparked a wave of nostalgia from longtime viewers, artists, and former MTV staff who see the shutdown as "the end of an era." Many have taken to social media to reminisce about growing up with MTV's visual storytelling, from 120 Minutes, Yo MTV Raps, MTV Unplugged to the 24-hour rotation of pop, rock, and hip-hop hits.

Definitely this represent a symbolic loss. For decades, MTV was more than a channel; it was a cultural institution that launched careers, shaped trends, and defined youth identity across generations. MTV made music larger than life cause it wasn't just about the songs; it was about style, attitude, and belonging. Impact on Artists and the Industry

The closures will push record labels, promoters, and artists to rely even more heavily on digital marketing and algorithm-driven discovery. Playlists, short-form video clips, and social engagement are now the new frontiers for music visibility. Pay TV providers and satellite operators will also need to adjust their electronic programme guides, replacing MTV's defunct music channels with other content or reallocating the bandwidth to streaming partnerships and interactive services.

On August 1, 1981, opening with the now-historic words, "Ladies and gentlemen, rock and roll." The first video ever played, Video Killed the Radio Star by The Buggles, became prophetic of MTV’s influence on the industry. In the decades that followed, MTV defined pop culture and the channel transformed the music video into a global art form.

MTV Europe launched in 1987, followed by localized channels around the world, including MTV UK in 1997. These networks became a bridge for international music exchange, helping artists from different regions reach new audiences, MTV Latino arrived in 1993, but the case of MTV Latino was clear example of what might happen in the future that has arrived cause it was shutted somewhere in the 2010s., which was the moment when the rise of the internet and social media upended that model. YouTube became the new MTV. Music television lost its dominance, and the network shifted toward reality crap. 

The closure of MTV's music channels doesn’t mean the brand will disappear entirely. Paramount has hinted that the MTV brand will continue in the digital space, integrated into streaming services, award shows, and online video formats. The MTV Video Music Awards (VMAs) and MTV Europe Music Awards (EMAs) remain strong global franchises.

Film: The Cult Classic "Almost Famous" Turns 25

Released between 13 and 22 September 2000, "Almost Famous" was a comedy drama film written and directed by Cameron Crowe, starring Billy Crudup, Frances McDormand, Kate Hudson, Patrick Fugit, and Philip Seymour Hoffman. It tells the story of a teenage journalist, played by Fugit, writing for Rolling Stone magazine in the early 1970s, touring with the fictitious rock band Stillwater, and writing his first cover story on the band. The film was semi-autobiographical, as Crowe himself was a teenage writer for Rolling Stone.

At the time, the film performed poorly in theaters, grossing $47.4 million against a $60 million budget. It was widely acclaimed by critics and earned four Academy Award nominations, including a win for Best Original Screenplay. It also won the 2001 Grammy Award for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media.  

Some critics such as Roger Ebert hailed it as the best film of the year and the ninth-best film of the 2000s. The film also won two Golden Globe Awards, one for Best Motion Picture – Musical or Comedy and another for Best Supporting Actress – Motion Picture for Hudson.

The film has been widely regarded by some as a cult classic and in a 2016 international poll conducted by the BBC, Almost Famous was ranked the 79th greatest film since 2000, while it was ranked as the 47th best film of the 21st century in a 2025 poll by The New York Times. 

Crowe, based the screenplay on his own teenage years as a writer for Rolling Stone, crafted a story that felt both personal and universal. Started with William Miller, a wide-eyed teen who landed the gig of a lifetime: writing a cover story on an up-and-coming band, Stillwater, while navigating the highs and lows of the rock ‘n’ roll lifestyle. The movie's warmth, humor, and keen observations about fame, family, and authenticity struck a chord with audiences and critics alike 25 years ago.

Crowe's work earned him the Oscar for Best Original Screenplay, cementing his reputation as one of Hollywood’s great chroniclers of human connection. The film also launched the careers of its young stars, particularly Patrick Fugit as William and Kate Hudson as the enigmatic Penny Lane. Hudson’s portrayal of the not-a-groupie-but-definitely-a-groupie character remains iconic, earning her an Oscar nomination and solidifying her as a star.

Almost Famous  was also notable for its smaller, yet equally memorable roles. Eric Stonestreet, who had a blink-and-you-miss-it cameo as Sheldon, a dryly humorous hotel clerk. Though the part consisted of just five lines, it marked a pivotal moment in Stonestreet’s career. At the time, he was an unknown actor, auditioning for roles that rarely led to anything significant.

Interestingly, Stonestreet initially read for the role of Lester Bangs, the eccentric music critic who serves as William’s mentor. That role eventually went to the late Philip Seymour Hoffman, whose performance is considered one of the film’s highlights. Yet, Crowe and his casting team saw something in Stonestreet that they couldn’t ignore. "We're gonna find something for you," the casting director reportedly told him. And they did.

Another great aspects of Almost Famous  was of course its music. Crowe, a lifelong music enthusiast, infused the film with an authentic rock 'n' roll spirit. The fictional band Stillwater, whose journey forms the backbone of the story, felt so real that some viewers believed they were an actual 1970s group. Their hit song, "Fever Dog," was a masterful pastiche, blending the raw power of Led Zeppelin with the swagger of Ted Nugent.

The film's soundtrack was also a treasure trove of classic rock gems, featuring tracks from Simon & Garfunkel, Elton John, and The Who. But the original music, crafted by Crowe's then-wife Nancy Wilson (of Heart), added an extra layer of authenticity. Musicians like Peter Frampton and Pearl Jam’s Mike McCready contributed to the project, lending it a level of credibility that few fictional bands achieve, that even two decades later, the music of Almost Famous continues to resonate. 

Even thought Almost Famous wasn't a box-office hit, its cultural impact has everlasted its initial run. It remains a touchstone for anyone who has ever felt the pull of music, the ache of growing up, or the thrill of chasing a dream. Crowe’s ability to weave humor, pathos, and a deep love of music into a cohesive narrative ensures that the film continues to resonate.

On its 25th anniversary, fans and critics alike are revisiting the film with fresh eyes. For some, it’s a reminder of their own youthful idealism, an introduction to a world they never knew existed. And for Crowe, it was a testament to the power of storytelling.

In Memoriam: The Television Composer "Mark Snow" Dies At 78

Mark Snow, the veteran television composer who turned “The X-Files” theme into an unlikely chart hit in the 1990s, died Friday at his home in Connecticut. He was 78.

He was a 15-time Emmy nominee, he not only scored more than 200 episodes of the legendary Chris Carter's spooky Fox series, he also provided the music for another series now turned into classisc such as "Hart to Hart," "T.J. Hooker," "Smallville," "The Ghost Whisperer" and "Blue Bloods."

Six of his 15 Emmy nominations were for "The X-Files," but five others were for such high rated TV movies and miniseries, including "Something About Amelia," "An American Story," "Oldest Living Confederate Widow Tells All," "Children of the Dust" and "Helter Skelter."

He was a Juilliard-trained composer started out, like most TV composers in the 1970s, writing for full orchestra, but Snow was among the first to transition to the all-electronic milieu in the late 1980s, working alone in his home studio. All of the "X-Files" TV music sometimes as much as 40 minutes per weekly episode was created on his synthesizers, samplers and other music-making machines.

Composer Sean Callery, who considered Snow a mentor and then close friend of more than three decades, told:  "His limitless talent and boundless creativity was matched only by the generosity he bestowed upon other composers who sought his guidance. He would give the most inspiring and intelligent feedback when listening to the work of other young artists. He combined his decades of experience with the encouragement that composers cultivate: to trust in themselves, embrace their own unique voice, and learn to rely on their own instincts. And he did so with a humor and self-deprecation that made his wisdom all the more enduring."

Snow recalled coming up with an echoing rhythmic figure, then adding an eerie, whistling melody atop it, as he was scoring the pilot for "The X-Files" in 1993. He was amused when it became a top-10 hit in England, Ireland, France and across Europe in 1996, saying: Nothing really big happens in the song. It stays in A-minor, there's no singing, drums or guitars, and it was a smash hit. 

Snow also scored Carter's other series, "Millennium," "Harsh Realm" and  "The Lone Gunmen," and earned another Emmy nomination for his theme for  "Nowhere Man" in 1996.

As he explained: "It took quite a few years to get to where I felt comfortable with the electronics, trying to make something that approximated melodic music. Mostly it was used for ambient sound-effect type scores. But the technology kept changing so quickly. There was much more control, and the spectrum of sound really warmed up and started to breathe. These electronic instruments could really make something approximating music. [Now] I have my keyboard, here’s the show on the screen in front of me, and I just start playing along with it. I improvise, and then I hit on something I like, and I go over it again and again."

He also wrote the music for the final four films of acclaimed French filmmaker Alain Resnais, earning a César nomination for the first, 2007's "Private Fears in Public Places."

Born Martin Fulterman on August 26, 1946, in Brooklyn. He began piano studies at 10, later adding drums and oboe to his repertoire. He studied at New York's High School of Music and Art and soon befriended another future film composer, Michael Kamen.

The two became roommates when both went on to study at the Juilliard School of Music from 1964 to 1968. They co-founded the New York Rock & Roll Ensemble to perform both classical and innovative pop music. Immediately signed to Atlantic Records, they went on to record and perform for the next five years.

In 1974, after a brief stint as a record producer, he moved to Los Angeles, where his brother-in-law, actor Georg Stanford Brown, convinced producer Aaron Spelling to take a chance on the young composer by commissioning a score for ABC's "The Rookies."

It was on this first of six "Rookies" scores that Martin Fulterman adopted the pseudonym Mark Snow initially to dodge threats from his previous employer, it became his professional moniker. He soon became busy in episodic TV, writing scores for "Starsky & Hutch", "Gemini Man," "Family" and other series. 

It was "Hart to Hart," the Robert Wagner-Stefanie Powers romantic drama, his real first big hit, composing the theme and more than 90 scores for the ABC series. He went on to write the theme and early scores for William Shatner's "T.J. Hooker," the theme for Jack Warden's "Crazy Like a Fox,"  and scores for such other series as "The Love Boat," "Dynasty," "Cagney & Lacey" and "Falcon Crest."

In the aftermath of his 1990s success with the "X-Files" music, Snow scored the first six seasons of "Smallville" for the WB network, all five seasons of "Ghost Whisperer" on CBS (earning two more Emmy nominations) and nearly 290 episodes of the long-running Tom Selleck family police drama "Blue Bloods" on CBS.

Among his other TV movies and miniseries were "The Boy in the Plastic Bubble" with John Travolta, HBO's "Vietnam War Stories," the Louis L'Amour western "Down the Long Hills," "Murder Ordained" with Keith Carradine, "Everybody's Baby: The Rescue of Jessica McClure," "The Lost Capone," six "In the Line of Duty2 films including "Siege at Waco," "A Woman Scored: The Betty Broderick Story" with Meredith Baxter, "The Day Lincoln Was Shot" with Rob Morrow, and "20,000 Leagues Under the Sea" starring Michael Caine.

His other feature films included "Ernest Saves Christmas," "Cold Dog Soup" produced by George Harrison's Handmade Films," the two "X-Files" films, "The X-Files" and "The X-Files: I Want to Believe," both of which departed from the all-electronic TV style in favor of traditional orchestral scores. In addition to his Emmy nominations, Snow received ASCAP's Golden Note Award in 2005. 

Among the survivors are his wife Glynnis, plus three daughters and grandchildren.

The Compilation: Certain Shades Of Limelight

Cherry Red announce a new Swing Out Sister collection, the 8CD box set called Certain Shades Of Limelight.

This 8CD set features newly mastered albums released between 1994 and 2004 along with three bonus CDs of B-sides, remixes, edits and rarities. The albums in question are:

• The Living Return (1994)
• Shapes And Patterns (1997)
• Filth And Dreams (1999)
• Somewhere in the Night (2001)
• Where Our Love Grows (2004)

This set has been compiled in conjunction with Corinne Drewery and Andy Connell and the booklet features notes from John Earls. The packaging will be the same as before and a third SOS box in this series has been confirmed!

Certain Shades Of Limelight will be released on 27 June 2025, via Cherry Pop.

CD 1: The Living Return

 

1. Better Make It Better

2. Don’t Let Yourself Down

3. Ordinary People

4. Mama Didn’t Raise No Fool

5. Don’t Give Up on A Good Thing

6. Making The Right Move

7. La La (Means I Love You)

8. Feel Free

9. Stop And Think It Over

10. That’s The Way It Goes

11. All In Your Mind

12. Pesadelo Dos Autores

13. Low Down Dirty Business

 

CD 2: Shapes and Patterns

 

1. Somewhere In the World

2. Here And Now

3. We Could Make It Happen

4. Shapes And Patterns

5. Better Make It Better

6. Something Out of This World

7. Joe Meek’s Cat

8. Stoned Soul Picnic

9. You Already Know

10. Always

11. Now You’re Not Here

12. Icy Cold as Winter

13. Shapes And Patterns (Reprise)

 

CD 3: Filth And Dreams

 

1. Who’s Been Sleeping

2. Closer Than the Sun

3. Sugar Free

4. Filth And Dreams

5. Happy When You’re High

6. If I Had the Heart

7. When Morning Comes

8. Invisible

9. World Out of Control

10. Make You Stay

 

CD 4: Somewhere Deep in The Night

 

1. Through The Sky

2. Will We Find Love?

3. Somewhere Deep in The Night

4. The Vital Thing

5. What Kind of Fool Are You?

6. Suspended In Time

7. Alpine Crossing

8. Fool Tag

9. Where The Hell Did, I Go Wrong?

10. Non E Vero Ma Ci Credo

11. Touch Me Now

12. The Vital Thing-Take B

13. Where Do I Go?

14. Now Listen to Me 

 

CD 5: Where Our Love Grows

 

1. Love Won’t Let You Down

2. Where Our Love Grows

3. When The Laughter Is Over

4. Certain Shades of Limelight

5. From My Window

6. Caipirinha

7. Where Our Love Grows (A Cappella)

8. Let The Stars Shine

9. We’ll Find a Place

10. Happy Ending

11. La Source

12. Love Won’t Let You Down (More Love)

 

CD 6: The Big Elsewhere

 

1. Now You’re Not Here – Vocal Mix

2. Now You’re Not Here – Daddy Macks Back

3. Now You’re Not Here – Da-Li-Da

4. Now You’re Not Here – So Low

5. Now You’re Not Here – Water and Water

6. Now You’re Not Here – Desolate Shores

7. Now You’re Not Here – Deep Siesta

8. Now You’re Not Here – Instrumental

9. Now You’re Not Here – TV Mix

10. Now You’re Not Here – Cool Mix

11. Now You’re Not Here – Original Karaoke

12. Now You’re Not Here – Passion Fruit Mix

13. Now You’re Not Here – Original Single Mix

 

CD 7: Excursions and Versions

 

1. La La (Means I Love You) – Self Anointing Version

2. La La (Means I Love You) – U.S. Mix with Flute

3. La La (Means I Love You) – UK Edit W/Guitar Solo

4. La La (Means I Love You) – U.S. Mix with Trumpet

5. Better Make It Better – Eastside Connection

6. Better Make It Better – Ten Men Mix

7. Better Make It Better – Acappella Mix

8. Heaven Only Knows – Little Piece of Heaven Mix

9. Heaven Only Knows – Too Much Heaven Mix

10. Somewhere In the World – Circle & Square Mix

11. Somewhere In the World – Instrumental

12. Somewhere In the World – Original Karaoke

13. We Could Make It Happen – Instrumental

14. We Could Make It Happen – Original Karaoke

15. We Could Make It Happen – What’s Happening Mix

 

CD 8: More excursions and versions

 

1. Who’s Been Sleeping – Parabolica Mix

2. Alpine Crossing – Gravallax Mix

3. Alpine Crossing – A Cappella Mix

4. Alpine Crossing – Extended Mix

5. Waters Of March – Single

6. La La (Means I Love You) – Edit

7. Better Make It Better – Edit

8. Better Make It Better – Radio Edit

9. Better Make It Better – Edi

10. Ordinary People – Edit

11. Mama Didn’t Raise No Fool – Edit

12. Making The Right Move – Edit

13.Stop And Think It Over – Edit

14. All In Your Mind – Edit

15. Through The Sky – Single Edit

16. Somewhere Deep in The Night – Radio Edit

17. Love Won’t Let You Down – Radio Edit

Film: The First Horror Movie Of The 21st., Century The Cult Classic "American Psycho" Turns 25

Premiered on this date 25 years ago, "American Psycho" shocked audiences with its razor-sharp satire, unsettling violence, and unforgettable portrayal of Patrick Bateman—an investment banking executive by day and a deranged serial killer by night. 

Directed by Mary Harron and based on Bret Easton Ellis' controversial 1991 novel, was initially met with mixed reactions due to its brutal content. However, over time, the film gained a cult following for its dark humor, social commentary. The cast included Reese Witherspoon, Jared Leto, Willem Dafoe, Samantha Mathis, and Chloë Sevigny. the book and the film has since carved out a permanent spot in pop culture history.

The film had a sleek style and a cutting-edge soundtrack, featuring tracks from David Bowie, Huey Lewis and the News, and New Order—helped define its era. On a $7 million budget, American Psycho grossed over $34 million worldwide, proving its staying power despite the controversy surrounding it.

25 years later, the film remains a brutal mirror of consumer culture, toxic masculinity, and the thin line between sanity and madness. American Psycho is a satirical dark comedy penned by American author Bret Easton Ellis. The narrative follows the story of high society socialite cum investment banker Patrick Bateman who lives a dual life as a murderous psychopath. Ellis confessed that the basic premise of American Psycho came to fruition as a result of the consumer driven yuppie culture that was prevailing at that time, "I was slipping into a consumerist kind of void that was supposed to give me confidence and make me feel good about myself but just made me feel worse and worse and worse about myself. 

The book received a negative backlash when it debuted with the author even receiving hate mail and death threats for his polarizing creative output. Many feminist activists and organizations further lambasted Ellis's effort due to its graphic depiction of violence against women. But despite the properties' controversial nature, producer Edward R. Pressman showed a keen interest in adapting the novel to a feature film, after Johnny Depp expressed interest in it.

American Psycho wasn’t the first Bret Easton Ellis's film-adaptation effort. His first novel, Less Than Zero, also received the big screen treatment back in 1987 but Ellis was far from pleased by the adaptation. Because of this Ellis preferred to adapt American Psycho if he was given the opportunity to do so. The writer's dream came true when he got hired to write the screenplay when David Cronenberg and Brad Pitt were attached to direct and star at one point. Re-Animator helmer Stuart Gordon and Johnny Depp had, at that point, moved on with other projects due to the delayed nature of the adapting process.

However, in spite of authoring American Psycho, Ellis struggled with script development since Cronenberg wanted to excise large chunks of the novel which played an integral role in the narrative and specifically instructed that the script be confined to around 70 pages. The myriad changes resulted in the screenplay diverging from the source material in a big way and as three and a half years had elapsed Ellis had gotten completely fed up with what he was burdened with. The sheer boredom resulted in Ellis crafting an elaborate musical sequence to the tune of Barry Manilow's "Daybreak" as the film’s grand finale in his final draft.

Finding that Ellis could not give what he wanted, Cronenberg hired Dead Ringers' scribe Norman Snider to take a stab at script development. However, Snider too failed at the task and eventually both Cronenberg and Pitt departed the long stagnating project. Ellis ended up writing another draft for producer Rob Weiss, who went on to co-produce American Psycho, but that iteration too failed to materialize. Frustrated, Edward R. Pressman even attempted to pre-sell the property at the 1996 Cannes Film Festival but was unable to secure a potential buyer.

Mary Harron was drawn to the property due to its “risky” nature, but following the success of I Shot Andy Warhol, which premiered at the 49th Cannes Film Festival to glowing reviews, Mary Harron was on the lookout for a project that would stimulate her artistic soul. And it came in the form of a phone call from one Roberta Hanley – who ran the production company which held the film rights to American Psycho – with a tantalizing offer to direct the movie. 

At first, however, Harron was skeptical since she found the content of the novel too dark and violent. But then, the filmmaker realized that the time was right to adapt the property and focus on a more satirical, social commentary heavy version of the book's narrative. Since Harron was uninterested in the other offers she received, she decided to make American Psycho due to its inherently "risky" nature. 

However, Harron requested that she'd like to take a crack at the screenplay as well, since the previous drafts didn’t quite appeal to her as a creative. The producers agreed and Harron came on board as the film's writer and director. About the cast, 25 years ago Bale was a relative unknown who's biggest credit up to that point was Steven Spielberg's war epic Empire of the Sun which was shot in 1987 when Bale was only 13-years-old, and Lionsgate were adamant that the up-and-coming actor wasn't the right choice for their lead. This led to a bitter fallout between the studio and Harron which resulted in her exiting the project altogether.

Willem Dafoe requires no introduction. The gifted character actor has made a name for himself by working with auteur filmmakers. The actor received wide recognition, however, for his brilliant portrayal of Norman Osbourne a.k.a Green Goblin in Sam Raimi's Spider-Man films. During the shoot Mary Harron instructed the talented Dafoe to give three different performances for three different takes of the same scene – one where Dafoe’s Detective Kimball knew Bateman was Paul Allen’s murderer, another where he appeared to suspect Bateman and the last one where Kimball appeared to not even suspect Bateman. These three different takes were then stitched together during editing process in order to obfuscate audiences. Jared Leto has developed something of a polarizing reputation amongst both film critics and audiences. For the pivotal involving Leto in American Psycho, director Mary Harron and Christian Bale purposefully excluded the actor during rehearsals in order to illicit a more genuine response by him when the scene is actually shot.

Shooting in Toronto proved to be a challenging affair for all due to the controversial nature of the novel and because of reports that serial killer and rapist Paul Kenneth Bernardo owned a copy of the book whilst engaging in a killing spree in the district of Toronto between 1987 and 1990, anti-violence advocates urged Toronto City Hall to deny the production of American Psycho to shoot in Toronto. Because of this, Harron & co. had trouble securing shooting locations in the vicinity to carry out filming. To avoid unnecessary problems due to ongoing protests, the production removed the title from daily call sheets and parking permits during filming. 

One of the film's most costliest aspects were purchasing the rights to various songs, obviously the music was one of the most key elements, along with the original score crafted by Velvet Underground co-founder John Cale, who also scored I Shot Andy Warhol, American Psycho features a sublime soundtrack 1980s pop music from a variety of artists which include the likes of Phil Collins, David Bowie, New Order, Robert Palmer, Rakim, Erik B. and the Mediæval Bæbes. The producers were able to secure licenses for most of the songs they sought, but the controversial nature of the property led to some artists declining the use of their songs like Whitney Houston who didn't allow the usage of her song "The Greatest Love of All". Production ended up using an orchestral version of the song for the movie, instead. The Huey Lewis and the News song "Hip to Be Square" which appears in a pivotal moment in the movie was also removed from the soundtrack album, as the song was included without the band's permission.

Made on a production budget of $7 million American Psycho went on to make a respectable $34 million at the worldwide box office. The movie debuted at the Cannes Film Festival polarizing audiences and critics both but unanimous praise was showered on the star making turn dished out by lead actor Christian Bale. Veteran film critic Roger Ebert gave the film three out of four stars, showering praise on the female perspective brought by Harron and writer Guinevere Turner because they depict Bateman not as a psychologically disturbed aberration, but as a certain type of selfish, ego-driven male behavior taken to an abhorrent extreme. Owen Gleiberman of Entertainment Weakley gave the film an A− rating, writing, “By treating the book as raw material for an exuberantly perverse exercise in '80s Nostalgia, Harron recasts the go-go years as a template for the casually brainwashing-consumer/fashion/image culture that emerged from them. She has made a movie that is really a parable of today”.he success of the film cemented Christian Bale's reputation as Hollywood's next leading man 

A new generation is getting ready to meet Patrick Bateman all over again. A remake is officially in the works, with director Luca Guadagnino (Call Me by Your Name, Bones and All) at the helm. Austin Butler (Elvis) has been cast as the new Bateman, setting the stage for a stylish and intense reimagining of the psychopathic executive.

In Memoriam: Iconic Film Star "Val Kilmer" Dies At 65

Val Kilmer, a film star who throughout his career proved he was up for any task, from playing a cocky naval pilot to wearing the Batman suit, died on Tuesday, according to his daughter Mercedes Kilmer, who released a statement to the New York Times and the Associated Press. He was 65. 

 

The cause of death was pneumonia, Mercedes Kilmer told the media outlets. Kilmer had recovered from a 2014 throat cancer diagnosis that required tracheotomy surgery that altered his voice.In recent years, Kilmer largely stepped away from acting, but made a brief return to the craft in "Top Gun: Maverick," the sequel to the original film that launched him and that cast into superstardom.

The sequel, which released in 2022 after a two-year delay, deftly blended Kilmer's off-screen health issues into the film's story, with his Tom "Iceman" Kazansky, the smug but cool rival to Tom Cruise's Pete "Maverick" Mitchell, ultimately succumbing to an ailment in the film.

Born and raised in San Fernando Valley, California; Kilmer studied at the Hollywood Professional School before heading to New York where, at 21, he became the youngest student at the time to be accepted into Julliard School's drama department. He began his film career in the 1984 comedy "Top Secret!" next was the iconical "Real Genius" as the role of messy Chris Knight, he acted in several movies throughout the '80s including his breakout role in 1986's "Top Gun."

Then came an incredible streak of successful genre-spanning movies in the 1990s: A biopic of "The Doors," in which he portrayed Jim Morrison, a Western called "Tombstone,” where he played Doc Hollidayand then the superhero film with "Batman Forever," in which he played the Dark Knight, and a crime film, Michael Mann's masterpiece "Heat".

One of his less lucrative pursuits included his one-man stage show "Citizen Twain," about Mark Twain, whose work he deeply admired and referenced frequently in interviews. In all, Kilmer's films made nearly $2 billion at the global box office, according to Comscore.

Throughout his career, the roles that Kilmer played possessed an iconic quality while underscoring the way his career frequently zigged at the point where it could have zagged, to his detriment if not in terms of the quality of the work but how Hollywood and the public perceived him. Kilmer enthusiastically agreed to star as Batman, for example, but quickly soured on that experience, passing on another sequel in favor of the forgettable reboot "The Saint."

Similarly, he took a role in "The Island of Dr. Moreau" in order to play opposite Marlon Brando, only to clash with director John Frankenheimer and be disappointed when a detached Brando periodically refused to come to the set, letting a stand-in take his place.

He reflected on his career and life in the 2021 documentary "Val" through interactions he had videotaped with his family and on film sets for years, including behind-the-scenes footage from "Tombstone" and the "Top Gun" cast partying after hours.

At the time, Kilmer was recovering from throat-cancer surgery, so his son, Jack, read the actor's written narration — sounding uncannily like his father.

Kilmer frequently expressed about his desire to work with certain directors, showing audition videos that he shot for parts he failed to land in "Goodfellas" and "Full Metal Jacket," seeking to impress directors Martin Scorsese and Stanley Kubrick, respectively. He also documented his laborious auditioning and preparation process for portraying Jim Morrison in "The Doors." Ultimately, in the documentary, he expressed excitement about all that would come next.

Kilmer identified as a Christian Scientist, opening up in interviews about his faith and beliefs. In a 2020 interview with Men’s Health, the actor spoke about illness through the lens of his faith. "Well, something that was reaffirmed to me – on such a level, it was almost shocking – was a sense of universal love, a kind of power and a different sense of love. It was coming into my consciousness and my body while I was at the hospital," he said, going on to add that he didn’t “believe in death."

Kilmer is survived by his two adult children, Jack and Mercedes, from his marriage to "Willow" co-star Joanne Whalley. The younger Kilmers are both actors and have been involved in projects with their father. Kilmer co-starred with Mercedes in the 2020 film "Paydirt" and, in addition to voicing the "Val" documentary, Jack lent his voice to his father’s character on the Disney+ "Willow" series.

Despite his condition at the time of the 2021 documentary, and tragedies that included the death of his younger brother at age 15, Kilmer spoke of leading a "magical life." He said that he found the silver lining even as he endured fans asking for the same "Top Gun"-inspired "You can be my wingman" autograph over and over at Comic-Con. "I feel grateful," he said. 

Rest in peace now, Iceman.

Film: The Great And Beloved "High Fidelity" Turns 25

Now this film has the distinction of celebrating two anniversaries. Nick Hornby's bestselling novel, published in 1995, is celebrating 30 years and the film, released on 28 March 2000, is celebrating its 25th anniversary. And just like Rob Gordon says: books, records, films -- these things matters, actually this novel and film matter.

High Fidelity is about Rob, a failing record store owner in Chicago, and how he must grapple with the reality of adulthood after his long-term girlfriend breaks up with him. The soundtrack and plot is amazing for anyone who has a deep appreciation for music. 

Actually the film is a time capsule wrapped in the essence of the '90s, capturing a generation caught between love, music, and the precariousness of growing up, this film became more than a mere cinematic experience – it resonated like a mirror reflecting my own uncertainties, passions, and quest for understanding.

Based upon the Nick Hornby novel of the same name, the movie follows Rob Gordon played by John Cusack, a record store owner and music enthusiast, as he navigates through a series of failed relationships. Facing a breakup with his girlfriend Laura, Rob reflects on his past romances and compiles a list of his top five worst breakups. Through introspection and revisiting these old flames, Rob grapples with the complexities of love, personal growth, and his fear of commitment – all set against a backdrop of eclectic music and fueled by Rob's self-deprecating humour.

It isn't just about Rob's struggle with relationships though; it's exploring the complexities of identity, growth, and the insecurities that accompany young men into adulthood. Cusack's portrayal of Rob – a music-obsessed, introspective, and flawed character – is not entirely sympathetic, but his wit, self-deprecation, and moments of vulnerability makes him very relatable.

Now the film's soundtrack is another thing, it becomes more than just background music; it is a character in itself. The melodic narrative stitched together by tracks from Bob Dylan, The Kinks, and other legends echoes the emotional highs and lows of Rob's life. It isn’t just a collection of songs; it is the heartbeat of the movie, the soundtrack of our lives, as the film explores its themes of nostalgia, friendship, and the messy realities of adult relationships..

Rob’s journey is messy, distortioned, and definitely human, his humour and candid introspection resonate. His realisation that life doesn’t follow a script and that closure isn’t always neatly packaged leads to understanding that life’s messiness can result in the most profound moments of growth. And I personally think this is the reason why the film keeps resonating with us all this time.

Twenty-five years later, looking back, High Fidelity remains as a cult relic – a film that not only captures the zeitgeist of its time the 90's. The narrative of the film itself that continues to resonate, offering solace and wisdom with each revisit, like a conversation with an old friend. Its lessons on love, self-discovery, and the profound impact of music.