Ladyhawke black white & blue


The morning after we meet she is leaving for Madrid, where her new tour begins. Brown says she's 'dreading' it. 'Not because I don't want to play shows, but because I'm dreading being with my band. I'm not kidding. I'm dreading being on tour with this bunch of young guys, because I get upset when I see people treat people in a certain way.' Does she mean the way they treat girls? 'Yeah. They're good guys, you know, but it's just stuff I don't want to see.' As for her often paralysing pre-performance nerves, Brown says she 'tried drinking before I went on stage, which helped me for a long time. And then I realised that it was bad that it was helping me, so I stopped.' Now, she says, 'I try not to look at anyone in the audience or it will freak me out. Especially when they're smiling.'

Yes, of course it's a fantasy film. Unless you believe that the Ark of the Covenant really does have the power to melt Nazis. All of the Indiana Jones films have their moments (well, except for the last one, maybe), but Raiders stands head and shoulders above the rest . Lawrence Kasdan's screenplay was much stronger than any of the sequels, the concept was fresher, and Harrison Ford actually seemed to be having a good time playing Indy. The scene where our hero faces the scimitar-wielding bad guy with all the flashy moves, draws his gun, and blows him away was so sudden, unexpected, and delightful that audiences seeing it for the first time always went wild. But there were plenty of other great moments, too. Drinking contests with sherpas. "Snakes. Why did it have to be snakes?" Indy taking out that entire convoy full of Nazis, one by one by one. And of course the climactic opening of the Ark. The later Indiana Jones movies have rehashed so much of this that it is now hard to recall how fresh and exciting these sequences once were. None of sequel villains could match the urbane French archeologist Belloq (Rene Freeman), that sinister Peter Lorre-ish hench-Nazi (Ronald Lacey), or that treacherous little bastard of a monkey. None of Indy's later sidekicks was as good as John Rhys-Davies as Sallah. The biggest difference, though, was the female lead. Karen Allen was wonderful as Marion Ravenwood. She was the yin to Indy's yang, the pepper to his salt, and the chemistry between them was palpable. The leading ladies in the sequels were utterly forgettable in comparison. Indeed, I've forgotten most of them.

Paloma Faith calls her fourth album a “social observation record”, and it begins with a spoken-word intro from Samuel L Jackson, who tells us, “Do not be fearful of evolution…


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