Thursday, December 30, 2004

The Year That Was


Loud. Short. Fast. 2004 and saw the eagerly anticipated return of British rock act MUSE to return to our fair shores. Not only to play at the sold out national Big Day Out festival, but to tantilise fans with one side shows and then to return with full bombastic rock force for a national tour later this year. Full of visual imagery, techni-colour lights and their trademark balls, 2004 belonged to MUSE.

A little odd Icelandic woman with a powerful voice alerted the world that she was back with a vengence. Debuting on the world stage at the 2004 Olympic Games in Greece, Björk once again defied critics. Releasing essentially an a capella album, "Medúlla" took the world by storm. It had to be one of the greatest releases that surpassed all expectations and concern.

2004 was also known as the "comeback year" - with multiple artists "re-inventing" themseves to become relevant once again. Artists such as the juganute, Britney Spears, the pop-tastic Kylie Minogue [with the help of the brilliant Scissor Sisters], the one-hit wonder Destiny's Child [known as DC3] and the lesser-known and successful, Geri Halliwell [aka Ginger Spice from the defunct Spice Girls].

Not only was it a comeback year, but the most money made was not through CD sales, but touring. We saw Madonna take the crown [typical] of the highest-grossing touring artist with her trans-atlantic "re-INVENTION" tour - taking in US$ 125 million with 56 performances, which 55 were sold out. Prince came second, with Shania Twain ending the Top 3.

So what will hold for 2005? Well, definitely most of the artists featured on here will be releasing new material. However, I can say that I'm waiting with abaited breath for the Chemical Brothers, Daft Punk and Vivian Green albums. Till then, this site will return in February 2005.

For any artists or bands interested in my services, please feel free to download
my music CV -

Music CV / 01

Music CV / 02

[PDF format]

Kylie Minogue and the Ignorance of the West

Kylie Minogue and the Ignorance of the West

By Kevin Killian

The pop singer Kylie Minogue was born in Melbourne in 1968 and started acting quite young (age 7 or 8) on such Australian-filmed TV series as The Henderson Kids and Young Talent Time! As a teenager her role as Charlene, the tomboy auto mechanic on the Australian soap Neighbours, brought her to national attention. “Charlene” was feisty, awkward, sweet; when she fell in love with “Scott,” the boy next door, Kylie Minogue made the cover of TIME Australia arm in arm with Jason Donovan, the fresh-faced blond who played “Scott.” In one episode Scott’s “footy” team won a spirited match and Charlene grew so exhilarated at the party afterwards that she jumped onto the bar of the local and belted out the old Carole King 60s dance song, “The Lo-comotion.”

Somehow this episode caught the eye of Stock/Aitken/Waterman (S/A/W), then London’s pre-eminent pop writers and producers in the old Phil Spector mold. They brought Minogue to the UK and put her to work in their hit factory, recording dozens of unbearably catchy imitations of Madonna’s great hits of the mid 1980s. The S/A/W brand name, attached to their giant publicity machine, made Kylie Minogue a recording star, and her first 15 singles all reached #1 on the UK charts. It’s the same old story you’ve heard a gazillion times before. Pete Waterman also imported “Scott” (Jason Donovan), Kylie’s offscreen boyfriend as well, as made him sing too, with pointedly less success. The two of them have a majestically awful duet, “Especially for You,” which makes the Diana RossLionel RichieEndless Love” sound like Mahler in comparison. Most of these early hits are pretty crumby, but the best of them are pleasurable reminders of the permeability of image and the magnificent instability of the sign.

Every now and then I log on to perhaps the best of hundreds of Kylie websites, “Limbo,” to follow excited threads such as, “Who’s More Enigmatic—Kylie or Jackie Onassis?” “What Kylie Has taught Me,” “Kylie’s Speaking Voice,” “How Tall is Kylie—really?” And yet to date I have only met maybe 50 Americans who know who she is, all of them gay men of a certain age and a certain artistic temperament, and only two people—the French photographic duo Pierre et Gilles—who have actually met and worked with her. It’s almost as if she doesn’t exist in America, and yet she’s at the center of my universe. Well, that is the feeling, the feeling of insecurity. When we’re not together, tell me everything’s gonna be all right…

Wolfgang Tillmans’ photo of Kylie shows her sweating in some loud club, a bottle of Carlsberg Lager propped in front of her, she’s made up minimally, her hair pinned back behind her ears, she’s all propped up listening wide-eyed to some unseen big man with a hairy fist and a giant gold ring who’s gesturing towards her with stern authority. Or perhaps he’s brushing her cheek with great tenderness. She seems alive—intensely so, but pale, like most of Tillmans’ subjects, who all look so European and bubblelicious.

She’s only 5 feet 1, a toy, in a black T-shirt that’s ridden up both arms. I’d like Tillmans to take my photo to see how “candid” his subjects really are but they seem like they are all so busy, too busy to notice his lens, oh well we’re all on TV all the time nowadays anyhow, it’s a fact of life like the climate or the white noise that surrounds us. All the light in the club is directed at her face and hands, which cup her chin, her fingers tapping at her temples. She doesn’t look like a great brain. Whose arm is that, with its tattoo, its plastic beaded bracelet, and that gold nugget ring? Her face anointed with oil, the Turner Prize gleaming just outside the frame of the The odd thing is that Kylie herself will never win any awards, for nothing.

In the book Kylie Evidence, a group of international photographers and conceptual artists play numerous variations on a single iconic image, the girl next door gone bad, the myth of Kylie Minogue. This hideous myth, so dear to my heart, is deployed in often ludicrous contexts. In the “Home of the Dew Drop Fairy,” Karen Kilimnik replaces Kylie’s image with a big red blowsy rose still life (to show decay), that’s being stalked by a cunning little squirrel tasting the glassy dew (to show her innocence). Flip the page, there she is riding a carousel horse, in a sexed-up nun outfit, skirts hiked way up her thigh, in Pierre et Gilles’ flashy, nutty hand-colored photo. Poor Kylie, detached from the artificial S/A/W soundscapes that made her once a beloved mascot for children, here assuming the suffering and fun of all the world. I’ll forgive, and forget, if you say you love me so, cos it’s true, what they say: better the devil you know.

Kylie was still dating Jason, and still under the thumb of her evil producers, who in turn were determined to keep their cash cow going as long as they could, when she met Michael Hutchence, the lead singer of Australia’s biggest rock band, INXS. Instantly she changed from the girl next door to tabloid heroine. Asked what his hobby was, Hutchence is said to have replied, “Corrupting Kylie.” For he was the bad, Mick Jagger-like Faust to Kylie’s Marguerite. Everyone loves a good Harlequin romance, and this one was a pip. All of a sudden it was Jason who? Under Hutchence’s spell, Kylie turned to drink, drugs, sex, art and bohemianism, and determined also to seize her own image away from her Svengali producers, finally finishing her contract and striking out on her own. Hutchence abandoned Kylie,—the cad!—for the supermodel Helena Christensen, but our girl never looked back, and made a series of more sophisticated, “indie” pop records through which, bit by bit, she lost her core audience but gained a resolute and intransigent fan base of young gay male admirers.

In search of artistic integrity, she attempted collaborations with a number of pre-eminent 90s rock musicians, including Prince, Lenny Kravitz, Bono, the Pet Shop Boys, Nick Cave, Robbie Williams and dozens more, and signed with a small, alternative dance label called “DeConstruction.” Doesn’t that name say it all? Alas, although she rocketed back to #1 on the UK charts with her first DeConstruction single, a slow, anthemic Revolver-esque ballad called “Confide in Me,” subsequent releases failed to do well, and this period culminated in the debacle of her most ambitious LP, Impossible Princess, which had the misfortune of being released on the day Diana (Spencer) died, when British airwaves were ruled by Elton John’s treacly Diana tribute “Candle in the Wind ’98.”

Of course Kylie had acting to turn to. During the PWL days she starred in her first film, The Delinquents, a 50s coming of age story—like Splendor in the Grass and just as dated. International films came next, but starring opposite Jean Claude van Damme in Street Fighter and opposite Pauly Shore in the ridiculous flop Bio-Dome didn’t do much for her. She appeared onstage in the Bahamas in an experimental production of The Tempest (supposedly the actual setting Shakespeare had in mind!) but who is going to go to the Bahamas to see Kylie Minogue as Miranda? MAYBE Robert Wilson? Baz Luhrmann, the stylish Australian director, long a Kylie fan, cast her in his musical film Moulin Rouge, with Nicole Kidman and Ewan McGregor, but its commercial possibilities seem limited, and Kylie’s part lasts only forty-eight seconds (she’s the Green Fairy on the label of an absinthe bottle, who comes to life, flirts briefly with McGregor, and sings an odd snatch from “The Sound of Music”).

Nevertheless sheer will power won out and last year, in June, Kylie scrapped her arty, nihilistic vision and launched a full-scale return to the pop music that made her famous in the first place, with a new single, a new label, a new album and loads of press, and the music world gasped as “Spinning Around” became #1, and succeeding singles have done well too. She was the featured star at the closing of the Sydney Olympics in October 2000. People love that, everyone loves a great comeback. Light Years is a marvelous LP, filled with a kitsch instantly recognizable and resonant of 60s, 70s, 80s and 90s pop music and vibrant back beats, quoting from everything under the sun, unmistakably the work of a second- or third-rate talent more precious than any number of big time geniuses. This year there’s a new album, Fever, released this month, Kylie purring over a 1982 bassline nicked from old Kraftwerk and Giorgio Moroder productions, and a great chart war overseas between Kylie and the nuttily popular Victoria Beckham, formerly known as Posh Spice, that rivals the war for the Rings of Power. Still the US knows nothing of Kylie at all.

If you’ve read Irvine Welsh’s story “Where the Debris Meets the Sea” (from his collection The Acid House), you know that Kylie, Kim Basinger, Madonna and Victoria Principal are all sitting around a house in California regaling each other with their private erotic fantasies. Sam Taylor-Wood’s video installation “Misfit” featured Kylie naked, miming the recorded voice of the very last (19th century) castrato. Do we look to her to find out what’s she up to next, or who can talk her into what? Who talked her into the recent UK TV appearance duetting with Ricky Martin on “Livin’ la Vida Loca?” She was great, but my goodness, Ricky Martin!

Kylie is continually compared with her alter ego, Madonna, a decade older and considerably more famous. Everything Madonna does, Kylie does too. (Madonna already duetted with Ricky.) Madonna and Kylie make an almost religious pair, a diptych of Darwinian selection poked through the tight gaze of funk culture. It’s my fantasy of history, poetry, interspecies warfare—that’s all. Kylie Evidence is awfully like Madonna’s notorious Sex book of the “Erotica” period, except it’s more varied, well, it has to be doesn’t it? Madonna is often called the “Queen of Pop,” while Kylie is the “Princess,” perhaps a younger version without the woes and cares Madonna is always foregrounding in her public appearances. Kylie without genitals, or with the genitals of a little boy, as in Simon Henwood’s Darger imitations—naked but for a necklace, tiny tackle and all, permitted only a kind of genital power and a spectral innocence. She’s more vulnerable than Madonna, but seems more resilient because she’s from Australia. Kylie knows the raw power of the flat, comic book image, and the internecine enmity between language and image. Evidence plays beautifully along the thin line that stretches between irony and “true feeling,” how one is often the obverse of the other, the Mobius strip inside modernism’s motor apparatus.

In Berkeley this spring, after a poetry reading, Ed Gilbert and I were speaking of Kylie in muted voices, and then John Ashbery, whose reading we had just attended, spoke up behind our backs. “Excuse me, but did I hear you talking about Kylie Minogue?”

“Yeah!” I said, bowing to the polymath Ashbery. “How much do you love her?”

He looked bemused but allowed that he had seen Kylie’s appearance, playing herself, in the UK sitcom The Vicar of Dibley. I haven’t seen this one myself but apparently the Vicar has rashly promised to get Elton John to open the village fete, and the day seems lost until Kylie is produced as some kind of acceptable substitute. I hand it to John Ashbery as always—I have to, I wouldn’t be human otherwise.

Her name—Kylie Minogue—is an alphabet from which all meaning has been scooped out, denoting a powerful sovereignty. Re-arrange the letters to spell “I like ’em young.” More often than not, the icon is in peril, at the mercy of words. Huge, dysfunctional words knock her over on her side. We her fans are evenly split, some of us preferring the “indie Kylie” of “Confide in Me” and Impossible Princess, some of us rejoicing that she has returned to her pop roots with Light Years. In Australia she has become an advertising emblem for “Pepsi Cola”—very Stuart Davis, clean, cool and marvellously articulated. Words will always spell peril for our heroine, once dubbed the “Singing Budgie.” Overdrawn characters hover and rumble, portents seen in an angry dream, suspended in an ominous foreground of pure space.

In 1998 the Japanese DJ Towa Tei released a stuttering, techno-house composition called “G.B.I.” that features Kylie’s vocals as disembodied chirps. “Hello/ My name is German Bold Italic/ I am a typeface/ Which you have never heard before/ Which you have never seen before/ I can compliment you well/ Especially in red/ Extremely in green/ Maybe in blue blue blue.” She penetrates into the heartless, cutting blitheness of the word. “You will like my sense of style/ I fit like a glove—ooh!/ Gut ja!/ Gut ja!” Cumbersome as office machines on wheels, words—headlines, gossip, innuendo, the language of “hasbeenism”—form layers of occluded meaning, their signs sublimated to the function of marketing tools as they peek around her tiny head in luscious bouquets of sick color. Black and white look best on her, but Minogue is a canny colorist and her use of grays, reds and blues is never wrong. Because she is so plastic, she looks different in every video, every photograph, it took me several months to be able to identify her from day to day.

But what does one do with one’s enthusiasms? Where do they keep? There’s an anxiety in declaring oneself a Kylie fan—similar to how coming out used to feel. (Nowadays it’s the same exact thing I suppose.) Dennis Cooper can say, “Oh, I’m influenced by Bresson,” and people will nod with approbation, even if they’re thinking of Cartier-Bresson. I suffered some credibility loss while under the spell of Dario Argento, but nothing like the waves of shame and misery that engulf me when people say, “Kylie who? That girl who did ‘The Lo-comotion’?” I think I like her because she reminds me of myself, I don’t have Dennis’ genius, not to mention Bresson’s, but like Kylie I can stretch out a second or third rate talent and make it mean something by a) insisting on its smallness; b) attempting to push the envelope, usually by collaboration with others and c) feeling no guilt when, in a corner, at the end of my tether, or upset by something in my personal life, I retreat to my roots and produce version XYZ of the thing I know you’ll like from me. Do you think Kylie’s work is all about post Colonialism? That “Tempest” production sure was. “Kylie” is said to be the Maori word for “boomerang.” This is often noted approvingly, as a boomerang “comes back” as often as Kylie has, but is it at all plausible? Queens appreciate the pathos of the Kylie legend, its cheesiness itself enormously appealing, the way Kylie survived a precocious stardom as “Charlene” to have sex with Michael Hutchence, who’s not all that well known himself, and then to not even be the girl he hung himself because of. There’s no Dennis Rodman in Kylie’s back room; of course there were Prince and Lenny Kravitz. I flip through picture after picture, poke them out across the rug: an obsessive rendering, a trip-hop world of displacement and deracination good to go.

Kylie Minogue isn’t the first artist to find beauty in Freud’s “uncanny,” nor the first to locate the unheimlich squarely in the detritus of today’s commercial culture. A purposive, kitschy flatness of gaze underlines her determination, the steadiness of her eye. What emerges is touching, almost saintly. Her critics say her voice sounds as though she’s reading all her words off a prompter, that she lacks heart. Often she sounds as though English were not her own language. Kylie fans re-settle the unsettling haunt of sexuality by our insistence on customization—adapting, subverting its broad strokes to our own homey use. It’s this impulse—gears shifting downward from public to private—that Kylie understands and illuminates beautifully. She extends this generosity to her own art, which seems unfinished, left to complete by the viewer. Thus there’s an empty, spooky sigh at the heart of this work.

Iconic objects take on eerie lives of their own and no one knows their business, not even the moguls at Skywalker Ranch who control everything else. I can spot a fellow fan of Kylie’s halfway around the room. We share a “secret understanding” akin to E M Forster’s concept of homosexuality as a willed gift. Cold hard tears seep from this work, tears shed for an implacable universe of wanting and wishing and denial.


"Kylie Minogue and the Ignorance of the West" was delivered at the Kootenay School of Writing in Vancouver, Canada, February 2002. An earlier version of this piece was printed as “Kylie Evidence” in Trepan #1 (Valencia, CA: Cal Arts), Spring/Summer 2001, pp. 130-5.

Bio: Kevin Killian, born 1952, is a poet, novelist, critic and playwright. He has written a book of poetry, Argento Series (2001), two novels, Shy (1989) and Arctic Summer (1997), a book of memoirs, Bedrooms Have Windows (1989), and three chapbooks, Desiree (1986), Santa (1995), and The Kink of Chris Komater (1999). His latest collection of stories and memoirs, from Painted Leaf Books, is called I Cry Like a Baby (2001). His previous book of stories, Little Men (1996) won the PEN Oakland award for fiction. For the San Francisco Poets Theater Killian has written thirty plays, including Stone Marmalade (1996, with Leslie Scalapino) and Often (2001, with Barbara Guest). His next book will be all about Kylie Minogue.

_extracted from Kevin Killian

Sunday, December 26, 2004

La La La - That Dress

That outfit

Fee Doran, who has a label called Mrs Jones, designed it. "Kylie wanted something that would cover, reveal and move," Fee Doran smuggly reminisces. Not only did Fee designed a dress for Ms. Minogue that would "cover, reveal and move", she sent eyes popping simultaneously around the world. In a somewhat fetish garb, this slashed white material masquerade-of-a-dress was THE look for her first single "Can't Get You Out Of My Head". Although the song in so many ways was highly addictive, you just cannot get THAT dress out of your head.

"That piece had more fabric in it than she's ever worn, but shows more than we've ever shown. We'd seen a similar piece and sexed it up (split the legs, etc.) after fittings. We had an inkling we may be onto another 'gold hotpants' winner, but didn't know quite how popular it would be. How did her breasts stay in? A girl can't reveal all her secrets!" - Fee Doran

Fee is already making a huge impact with the London and New York fashion crowd through her cult label Mrs Jones. Having leagues of fans such as Madonna, Marilyn Manson, Liv Tyler and Kate Moss, Mrs Jones items are the quintessial party attire - which you won't be able to get them out of your head.

_excerpts sourced,

Friday, December 24, 2004

German Bold Italic

Geisha Kylie, German Type Faces and Güt Ja!

In 1998 the Japanese DJ Towa Tei released a stuttering, techno-house composition called “G.B.I.” that features Kylie’s vocals as disembodied chirps.


She penetrates into the heartless, cutting blitheness of the word.


Cumbersome as office machines on wheels, words—headlines, gossip, innuendo, the language of “hasbeenism”—form layers of occluded meaning, their signs sublimated to the function of marketing tools as they peek around her tiny head in luscious bouquets of sick color. Black and white look best on her, but Minogue is a canny colorist and her use of grays, reds and blues is never wrong. Because she is so plastic, she looks different in every video, every photograph, it took me several months to be able to identify her from day to day.

_ article extracted from Kevin Killian

Directed by Stéphane Sednaoui, Ms. Minogue is seen prancing around Tokyo and New York dressed as a Geisha girl - telling us about her like for type faces and colours. Ornate hairstyle and elaborate kimono discarded, "G.B.I." is actually a brilliant slice of Japanese avant-garde pop.

The track is so self-consciously mechanical that it's tempting to read all kinds of profound social insights into it. It seems like a small bit of brilliance to create a song with a typeface as a narrator, like some kind of comment on the coldness and distance of computer-mediated relationships - but it works!


Lyrics Towa Tei & Kylie Minogue
Music Towa Tei featuring Kylie Minogue & Haruomi Hosono
Additional Synthesizer Manipulations Hideki Matsutake & Takshi Fujii
Arangement, Edit, All Drum & Keyboard Programming Towa Tei

Official Remixes
Album Mix 04:17
Album Version 06:57
Ebony Boogie Down Mix 05:14
German Bold Light Mix 02:49
Intro 00:26
Kylie-pella 01:40
Radio Edit 03:31
Radio Edit Mix 04:17
Rekut 08:15
Sharp Boys Dee-Liteful Dub 08:58

Wednesday, December 22, 2004

In Your Eyes

What on earth am I meant to do
In this crowded place there is only you
Was gonna to leave now I have to stay
You have taken my breath away

Is the world still spinning around
I don't feel like coming down

It's in your eyes
I can tell what your thinking
My heart is sinking too
It's no surprise
I've been watching you lately
I want to make it with you

Destiny has a funny way
When it comes and takes all your cares away
I can't think of a single thing
Other than what a beautiful state I'm in

Sunday, December 19, 2004

Hulahoop Girl

Spinning Around...around and around

The song that resurrected her fledging "pop" career after the critically acclaimed "indie"-styled album, "Impossible Princess." Camp, delicious and fun, Australia and the rest of the world saw for the very first time, Kylie's derriere.

Beautifully sculptured, it was succulently wrapped like a second skin by golden hotpants - famously bought at a thrift store for 50p. No amount of money can allude to the fact that Kylie certainly has style.

Disco was in, and Ms. Minogue vamped it up like a wonderful gay iconic queen she is. Ultimately forgettable, she captured her youth and the allowed the whole world to spin around with her. It was the hit of the late 90's that was fast approaching the new millenium. It showed a side of Kylie that we have missed since she pranced around in "Locomotion" or "Celebration" in the 80's. "Spinning Around" heralded a much welcomed return of the Pop Princess and resoundingly declared that pop was not dead, and definitely not a dirty word. And ushered in the fashion fad of...yes, you guessed it, second-hand hot pants. Preferably in gold.

Friday, December 17, 2004

La La La - That Video

That video

Director Dawn Shadforth
Artist Kylie Minogue
Choreography Michael Rooney
Production Black Dog Films
Label Parlophone
Edit Dawn Shadforth
Post Red Post

It was THE video for THE song of the new millennium. It was retro, it was CGI, it was pure Kylie. With eye-boggling choreography, flashy fetish costumes and THAT perm, it was all Kylie. In a video that could make or break her hard work from her previous album "Light Years" and the "hard" work squeezing into tight gold hotpants, "Can't Get You Out Of My Head" had to be a success.

So Miss Minogue enlisted the help of video producer Dawn Shadforth and choreographer Michael Rooney. Together, they built the powerhouse of a video, set in the distant future, with robotic-like dancers, catwalk clothing and a somewhat electro-retro European feel. Set to a song penned by 80's starlet Cathy Dennis, a Kylie song is not complete with a video. Not totally outdoing the song, Shadforth did considerably well, launching that video that you just couldn't get out of our heads. Here is how they did it...

Red Creates Cityscape for Kylie Minogue With Discreet Tools, Softimage XSI

SOHO, UK. August 23, 2001

'Can't Get You Out of my Head' the first single to be taken from Kylie's forthcoming album, features the pop princess driving and strutting her stuff in a futuristic Manga-esque city. Pretty run of the mill stuff until you discover that the only things that were shot for real were Kylie, a handful of dancers and a static car. Black Dog tasked Soho-based visual communications facility Red, with creating the rest from scratch to designs developed by director Dawn Shadforth.

Red utilised the full gamut of its Discreet arsenal -- 3ds max, fire, flame and inferno -- to create and animate the backgrounds with some SoftImage XSI thrown in for good measure. Initially they employed Macs to produce rough sketches of the buildings and landscapes of the desired style from 'recce' photographs.

Perspective changes and environments had to be developed to show the car, with Kylie in the driving seat, approaching and entering the city for the promo's opening sequences. Laurence Dodd at Red used XSI to model the city environment, roads, bridges and buildings for the two opening wide shots. David Kiddie then used fire to layer live action sea, sky and landscape backgrounds to match the style of the promo.

The very tight schedule of three weeks for post-production meant innovative solutions had to be worked out to give the director the flexibility she required in building the moving backgrounds but still retaining the quality and style of image to suit the art direction. This was very important in the close up of Kylie driving and the nighttime rooftop sequences. Here 3ds max was used to build and texture simple CGI models that were then imported directly into fire and inferno with the textures already associated.

The CGI buildings were then matched in perspective to camera moves or to build up tracking shots. Tim Rudgard used fire to animate buildings for the driving scenes and lit and composited the sky and cityscape backgrounds. Laurence Dodd also created surface models for the car that were used by Rudgard to put city reflections into the car and windows. Editing techniques were then used to change the shape and size of the buildings to match the rhythm of the song.

The next sequence in the video sees Kylie and a troupe of dancers on a concourse with the city in the background. As no perspective was needed for this shot, Glyn Tebbutt and Paul Dixon used flame to generate the buildings from photographic stills. Light effects and real plant elements were used to build a realistically styled environment. The dancing ensemble are then shown in a bright, crisp white room - again completely generated in XSI by Oscar Gonzalez and composted by Glyn Tebbutt in flame.

The final sequence finds Kylie on a rooftop in the midst of the city at night. 3D models and textures of the buildings were pulled into inferno where Dan Williams undertook the gargantuan task of matching the movement of the buildings to the camera moves, building backgrounds and animating light textures within the 3D models to switch the building lights on and off in time with the music. The whole video was then overlaid with specially shot light effects to join all of the sequences together.

The finished product is a very smooth production that leaves the viewer wondering whether the landscapes are real or not. The promo began airing on August 11.


Title 'Can't Get You Out Of My Head'
Artist Kylie Minogue
Record company Parlophone
Production Company Black Dog
Director Dawn Shadforth
Producer Cindy Burnay
Post-Production Red
Red Post-Production Producer Carl Grinter
Red 3D artists Laurence Dodd & Oscar Gonzalez
Red fire artists Dave Kiddie & Tim Rudgard
Red flame artists Paul Dixon & Glyn Tebbutt
Red inferno artist Dan Williams

_ article sourced,

Wednesday, December 15, 2004

David La Chapelle vs. Kylie Minogue

Yesterday's tabloid post was unfairly presented. In trying to keep up with all the wonderful goss on Ms. Minogue, I have resorted to dirty, tantilising, scraping-at-the-bottom-of-the-bucket "news". I sincerely apologise. was all set up! I found that scanned article on the the wonderful world wide web and could not stop laughing! Not only because it was the lowest form of humour and goss, this "news" item is actually an elaborate shot disguised as a photo shoot.

In February 2002, Kylie Minogue teamed up with the magician of portrait photography, David La Chapelle for promotion shots of her album "Fever" in the US. In true "La Chapelle" style, here are the stunning results -

Kylie Riding Her Bike

She looks so happy, her big teeth showing between her big lips...and that famous derriere barely covered by her girly pink tutu. Um, actually who rides a bike in 5-inch stilettos? Kylie!

Kylie Falls Flat On Her Bike

Oh! How embarrassing! I know if I were Kylie, I wouldn't want the world seeing this...well, hey! David La Chapelle is on the end of that camera! Oh, so it must be alright. It will turn out stunning, as he can make someone awkward into art.

Oh wait...this was all set up. As one shocked unnamed forum member mused,

"She dont even look in pain or anything, I don't think she fell off it for real." - Anonymous forum member

Um. That member shall remain unnamed.

To which, another forum member replied "Hello?....that's soooo fake! Have you ever fallen off your bike in that manner? LOL" I have to agree with this person. And of course, no-one BUT Kylie can fall off her bike in that manner, and expose her famous derriere for the whole world to see.

Fun With Rollerskates

Well, Kylie has had enough of riding bikes in tutus and 5-inch stilettos and swaps her outfit with an 80's inspired "dress", balloons and rollerskates. Why? Who knows! This is the psychedelic world that is pure La Chapelle.

[images from David La Chapelle]

Monday, December 13, 2004

Kylie Falls Flat On Her Bike!

[quote, "Kylie, you're one classy lady"]


Is THAT the most famous rear-end flat on the ground? Has Kylie really fallen off her bike! Well, she as predicted, the paparazzi has gotten this exclusive shot and all those people have come and watch and poke fun at poor Kylie. Won't someone help her up?

More sordid details to follow...

Sunday, December 12, 2004

Epponnee Rae Craig

Look at moi, look at moi, LOOK AT MOI!
The (mis)adventures of "Kath & Kim"

It is no shame that Miss Minogue has confessed her love for this quirky, yet top-rating Australian comedy series.

Featuring foxy lady "Kath" (Jane Turner) and daughter "Kim" (Gina Riley), their lovable husbands "Kel" (Glenn Robbins) and "Brett" (Peter Rowsthorn) plus Kim's perennial second best friend, "Sharon" (Magda Szubanski) - this new series peers into the lives of the ordinary, suburbia lifestyle at "Fountain Lakes", a ficticious suburb in Melbourne, Australia.

The somewhat bogan, oblivious life, "Kath" and "Kim" play on Aussie stereotypes, mocked "ocka" accents and a fetish for anything quirky and seriously abnormal. Running three seasons already, this hugely popular show has a cult following and been showing in the UK.

Although "Kath & Kim" is not an accurate representation of Aussie life (initially, UK friends of Kylie thought this was a documentary), it does play on the cultural references (the very normal, "Fountain Gate Shopping Centre"), Melbourne's proud and passionate sporting capital (Sharon's overwhelming support for netball) and popular culture (IKEA).

In series 3, Episode 8 "99% Fat Free" - Kylie debuts as a grown up Epponnee Rae (baby girl to Kim and Brett). Set in Lagoon Court, both Brett and Kim argue at arm's length about Epponnee Rae's career projectory as a TV star (obviously, in "Neighbours"). On the 25th of November, we finally saw Epponnee Rae - all grown up.

Somewhat "reprising" her role as "Charlene" on "Neighbours", Kylie was hardly recognisable with her huge perm, heavy makeup and a very convincing Aussie "ocka" accent, true to the style Jane Turner and Gina Riley perfected for this series. But most surprisingly, Kylie was in true comedy spirit, playing "herself". In a role that is almost natural (uncannily so), many thought this final episode would be cringe-worthy (based on Kylie's misfortunes in the film industry. Anyone for "Bio-Dome"?). However, Kylie rise above expectations and even took a stab at Kim for singing a horrendous version of Kylie's "Red Blooded Woman".

All bias aside, this episode was truly hilarious - and Kylie fitted into the cast perfectly. Rather worryingly so, but alas, it gave her a chance to flex her comic muscles and revitalise the love for acting. Let's just hope she sticks to singing.

Visit Official "Kath & Kim" website

Thursday, December 09, 2004

La La La - That Song

Can't Get You Out Of My Head

Cathy Dennis / Rob Davis Produced by Cathy Dennis for 19 Productions and Rob Davis. Published by EMI Music Publishing / Universal Music Publishing.

La la la, La la la la la, La la la, La la la la la
La la la, La la la la la, La la la, La la la la la

I just Can't Get You Out Of My Head
Boy your loving is all I think about
I just Can't Get You Out Of My Head
Boy it's more than I dare to think about

La la la, La la la la la, La la la, La la la la la

I just Can't Get You Out Of My Head
Boy your loving is all I think about
I just Can't Get You Out Of My Head
Boy it's more than I dare to think about

Every night, Every day
Just to be there in your arms
Won't you stay, won't you lay
Stay forever and ever and ever and ever

La la la, La la la la la, La la la, La la la la la

I just Can't Get You Out Of My Head
Boy your loving is all I think about
I just Can't Get You Out Of My Head
Boy it's more than I dare to think about

There's a dark secret in me
Don't keep me locked in your heart
Set me free, feel the need in me,
Set me free
Stay forever and ever and ever and ever

La la la, La la la la la, La la la, La la la la la

In September 2001, "Fever" was in the air. Kylie Minogue, the singing budgerigar in golden hot pants was to release her first single off her follow up to the massively, bubble gum pop album, "Light Years".

Always right in the center of controversy, not usually her own doing, there was a wave of publicity as the lead single, "Can't Get You Out Of My Head," battled on the U.K. charts with the debut effort of Spice girl Victoria Beckham - and it won spectacularly.

Lifted from her forthcoming album, "Fever", "Can't Get You Out Of My Head' is the brilliant splice of pure addictive pop from the antipodean pop princess. A perfect fusion of catchy rhythm and dance, it is arguably the finest record to be put out in all of pop's history. Instantly infectious, it's appeal is in it s absolute simplicity - a bouncy bassline, Ms. Minogue's distinctive, sultry vocals and an insanely catchy hook that's hard to avoid

This song not only revitalised Ms. Minogue's career, it produced the greatest phenomenon the world has not seen.

+ Chart Positions


ARGENTINA ..., 17,5, 1, 1, 1, 1, ...3, 6, 6, 11, 18, 21, 26, 39, 35, -.
AUSTRALIA 1, 1, 1, 1, 2, 2, 4, 7, 15, 21, 27, 48, 56, 60, -.
AUSTRIA 4, 1, 1, 1, 1, 1, 1, 1, 1, 2, 4, 8, 10, ...., 18, 25, 32, 40, 50, 54, 65, 62, 59, -.
BELGIUM 17, 3, 1, 1, 1, 1, 1, 1, 2, 3, 4, 5, 8, 12, ...., 18, 23, 31, 37, 49, -.
BRAZIL AIRPLAY ...., 1,1, 2, 1, 2, 3, 2, 5, 8, 17, 23, 33, 40, 51, 62, 71, 82, -.


CANADIAN AIRPLAY 83, 40, 19, 15,10, 8, 4, 3, 3, 4, 4, 5, 4, ...
CROATIA 9, 5, 3, 1, 1, 2, 7, 10, -.
CZECH AIRPLAY 27, 21, 22, 11, 5, 2, 2, 3, 1, 2, 3, 7, 9, ...., 18, 23, -.
DENMARK 1, 1, 1, 3, 3, 4, 4, 4, 4, 4, 4, 6, ...., 9, 15, -.
ESTONIA 20, 7, 1, 1, 1, 1, 1, 2, 2, 2, 2, 4, 5, 12, 23, 36, 37, -.
EUROCHART 13, 8, 3, 1, 1, 1, 1, 1, 1, 1, 1, 1, 3, 4, 6, 9, ...., 11, 14, 18, ...
EUROPEAN TOP 50 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 2, 2, 3, 4, 6, 11, 20, 22, 32, -.
FINLAND 7, 7, 11, 13, 10, 15, 13, 5, 5, 5, 13, 10, -.
FRANCE 57, 59, 63, 52, 48, 2, 3, 2, 2, 1, 2, 3, 6, 6, 7, 12, 14, 15, 19, 22, 26, 45, 56, 69, 71, 85, 80, -.
GERMANY 3, 3, 2, 2, 2, 2, 1, 2, 4, 4, 5, 8, 12, 13, 14, 22, 34, 40, 45, 53, ...
GREECE 1, 1, 1, 1, 1, 1, 2, 3, 3, ..., 29, 31, 32, 44, -, 45, 42, 46, 49,
HONG KONG 18, 7, 1, 3, 9, 10, -.
HUNGARY 1, 1, 1, 1, ...
IRELAND 1, 1, 1, 1, 3, 3, 6, 7, 7, 11, 17, 12, 17, 15, 16, -.
ISRAEL 1, 1, 1, 1, 1, 2, 2, 3, 10, 15, 20, 26, 25, 29, -.
ISRAEL (radio BU) 2, 1, 1, 1, 5, 4, 5, 11, 15, -.
ITALY 2, 2, 2, 1, 1, 1, 1, 1, 1, 1, 1, 1, ...., 2, 2, 4, 6, 5, 15, 16, ...
JAPAN .., 27, 23, 11, 5, 10, 10, 13, 24, 19,
LATVIAN AIRPLAY 25, 19, 7, 2, 1, 1, 1, 1, 1, 1, 3, 5, 5, ...., 10, 9, 24, -.
LITHUANIA 13, 6, 1, 1, 5, 3, 4, 2, 5, 8, 6, 21, 24, ...., 35, 39, 32, ...
LUXEMBOURG .., 47, 34, 32, 31, 2, 1, 1, 2, 4, 9, 20, -.
MACEDONIA .., 1, 3, 4, 8, 15, 29, 30, 30, -.
MOLDOVA .., .., .., 2, 1, 3, 8, 15, 22, 29, 44, 48, -.
MTV EUROPEAN TOP 20 15, 12, 9, 6, 3, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 4, ...
MTV US TOP 20 ..., 4, 3, -.
NEW ZEALAND 33, 25, 20, 1, 1, 1, 2, 3, 3, 3, 3, 2, ...., 8, 23, 22, ...
NORWAY 3, 1, 1, 1, 1, 1, 1, 1, 1, 3, 3, 3, 4, 3, ...., 7, 13, 14, ...
PORTUGAL 1, ........ 4, 3, .., 10,
PORTUGAL ONLINE 24, 11, 14, 12, 2, 3, 3, 1, 2, 1, 3, 5, 2, 4, 6, ...., 3, 8, 7, 13, 18, 15, 13, 11, 20, 12, ...
ROMANIA 36, 23, 22, 18, 18, 6, 6, 3, 1, 4, 4, 10, 13, 18, ...., 15, 20, 35, 49, ...
RUSSIA ...10, 4, ...., 24, 30, 35, 36, -.
SINGAPORE .., .., .., .., 1, 5, 12, -.
SLOVAKIA 15, .., 1, 1, 1, 4, 1, 4, 2, 2, ....
SLOVENIA 32, 11, 4, 1, 1, 1, 6, 12, -.
SLOVENIAN AIRPLAY 13, 4, 1, 1, 1, 1, 2, 2, 2, 1, 4, ...., 11, 17, 10, 15, 15, ...
SOUTH AFRICA 19, 13, 13, 6, 4, 3, 3, 1, ....
SPAIN 8, 1, 1, 2, 4, 4, 4, 4, 5, 1, 1, 1, 2, 4, 1, 2, 2, 4, 4, 6, 8, 16, 15, ...
SWEDEN 2, 2, 1, 1, 1, 1, 2, 2, 3, 4, 5, 6, 9, 7, 5, 11, 11, 18, ...
SWITZERLAND 10, 8, 7, 2, 2, 1, 1, 1, 1, 3, 5, 5, 8, 7, 6, 5, 6, 8, 10, 12, 17, 27, 35, 39, 53, 54, 74, 80, 88, 81, -.
THAILAND .., 10, 4,
THE NETHERLANDS 12, 2, 2, 1, 1, 1, 1, 1, 2, 3, 4, 6, 6, ...., 20, 25, 28, 35, 48, 55, 67, 65, ...
TURKEY 1 ...., 32, 13, 33, ...
UNITED WORLD CHART 39, 2, 1, 1, 1, 2, 2, 1, 1, 1, 1, 1, 1, 2, 2, 2, 2, 2, 5, 6, 4, 5, 6, 7, 8, 9, 11, 11, 10, 20, 22, 21, 26, 28, 39, -.
UK 1, 1, 1, 1, 2, 2, 7, 12, 14, 15, 17, 21, 14, 16, 22, 32, 38, 53, 49, 44, 47, 36, 38, 55, -.
US BILLBOARD CHART 64, 50, 33, 20, 15, 12, 12, 10, 7, 9, 11, 11, 14, 18, 25, 30, 45, 64, 78, -.
US DANCE CHART .., .., 26, 19, 9, 4, 1, 2, 6, 12, 14, ...
WORLDPOP GLOBAL CHART 29, 7, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 2, 2, 2, 3, 1, 2, 5, 6, 7, 5, 7, 8, ... -, 25, 28, ---, 33,

[quote, chart facts obtained from]

[quote, edit from]

Sunday, December 05, 2004

Scissor Sisters vs. Kylie


What do you get when the Scissor Sisters are left in the studio with Miss Kylie? This very track. A stunning leap into the future cosmos of pop that manages to elevate you in the mind and move that body!

Released on 29 November, this retro slice of perfect pop lands Kylie once again all over the radio airwaves. No stranger to collaborations, Kylie has once again proven that she can adapt to the times and no longer holds onto the weak link she use to have with PWL main-man, Pete Waterman for her pop hits.

Track Listing
1. I Believe In You
2. B.P.M.
3. I Believe In You (Mylo Vocal Remix)
4. I Believe In You (Skylark Remix)
5. I Believe In You (Video)

Saturday, December 04, 2004

K is for Kylie


The never aging popstar, the singing budgerigar, the Queen of Pop. Surely she doesn't need any introduction. And surely she doesn't need a whole month's worth of dedication and promotion. Nevertheless, this starlet has many hits that has reached the top of many charts, and unlike many pop counterparts, has remained defiante in pop.

With an Ultimate Greatest Hits package released soon and a blistering new hot single melting down radio stations around, there can only Minogue.

Wednesday, December 01, 2004


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