Fashion designer whose idiosyncratic mix of glam and DIY couture was worn by Björk, Siouxsie Sioux and Taylor Swift
The designer Pam Hogg stayed faithful for life to the principles, practices, provocations and politics of the art school, music and club scene of her youth around 1980. The fashion industry metamorphosed over the decades since, but she went on believing in individuality and drama, painstakingly achieved. Debbie Harry, Siouxsie Sioux, Rihanna, Björk, Lady Gaga, Lily Allen, Kylie Minogue and Taylor Swift, among others, bought her garments, which were auditorium-dominating mixes of sex, eccentricity and intellect. Hogg’s catsuits in Latex and PVC became the glam workwear of the rock and pop stage. They never dated. When a star strides on stage in one, the audience knows the action is about to kick off.
Yet to the end of her life, Hogg, who has died, aged perhaps 66 (she refused to reveal her age publicly), remained a struggling artist. She hoped to arrive at the same safe destination as her long-term friend Vivienne Westwood, with an atelier equipped with pattern cutter and couture seamstresses, plus financial backing for a ready-to-wear line that would not betray her nonconforming philosophy of dress.
Jackson Browne announces tragic death of son Ethan, 52, found unresponsive at home. The singer-songwriter shares heartbreaking family loss on social media.
Tognetti/Australian Chamber Orchestra (ABC Classic) Under Richard Tognetti the ACO has established itself as world-class and this 50th anniversary live recording of these two great concertos are a wonderful souvenir of a remarkable group
Over the past quarter of a century the Australian Chamber Orchestra has become a regular visitor to Europe, establishing itself as one of the world’s foremost chamber bands. The group was founded in 1975, and this pairing of perhaps the two greatest violin concertos in the repertory is being released to mark the ACO’s 50th birthday. The soloist and conductor in both works is Richard Tognetti, who has been the orchestra’s leader and artistic director for the past 35 years.
Both recordings are taken from concerts given in Sydney’s City Recital Hall, the Beethoven concerto in 2018, the Brahms last February. The close recorded sound very faithfully reproduces the intensely involving approach of the ACO when heard in the flesh, with its amalgam of modern playing techniques with the use of historical instruments (gut strings, period wind). For both concertos the orchestra’s permanent core of 20 players was more than doubled with guest instrumentalists from other Australian orchestras, but the suppleness and coherence of its textures are as persuasive as ever.
The Canadian electroclash icon on No Lube So Rude, her first album in a decade, the state of global politics, the ‘punk energy’ of the older generation and her love of ping-pong
Why is your forthcoming album your first in over a decade and who is/are the “you” in comeback single Not in Your Mouth None of Your Business?k4ren123 I’ve been very busy – touring, working with dance troupes, performance art, sculptures, playing the lead role in a production of Bertolt Brecht’s The Seven Deadly Sins in Stuttgart, and on and on. Then, finally, I started on new music. The “you” in the single are people who feel they have the right to have autonomy over other people’s bodies and make it unsafe for people to be who they want to be. I’m especially talking about queer and mostly trans rights. The song’s like a mantra or chant, a way to empower people in only a few sentences.
As a fan of your concert costume design as much as your music, what can we expect from the upcoming tour? Kelechica I was thinking about sustainability and went to a costume sale at the Berlin opera and bought a bunch of opera costumes. I’m working with Charlie Le Mindu, who is transforming them into weird new creations. In the video for Not in Your Mouth, I’m wearing my sister’s leather jacket. It’s just been the fifth anniversary of her passing, and I wanted to keep something of her, so I kept her leather jacket that she wore the crap out of since the 90s. So, in a way, she’ll be in the show.
(London) The delicate experimentation of the band’s debut may not have chimed with the post-punk 1980s, but its durability makes this deluxe reissue thoroughly deserved
The Durutti Column’s debut album does not have an auspicious origin story. The band whose name it bore had split acrimoniously just before they were supposed to record it. Their guitarist Vini Reilly was so poleaxed by depression that he was virtually unable to leave his house: 12 different attempts were made to section him over the course of 1979. Believing that Reilly was “going to die”, Factory Records boss Tony Wilson intervened, buying him a new guitar, then suggested he visit a studio with the label’s troubled but visionary producer Martin Hannett as “an experiment”. The sessions were a disaster. Hannett ignored Reilly in favour of tinkering with a vast amount of cutting-edge electronic equipment he had brought with him. Reilly fitfully played something on the guitar, but eventually stormed out with the words: “I’m fucking sick of this.” He did not return.
Unaware that he was making an album, Reilly was “mortified” when Hannett handed over a finished product, and “absolutely hated” what he heard. The solitary upside, as he saw it, was his sense that it would never find a wider audience. The music on 1980’s The Return of the Durutti Column bore no relation to the workmanlike post-punk that the original band had contributed to the label’s compilation EP A Factory Sample, put together the previous year. (Although Reilly thought they were “complete and total rubbish”, too.) Grasping for comparisons, the music press likened it to the atmospheric jazz of the German label ECM and Reilly’s guitar playing to that of Mike Oldfield and the Grateful Dead’s Jerry Garcia – neither of them having much musical cachet in the post-punk world of 1980. Even a positive review in the NME suggested listeners would consider The Return of the Durutti Column “hippy noodling”.
Tous les ans, Spotify propose une rétrospective de son année dans son application. Le géant du streaming musical ne devrait plus tarder à dévoiler la version 2025 du Wrapped.
The company is being sued under the new Elvis act, which protects a person’s voice from exploitation without consent
The estate of Johnny Cash is suing Coca-Cola for illegally hiring a tribute act to impersonate the late US country singer in an advertisement that plays between college football games.
The case has been filed under the Elvis Act of Tennessee, made effective last year, which protects a person’s voice from exploitation without consent. The estate said that while it has previously licensed Cash’s songs, Coca-Cola did not approach them for permission in this instance.
A new documentary charts how a song that featured a 335lb rapper and bad dancing went viral in the pre-internet era
The Chicago Bears are 8-3 and soaring in this season’s NFL standings. For a fanbase that’s grown accustomed to looking up at the division rival Green Bay Packers and looking ahead to the next season’s prospects, it’s reason to smell the roses and indulge in some light strutting. But even as fans find themselves looking forward to the Bears’ first playoff berth in five years, something that once seemed unthinkable with a second-year quarterback and a rookie head coaching helming a squad that managed only five wins last year, no fan is thinking the 2025 Bears have a Super Bowl run in them – not without a rap song to lay the marker down.
Before the 1985 edition of the Bears romped to victory in Super Bowl XX, they tempted fate by recording The Super Bowl Shuffle. Although the song only peaked at 41 on the Billboard Hot 100 charts, the accompanying video came to rival Michael Jackson’s Thriller for popularity as it popped up endlessly on TV during the Bears’ title run. “The Super Bowl Shuffle went viral in an age where there was no viral existence like we know it today,” the song’s recording engineer, Fred Breitberg, says. “It was a phenomenal entity as well as being a good record.”
Oliver Laxe’s Cannes prize winner about a father’s search for his missing daughter starts impressively then descends into Pythonesque perdition
Oliver Laxe leads his audience into a wilderness of non-meaning in this strange and unrewardingly oppressive film that was the joint jury prize winner at Cannes this year and the recipient of all sorts of critical superlatives. For me, Sirāt is the most overpraised movie of the year – exasperating and bizarre in ways that become less and less interesting and more and more ridiculous as the film wears on.
There is a moment of tragic horror halfway through the action that is not absorbed or clarified and whose (presumed) emotional and spiritual consequences are not conveyed. It simply looks coercive and even slightly farcical. The later explosions in the desert are, frankly, Pythonesque. And yet, as with Laxe’s earlier film Mimosas there are some wonderful visual moments and stylish shots of the Moroccan desert landscape. Veteran Spanish actor Sergi López gives Sirāt some ballast.
The TV equivalent of raiding a bare cupboard, the supposed extra hour here is cobbled together from previous DVD extras – but you can’t miss the tension between Harrison and McCartney
There’s no doubt that the arrival of The Beatles Anthology in 1995 was a big deal. The TV series was broadcast at prime time on both sides of the Atlantic, and ABC in the US even changed its name to ABeatlesC in its honour. The three accompanying albums (the first time the Beatles had allowed outtakes from their recording sessions to be officially released) sold in their millions. Its success helped kickstart the latterday Beatles industry, a steady stream of officially sanctioned documentaries, reissues, remixes, compilations and expanded editions, predicated on two ideas: that the Beatles’ archive contains fathomless bounty; and that the band’s story is so rich there’s no limit to the number of times it can fruitfully be retold in fresh light.
For a while, those ideas seemed to hold true, but recently, it’s been hard not to think the Beatles’ Apple Corps might be trying to feed an insatiable appetite for content from an increasingly bare cupboard. You can marvel at the highlights of Peter Jackson’s TV series Get Back and still wonder whether the director wasn’t stretching his material a little thin; whether nearly eight hours of it – plus a separate Imax film of the Beatles’ final live performance on the roof of Apple’s London HQ, and a reissue of the original 1970 Let It Be documentary – might have been rather too much of a good thing.
Barbican Hall, London From ghost-story minimalism to wartime memory, Rani’s two new works, premiered here, shimmer with imagination, although issues of balance diminished the piano concerto
In a crowded post-minimalist world, Hania Rani has carved herself out a respectable niche. The Polish pianist and composer’s erudite yet accessible work often defies genres, appealing to classical, jazz and electronic aficionados alike. This concert comprised two 40-minute premieres and fell pretty firmly into the classical category, yet the lively audience skewed significantly younger than the Brahms and Beethoven crowd. Stylishly performed by the envelope-pushing Manchester Collective, it felt like quite the happening.
Shining occupied the first half, a piece devised for the kind of 12-piece band favoured by Steve Reich and Philip Glass. It’s based on a short story by Jon Fosse; a stream of consciousness tale of a man lost in the woods at night. Opening with sinister discords on bass clarinet, bassoon and horn, its motifs shifted and spun. A pall of smoke and half-lit players conjured images of a ghost story told around a campfire at midnight.
Warner Music has signed a licensing deal with the artificial intelligence song generator Suno after settling a copyright infringement lawsuit it launched against the service a year ago
Warner, the world’s third-largest music company and home to acts including Coldplay, Charli XCX and Ed Sheeran, is the first of the major record labels to partner officially with the company.
This update of the 1995 documentary series is utterly authoritative. And its tweak of the Fab Four’s songs is a thing of wonder – their music absolutely thumps!
It would be wrong to go into The Beatles Anthology expecting another Get Back. Peter Jackson’s 2021 documentary did such a miraculous job of recontextualising the glum old footage from Let It Be, by setting it against an ingenious ticking clock device and expanding it out to become a maximalist feelgood avalanche, that it felt like you were watching something entirely new.
But The Beatles Anthology is not new. If you saw the original series on television in 1995, or on YouTube at any point since, you’ll know what you’re in for. It is almost the exact same thing, only the images are sharper and the sound is better.
Lead singers in bands fare better than solo artists, but fame – rather than lifestyle or job itself – seems to be major factor
For those who hanker for the limelight, be careful what you wish for: shooting to stardom as a lead singer really does raise the risk of an early death, researchers say.
Their analysis of singers from Europe and the US found that those who rose to fame died on average nearly five years sooner than less well-known singers, suggesting fame itself, rather than the lifestyle and demands of the job, was a major driver.
Cliff, who has died aged 81, took every opportunity that he was presented with, and created plenty more himself. It resulted in a career path like no other
When Jimmy Cliff died, reggae and the music world in general lost one of its most accomplished opportunists. The less sympathetic might have called him a chancer, but from the very beginnings there was little he wouldn’t try if he thought it would advance either himself or the music. Over the years I got to know him, both from interviews and sometimes just hanging out, so many of his anecdotes ended with the words: “Well I wasn’t going to say no, was I?” I wasn’t fully joking when I told him it should be his catchphrase.
But that was Jimmy Cliff, a charismatic combination of charm, bravery, humour and an ability to see beyond what was put in front of him. Throughout his career he frequently shifted away from standard reggae industry practice, often expanding the music’s horizons and options.
Fans and historians have spent 60 years debating what the band means – and which member is greatest. Will the returning Anthology project and Sam Mendes’s planned biopics create new arguments?
The early notion of the Beatles as “four lads that shook the world” has been subject to many shifts in emphasis over the decades. They have been valorised, vilified, mythologised, misunderstood and even ignored. The release this month of the new Beatles Anthology – an expansion of the original mid-1990s compilation with CD, vinyl reissues and the documentary series streaming on Disney+ – is testament not just to their enduring appeal but also to how the constant reframing of their story reveals as much about our changing tastes. The 2025 edition arrives as a full-scale revisitation of the original project, bringing with it a remastered, expanded documentary series and a substantial reissue campaign.
What is more likely to reshape the way we see the band, though, is the addition of a brand-new ninth episode to the original TV series, built from recently excavated footage of Paul McCartney, George Harrison and Ringo Starr working together in 1994–95. Far more intimate and informal than the original broadcast, this material captures the three surviving Beatles rehearsing, reflecting and simply spending time as old friends rather than cultural monuments, albeit still with the “kid brother” tensions between Harrison and McCartney. They work on Free As a Bird and Now and Then, jokingly speculate on a stadium reunion tour and generally talk about their history, loss and their unfinished musical ideas. It’s a rare, humanising coda to the well-worn story. With new material like this, and with more than that axiomatic 50 years of distance since the Beatles dissolved in a blizzard of lawsuits and “funny paper”, are we finally approaching a unified theory of everything fab?
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