Artist: The Author
Genre(s):
Blues
Discography:
Album
Year:
Tracks: 1
Thursday, 26 June 2008
Wednesday, 18 June 2008
Flower Music
Artist: Flower Music
Genre(s):
New Age
Discography:
Flower Goddess 1
Year:
Tracks: 6
Spike vs. Clint: Spike Strikes Back! Plus: Wait, Are There Black People in ‘Flags of Our Fathers’ After All?
Tuesday, 17 June 2008
LiveDaily Interview: Maynard James Keenan
Tool [ tickets ]/A Perfect Circle [ tickets ]/Puscifer [ tickets ] frontman Maynard James Keenan [ tickets ] is planning for his future by running the Page Springs Vineyards and Cellars in Cornville, AZ. But don't call it a side project. "It's not a side project," Keenan said during an interview with LiveDaily. "This is my future. I'm not The Rolling Stones. I'm not going to tour forever. It's my legacy."Keenan built his "legacy" with keen observations while touring the world with his bands. ("That's what artists do," he said matter of factly.) As a result, he and partner Eric Glomski started the wine company in Arizona."I have pretty good intuition having seen the soils here," said Keenan, who has lived in Arizona since 1995. "Having been around the world seeing other places, it made sense to put vines in here." Page Springs wine isn't the only project that Keenan is pushing. A collection of artists have reinterpreted Puscifer's music for the remix album "'V' is for Viagra--The Remixes," an offshoot of 2007's "'V' is for Vagina."Keenan talked to LiveDaily about his musical projects, specifically Puscifer, as well as the status of A Perfect Circle and Tool, and whether or not he will tour with Puscifer.LiveDaily: How did the remix album come together?Keenan: I put feelers out to see who's available. That's part of the charm of Puscifer: the randomness and random availability of friends who are around doing stuff. Part of the joy of the album is hearing how people interpreted your material.It's definitely inspiring to basically have a core of ideas. A lot of bands get caught up in the whole solidarity--the "us against the world" kind of mentality where there's a complete disconnect between who they are and who the rest of the world is. "You can't touch me. We're this solid entity, untouchable." I think it's kind of limiting. With something like this, it can spiral off in infinite directions. It can inspire far more of a community-based experience, kind of like when the old jazz guys used to travel around the country playing with different players. They're the same thing. Are you going to tour in support of Puscifer?Someday. Someday? Not anytime soon?Probably next year. Then it's not really going to be a tour. It'll be more of a cabaret, an installation in one town for four or five nights. Once again, with different players each night. That way it's fun. It's fresh. More people get to be involved. It's noncommittal, so you don't have to be too precious about it. You can just really have fun and be in the moment with it. It seems like it's a completely different animal than Tool or A Perfect Circle.Yeah, absolutely. I can take pieces of it back to those projects, whatever I learn here. How do you know, when you write material, which band it's going to go toward?We all write together, depending on where it's going to be. I write lyrics on my own, but generally speaking, we come up with the music first. Always music first, except there's some songs with Puscifer that I've kind of explored key lines first and build rhythms around them. Mostly with Puscifer, it's kind of a rhythm-based project to begin with. That way, if the melody's relatively secondary, that allows other people--other remixers, or other people who interpret the music--to give them a lot more free range. What is the status of Tool and A Perfect Circle.I don't know. We're working on Puscifer right now. How long are you going to be working on Puscifer?Hard to say. Those other projects are always in the works. There's always something going on. So nothing's changed. Just as before, every time I go out with Perfect Circle, people ask me what's going on with Tool. I go back to Tool, people ask me what's going on with Perfect Circle. They're still alive. Are you working on new material for Puscifer?Always. It's a constantly evolving project. There's going to be constant stuff coming from it. But there's no tour. I'm kind of off the road. I've been touring too much. I'm concentrating on the vineyard for the moment. When do you expect the new Puscifer album to come out?Um, hard to say. I might not even do albums. It might be track by track. A couple at a time, here and there. I read that you are also into stand-up comedy. Any desire to revisit that?I did a lot of sketch comedy back in the '90s, yeah. I'm, like, pushing the envelope on the comedy with everything we do. There's comical elements in all of my projects. I haven't really left it. I've been doing it. I think the remixes really showcase that.Yeah, totally. I have a lot of friends who definitely get it. So they kind of took it to another level. Were you surprised with some of the renditions that came in?Some of them, very. With others, it was pretty much what I was hoping for. How many tracks did you do before you decided on the ones that landed on the album? That was it. That was all of them. There were a couple tracks that we didn't put on the album because they were slotted to go other places. In hindsight, I think it was probably smart. We kind of struggled with it a little bit initially. Will those other tracks see the light of day?They're already out there. There's extra tracks on a "'V' is for Vagina" deluxe iTunes version. There's an additional four tracks. A deluxe version comes with artwork, the video for "Queen B." A bunch of the tracks showed up there and on the 12" vinyl version of the original version.
John Waters swears off the word 'hon' and Baltimore's Honfest
BALTIMORE - John Waters is done with "Hon."
Honfest, an annual celebration of beehive hairdos, cat's-eye glasses and other kitschy fashions, is getting bigger and bigger. Participants are known as "Hons" in honour of the ubiquitous Baltimore term of endearment.
But Waters and some residents of the city's quirky Hampden neighbourhood, where the festival takes place, say Hon has lost its charm.
"To me, it's used up," Waters said of Hon style. "It's condescending now. The people that celebrate it are not from it. I feel that in some weird way they're looking slightly down on it. I only celebrate something I can look up to."
The filmmaker known for raunchy odes to his hometown says he won't use the word or the image in any of his scripts, and he doesn't think the city should promote it, either.
Waters has used the image of the Hon in the past - perhaps most memorably in 1988's "Hairspray," which was adapted into a Broadway musical and then back into a film starring John Travolta. He thinks "Hairspray" is one reason why Hons became a Baltimore icon.
"I used to say, 'Come to Baltimore and you would see people with those hairdos,"' Waters told the Baltimore Sun. "You no longer see that. They're dead or in nursing homes."
The two-day festival, expected to draw 50,000 people, begins Saturday. It began in 1994 in front of Cafe Hon on The Avenue, Hampden's main drag.
Denise Whiting, the owner of Cafe Hon and the festival's founder, said she was surprised to hear that Waters had turned against Honfest. But she said anything so big is bound to upset someone.
"Not everybody likes Oprah Winfrey," she said. "Not everybody's going to like you, and I accept that."
See Also
Penny Peyser, Doug McIntyre toot Jack Sheldon's horn
Talk about marital commitment. It took Doug McIntyre and Penny Peyser almost as long to shoot and edit their self-financed, self-distributed documentary "Trying to Get Good: The Jazz Odyssey of Jack Sheldon," which opens today at the Westwood Crest Theatre, as the couple has been married. "We ate the elephant one bite at a time," McIntyre joked recently about their maiden filmmaking venture, over tea with Peyser at a Studio City restaurant.
The couple spent more than five of their nearly six wedded years cobbling together this labor of love about Jack Sheldon, the best jazz trumpeter you may have never heard of despite his ubiquitous, over half-century presence on the Los Angeles entertainment scene. One of the pair's wishes for the film is that it helps Sheldon, now 76, achieve a wider respect and fan base, particularly from those less embracing East Coast jazz critics. "Maybe they'll drop their West Coast bias for five minutes and just listen to what Jack's playing," said McIntyre, 50. "Our city has a lot to be proud of and musicians like Jack Sheldon are part of L.A.'s cultural gift to the world."
The relative obscurity of the accomplished jazzman did not deter McIntyre and Peyser from putting all their monetary eggs (65,000 of them, to be exact) into Sheldon's basket, but rather fueled their desire to capture this virtuoso's legendary talent and tragedy-strewn life on film. "We found so many interesting, renowned people eager to talk about Jack on camera that we knew we had an interesting subject," said Peyser, a veteran film and TV actress ("The In-Laws," "Knots Landing").
Jazz aficionado McIntyre, a screenwriter and producer, who also hosts KABC radio's "McIntyre in the Morning" talk show, became hooked on Sheldon's music watching him perform at local clubs such as the Money Tree in Toluca Lake (now Lucy's 51). In the late 1990s, when McIntyre was co-executive producing the USA Network series "Mike Hammer, Private Eye," he ended up working with Sheldon when the sometimes actor (TV's "Run, Buddy, Run") was cast in a two-part episode of the mystery series. Several years later, the ebullient, world-class musician even played, along with his 17-piece orchestra, at McIntyre and Peyser's wedding. But it wasn't until the following month, when the newlyweds saw Sheldon perform at L.A.'s annual Sweet and Hot Music Festival, that lightning struck. "There was something very cinematic about that night and about Jack's particularly terrific performance," said McIntyre. "We decided then and there he deserved his own film."
A few months later, armed with five borrowed and rented video cameras, McIntyre and Peyser shot Sheldon's birthday bash and concert at the Beverly Hilton hotel (much of which is used to fine effect in the finished documentary), cut together a five-minute trailer to help raise production funds and waited for the money to roll in. A year and a half passed and they were still waiting, so Peyser plunked down $4,500 on a mini-DV camera and McIntyre knew they were in it for the long haul.
Though the filmmakers had easy access to dozens of notable Sheldon fans -- from Clint Eastwood to former U.S. Secretary of State James A. Baker -- it was the self-admittedly insecure Sheldon who proved most elusive when it came to opening up on camera.
"There came a point where we realized we'd have to trust the audience and ourselves to fill in some blanks in Jack's life story," Peyser said.
"Jack doesn't share the sadness verbally, he expresses his emotions musically," McIntyre said. "He can break your heart with a ballad."
The couple spent more than five of their nearly six wedded years cobbling together this labor of love about Jack Sheldon, the best jazz trumpeter you may have never heard of despite his ubiquitous, over half-century presence on the Los Angeles entertainment scene. One of the pair's wishes for the film is that it helps Sheldon, now 76, achieve a wider respect and fan base, particularly from those less embracing East Coast jazz critics. "Maybe they'll drop their West Coast bias for five minutes and just listen to what Jack's playing," said McIntyre, 50. "Our city has a lot to be proud of and musicians like Jack Sheldon are part of L.A.'s cultural gift to the world."
The relative obscurity of the accomplished jazzman did not deter McIntyre and Peyser from putting all their monetary eggs (65,000 of them, to be exact) into Sheldon's basket, but rather fueled their desire to capture this virtuoso's legendary talent and tragedy-strewn life on film. "We found so many interesting, renowned people eager to talk about Jack on camera that we knew we had an interesting subject," said Peyser, a veteran film and TV actress ("The In-Laws," "Knots Landing").
Jazz aficionado McIntyre, a screenwriter and producer, who also hosts KABC radio's "McIntyre in the Morning" talk show, became hooked on Sheldon's music watching him perform at local clubs such as the Money Tree in Toluca Lake (now Lucy's 51). In the late 1990s, when McIntyre was co-executive producing the USA Network series "Mike Hammer, Private Eye," he ended up working with Sheldon when the sometimes actor (TV's "Run, Buddy, Run") was cast in a two-part episode of the mystery series. Several years later, the ebullient, world-class musician even played, along with his 17-piece orchestra, at McIntyre and Peyser's wedding. But it wasn't until the following month, when the newlyweds saw Sheldon perform at L.A.'s annual Sweet and Hot Music Festival, that lightning struck. "There was something very cinematic about that night and about Jack's particularly terrific performance," said McIntyre. "We decided then and there he deserved his own film."
A few months later, armed with five borrowed and rented video cameras, McIntyre and Peyser shot Sheldon's birthday bash and concert at the Beverly Hilton hotel (much of which is used to fine effect in the finished documentary), cut together a five-minute trailer to help raise production funds and waited for the money to roll in. A year and a half passed and they were still waiting, so Peyser plunked down $4,500 on a mini-DV camera and McIntyre knew they were in it for the long haul.
Though the filmmakers had easy access to dozens of notable Sheldon fans -- from Clint Eastwood to former U.S. Secretary of State James A. Baker -- it was the self-admittedly insecure Sheldon who proved most elusive when it came to opening up on camera.
"There came a point where we realized we'd have to trust the audience and ourselves to fill in some blanks in Jack's life story," Peyser said.
"Jack doesn't share the sadness verbally, he expresses his emotions musically," McIntyre said. "He can break your heart with a ballad."
Kylie dazzles in Denmark
KYLIE MINOGUE is living proof that age ain't nothing but a number.
The showstopping pop princess wowed crowds in Copenhagen on the Danish leg of
her tour.
The tiny Aussie was surrounded by dancers as she put on a spectacle of a show
in front of more than 5,000 people.
Meanwhile, younger sis DANNII may be relieved MRS O has left The
X Factor, but she must be feeling threatened that CHERYL COLE or MEL
B are rumoured to take her place.
Kylie hits the UK at the end of the month, with her first date at Belfast on
June 26.
Click here to buy music and videos from Kylie
Click here to buy music and videos from Dannii Minogue
The showstopping pop princess wowed crowds in Copenhagen on the Danish leg of
her tour.
The tiny Aussie was surrounded by dancers as she put on a spectacle of a show
in front of more than 5,000 people.
Meanwhile, younger sis DANNII may be relieved MRS O has left The
X Factor, but she must be feeling threatened that CHERYL COLE or MEL
B are rumoured to take her place.
Kylie hits the UK at the end of the month, with her first date at Belfast on
June 26.
Click here to buy music and videos from Kylie
Click here to buy music and videos from Dannii Minogue
International Pop Vocal Sensation Chantal Chamandy Performs the 'Beladi Concert' from Her Historic 'A Night at the Pyramids' Concert July 3rd @ The Ford Community and Performing Arts Center, Michael A. Guido Theater, Dearborn, Michigan
DVD & CD on Six Degrees Records - In Stores Now!
New Single: 'Crazy' Goes #26 Billboard Hot Dance Chart
NEW YORK, June 9 -- Born in Egypt to parents of Egyptian,
Lebanese and Greek descent and raised in Montreal, Canada, Chantal Chamandy
is a pop singer born and bred to ignore boundaries and fuse the accessible
with the exotic. Her new studio album and historic DVD Beladi: A Night at
the Pyramids showcases a lavish, romantic, entertaining and inclusive
musical vision that bridges gaps and brings musical cultures together with
love and celebration. On July 3rd, Chantal will re-create this historic
concert in Dearborn, Michigan at The Ford Community and Performing Arts
Center (Michael A. Guido Theater).
(Photo: http://www.newscom.com/cgi-bin/prnh/20080609/NYM029 )
When many in the West are curious and apprehensive of Middle Eastern
culture and society, Chantal -- who recently received the Excellence in the
Arts award from the American Arab Anti-Discrimination Committee -- refuses
to surrender to fears, stereotypes or negative portrayals. Instead, her
music is a refreshing reminder that at its best, music has the power to
bridge our differences and inspire listeners the world over. Chantal writes
and performs a vibrant style of alluring, danceable pop music that has been
a hit on dance floors and pop charts internationally including the song
"You Want Me" which went to #4 on the UK Dance Charts. Said London's
Evening Standard, "Chantal mixes East and West to emerge as a strutting
talent who exudes both breathy sensuality and vocal control worthy of
Celine Dion." The single "Feels Like Love" went Platinum in Canada.
On September 7, 2007, she became the first person ever granted
permission by the Egyptian Ministry to perform and film a concert at the
base of the Pyramids on the Giza Plateau in Egypt. The evening, documented
on the 90-minute DVD Beladi: A Night at the Pyramids, found Chantal
performing thousands of fans backed by the Cairo Symphony Orchestra. Her
dancers included Canadians, traditional Egyptian "tanoura" dancers, and
Ahmed Nabil, the principal dancer of the Cairo Opera House Ballet Company.
Her collaborators for the show also included some of the top names in
cutting-edge theater and musical entertainment: director Gerard Pullicino
is responsible for shows by Beyonce, Celine Dion and Madonna, among others,
while choreographer Genevieve Dorion-Coupal and set designer Guy St-Amour
are veterans of Cirque du Soleil. (Dorion-Coupal choreographed the
company's Grammy-winning Beatles show Love, currently a sensation in Las
Vegas.)
The concert is currently being broadcast on PBS stations nationwide;
the DVD contains additional footage not included on the PBS broadcast,
including a feature-length documentary, "The Journey," with
behind-the-scenes footage that follows the creation and staging of this
extraordinary event.
Chantal's studio album Beladi is a companion piece to the DVD, with
studio recording of various songs she performed at the Pyramids. She wrote
most of the songs herself, often collaborating with the noted Indian
musician Subir Dev. Driving and danceable one moment, sensuous and alluring
the next, her music speaks with passion and intelligence of an artistic
vision that recognizes no boundaries as it draws from all of Chantal's
experiences and influences.
http://www.chantalchamandy.com
Publicity contact:
Doreen D'Agostino
DOREEN D'AGOSTINO MEDIA
646.829.0652
doreendagostino@earthlink.net
See Also
New Single: 'Crazy' Goes #26 Billboard Hot Dance Chart
NEW YORK, June 9 -- Born in Egypt to parents of Egyptian,
Lebanese and Greek descent and raised in Montreal, Canada, Chantal Chamandy
is a pop singer born and bred to ignore boundaries and fuse the accessible
with the exotic. Her new studio album and historic DVD Beladi: A Night at
the Pyramids showcases a lavish, romantic, entertaining and inclusive
musical vision that bridges gaps and brings musical cultures together with
love and celebration. On July 3rd, Chantal will re-create this historic
concert in Dearborn, Michigan at The Ford Community and Performing Arts
Center (Michael A. Guido Theater).
(Photo: http://www.newscom.com/cgi-bin/prnh/20080609/NYM029 )
When many in the West are curious and apprehensive of Middle Eastern
culture and society, Chantal -- who recently received the Excellence in the
Arts award from the American Arab Anti-Discrimination Committee -- refuses
to surrender to fears, stereotypes or negative portrayals. Instead, her
music is a refreshing reminder that at its best, music has the power to
bridge our differences and inspire listeners the world over. Chantal writes
and performs a vibrant style of alluring, danceable pop music that has been
a hit on dance floors and pop charts internationally including the song
"You Want Me" which went to #4 on the UK Dance Charts. Said London's
Evening Standard, "Chantal mixes East and West to emerge as a strutting
talent who exudes both breathy sensuality and vocal control worthy of
Celine Dion." The single "Feels Like Love" went Platinum in Canada.
On September 7, 2007, she became the first person ever granted
permission by the Egyptian Ministry to perform and film a concert at the
base of the Pyramids on the Giza Plateau in Egypt. The evening, documented
on the 90-minute DVD Beladi: A Night at the Pyramids, found Chantal
performing thousands of fans backed by the Cairo Symphony Orchestra. Her
dancers included Canadians, traditional Egyptian "tanoura" dancers, and
Ahmed Nabil, the principal dancer of the Cairo Opera House Ballet Company.
Her collaborators for the show also included some of the top names in
cutting-edge theater and musical entertainment: director Gerard Pullicino
is responsible for shows by Beyonce, Celine Dion and Madonna, among others,
while choreographer Genevieve Dorion-Coupal and set designer Guy St-Amour
are veterans of Cirque du Soleil. (Dorion-Coupal choreographed the
company's Grammy-winning Beatles show Love, currently a sensation in Las
Vegas.)
The concert is currently being broadcast on PBS stations nationwide;
the DVD contains additional footage not included on the PBS broadcast,
including a feature-length documentary, "The Journey," with
behind-the-scenes footage that follows the creation and staging of this
extraordinary event.
Chantal's studio album Beladi is a companion piece to the DVD, with
studio recording of various songs she performed at the Pyramids. She wrote
most of the songs herself, often collaborating with the noted Indian
musician Subir Dev. Driving and danceable one moment, sensuous and alluring
the next, her music speaks with passion and intelligence of an artistic
vision that recognizes no boundaries as it draws from all of Chantal's
experiences and influences.
http://www.chantalchamandy.com
Publicity contact:
Doreen D'Agostino
DOREEN D'AGOSTINO MEDIA
646.829.0652
doreendagostino@earthlink.net
See Also
The Commodores plot reunion tour
Lionel Richie is set to reunite with his old band The Commodores.
The All Night Long singer - who quit the group in 1982 to pursue solo projects - wants to do a reunion tour within the next two years as he is worried time is running out.
He said: "We better do it now, or in the next 10 years nobody would care."
The 58-year-old star doesn’t want to waste any more time in organising the reunion, following the death of lead guitarist Milan Williams two years ago.
Last year, bassist Ronald La Pread joined Lionel on stage on his last tour to perform some of the band’s greatest hits including Three Times A Lady and Brick House.
If The Commodores comeback does happen it will be the latest in a long line of band reunions.
Take That announced they were getting back together in 2006, while last year the Spice Girls reunited for a world tour.
The Police also had a sell-out comeback tour, and most recently, Genesis - fronted by Phil Collins - got back together.
See Also
Missy Elliott prepares for a summer "Block Party"
NEW YORK (Billboard) - Missy Elliott is eyeing an August release for her next studio album, "Block Party," on which she's now putting the finishing touches.
The oft-delayed set, which originally was slated for May, features production from Souldiggaz, Danjahandz, Pharrell, T-Pain, Pointguard and Timbaland.
Tracks on the album include the Jazmine Sullivan-assisted "Like When You Play the Music"; the drum-heavy "Hip-Hop Don't Die"; the sensual "Milk & Cookies," on which Elliot lightheartedly harmonizes about her capabilities in the bedroom; and "Best Best," the set's first single.
Elliott told Billboard she chose the album title "because there are a lot of dance joints on there. It's one of those albums you can play out in the streets."
"This album is probably more musical and melodic than my previous ones," she said. "A lot of my albums are really hip-hop-driven, with tinges of other music genres. But this album is hip-hop, with a sort of U.K. hip-hop sound to it."
Timbaland remains one of Elliott's major collaborators. What she and the veteran producer share is "deeper than this music industry thing," Elliott said.
"There's a chemistry between us that will never leave. Like Janet (Jackson) and Jimmy Jam and Terry Lewis. Like Michael Jackson and Quincy Jones -- that kind of chemistry," she said. "Not to say it can't work if you get with someone else. But, just because a producer's hot, it doesn't mean it'll automatically work."
"People always ask if we're still working together, and the answer is we will always work together," Elliott continued. "He's always going to be involved, even if it is just on one record. That's my brother. I respect and honor what he says."
Reuters/Billboard
The oft-delayed set, which originally was slated for May, features production from Souldiggaz, Danjahandz, Pharrell, T-Pain, Pointguard and Timbaland.
Tracks on the album include the Jazmine Sullivan-assisted "Like When You Play the Music"; the drum-heavy "Hip-Hop Don't Die"; the sensual "Milk & Cookies," on which Elliot lightheartedly harmonizes about her capabilities in the bedroom; and "Best Best," the set's first single.
Elliott told Billboard she chose the album title "because there are a lot of dance joints on there. It's one of those albums you can play out in the streets."
"This album is probably more musical and melodic than my previous ones," she said. "A lot of my albums are really hip-hop-driven, with tinges of other music genres. But this album is hip-hop, with a sort of U.K. hip-hop sound to it."
Timbaland remains one of Elliott's major collaborators. What she and the veteran producer share is "deeper than this music industry thing," Elliott said.
"There's a chemistry between us that will never leave. Like Janet (Jackson) and Jimmy Jam and Terry Lewis. Like Michael Jackson and Quincy Jones -- that kind of chemistry," she said. "Not to say it can't work if you get with someone else. But, just because a producer's hot, it doesn't mean it'll automatically work."
"People always ask if we're still working together, and the answer is we will always work together," Elliott continued. "He's always going to be involved, even if it is just on one record. That's my brother. I respect and honor what he says."
Reuters/Billboard
Shock in store for Emmerdale couple
'Emmerdale' couple Laurel and Ashley are set to get another shock when the truth of their baby swap issue is revealed.
In recent weeks Laurel (Charlotte Bellamy) and Ashley (John Middleton) discovered that their son Daniel, who died tragically, could not have been their biological son.
They then found out that the baby that Mel took home from the hospital is actually their child.
According to the show's official website, there is set to be another "shocking" twist in the storyline.
Actor John Middleton said: "There's a sharp difference of opinion to begin with. Ashley's looking to the future whereas Laurel's living in the present."
"The truth will come out and it's shocking," he said.
His co-star Charlotte Bellamy said: "Laurel thinks - how could I take Arthur away from Mel?'"
"In a way it's a bit of a double whammy as well. If you think it couldn't get any worse - it does."
In recent weeks Laurel (Charlotte Bellamy) and Ashley (John Middleton) discovered that their son Daniel, who died tragically, could not have been their biological son.
They then found out that the baby that Mel took home from the hospital is actually their child.
According to the show's official website, there is set to be another "shocking" twist in the storyline.
Actor John Middleton said: "There's a sharp difference of opinion to begin with. Ashley's looking to the future whereas Laurel's living in the present."
"The truth will come out and it's shocking," he said.
His co-star Charlotte Bellamy said: "Laurel thinks - how could I take Arthur away from Mel?'"
"In a way it's a bit of a double whammy as well. If you think it couldn't get any worse - it does."
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