Whether you'd like to admit to it or not you are contributing to the silencing of woman, but if you really must call us dolls, we shall be Baby Annabells' and cry and wail about it, until our batteries run out.
Pacing the stage like a caged animal, it wasn't hard to see why he's among the best comedians working in the UK today. Mack does a great job of creating comedy waves, and then surfing the crest.
The concert took place on September 12, at Paris' Stade de France to a crowd of 80,000 people. Looking around the intimidating space as the seats quickly filled up, it was difficult to imagine any other artists being able to fill such a large arena.
n Chris MacDonald's slick, provocative, and generally stirring debut play Eye of a Needle, in place of rich men there are homosexuals from Jamaica, Uganda, and Nigeria; instead of the kingdom of God, we have modern England, with its scaremongering tabloids, institutional racism, and xenophobic populism.
Having seen Foo Fighters numerous times over my gig going years, I knew that I wouldn't need to come up with acerbic swipes or wince inducing cutting remarks. If anything, my struggle would be to come up with new ways of saying 'awesome.'
Essex finally landed tonight in the shape of Lottie Lou, thankfully for all our ears, it didn't last long. The same applied to Carly Cunningham. Deary, deary me, where is the talent? This was painful and crowd made themselves heard.
Do you ever think that the people behind The Great British Bake Off might be running out of episode ideas? I only ask because episode six of the 2014 incarnation has as its theme 'European cakes', which sounds very much like a 5pm-on-a-Friday idea to me. Anyway, I can't be too concerned about that because my main concern is who is going to be my new baking hero following Norman's ignominious sortie last week.
It's frantic at the end - some pies are burnt, some pies are under-done, and Norman's apparently put an entire field of lavender into his meringue, but who's going home? In fact, with Diana out of the picture, is anyone going home?
The Dinner Party Revisited is a live art performance piece created by the enfant terrible of the disability arts scene, Katherine Araniello that builds on her past works using video and performance art to challenge society's view of disability. If that sounds serious and worthy boy are you wrong.
Kitten And The Hip, aka husband and wife Ashley and Scarlett proved sometimes one voice is better than two! A bit awkward but Scarlett made the right choice to go it alone. She could be one to watch.
The World cup is a distant memory, the nights are starting to draw in and for most, (sorry Scotland) the return to school is imminent. This can only mean one thing, the return of the one, the only, The X Factor.
As a restaurateur one is subject to reviews. It was bad enough in the days when one only had to fear the crapulous pundits of print casting their judgement after a long lunch. Today our scourges are the customers who think they can make or ruin us by posting their troublesome pennyworths online.
American filmmaker Josh Evans' new movie Death in the Desert is a classic. I was privileged to get an exclusive preview of this brand new film. The prolonged panoramic and panning landscape shots burn into your mind with the light and the dark and the shadows. The cast and the characters they play are captivating as is the dark and addictive story.
Now, a man throwing a cake in the bin and walking out of a tent may not seem particularly momentous, but in the bunting-clad, cosy world of Great British Bake Off, this is big news. To us, this is our equivalent of Eric Cantona karate kicking a racist supporter at Selhurst Park in the mid-90s.
It's 20 years since I've seen a Luc Bessonfilm as enjoyable as Lucy. The French movie mogul created two of my favourite films in Leon and Nikita, but in the years since then his output has been erratic to say the least.
It's a character driven thriller without a lot of dialogue, the tension quietly builds up, Jeff Grace's music score is perfect and Christopher Blauvelt's cinematography perfectly captures night moves as you're led to the inevitable question, 'what or who will bring them down?'