What is the concept of the clothing that the girl is wearing in TV Mania logo? (the actress on clip euphoria wears tool). I’m going to a costume party and I’ll try to reproduce the clothes. But if someone asks (and always ask), I would like to explain what it is. It will be a pirate outfit? Thank you so much! Mirella

Hi Mirella,

Our art director, Andrew Day suggested we have an illustration created by the artist Vania Zouravliov, so we sent him some imagery and materials for inspiration, along with a description of one of the characters from the accompanying story we had written and based the album upon. Vania then created the beautiful image we used on the cover, utilizing the pirate hat, which Warren had worn in the “Out of My Mind” video, which was shot during the period we were making the TV Mania album. Personally, I think it’s a rather good look -hmmmm, I feel a website competition coming on!!!

Nick

Our readers don’t know exactly what you do when you work with someone like John – can you explain?

It was very interesting working with John because it was completely different to how I imagined it would be. I had imagined that I would tape record John, and then write an account of his life, but he had very different ideas. He wrote a lot of the material himself and then I would help him edit it. Sometimes, there were places he hadn’t gone to, and it became my job to say, “Look, John, you really need to write about X, Y or Z.”

When you’re working with a ‘celebrity’ author, what’s a typical day like?

I would go and stay for a week or ten days at a time and we hooked up my laptop to a big screen in John’s dining room, and we also connected TWO keyboards to the one system. So at times we would be arguing about how certain bits should be phrased, and I would be writing and JT would be deleting!
John often said he saw my role as being analogous to that of a producer on a record. The discussions would get heated at times but it really was terrific fun too. When we needed a break we would go for a bike ride – very rock and roll. At the end of the day, the collaboration worked because we both respected each other.

We have become friends. I think it shows John’s confidence in his work and his integrity that he has been so happy to publicly credit me with supporting him in the writing of the book.

What was your impression of him? Did you think he’d be a good storyteller?

First impressions of John were that he was straightforward and honest and that has certainly been born out. I think it would be hard to work with someone who wasn’t completely on the level. I think all musicians are storytellers anyway – when you are writing a story what you are really trying to find is the beat, the pace that sustains and defines the narrative.

** IN THE PLEASURE GROOVE is now available in the UK in paperback. You can buy it here:

Paperback: http://bit.ly/JohnTaylorPB
Ebook: http://bit.ly/JohnTaylorEB

It’s quite hard to believe another year has past, or I should say flown by!

It’s been a very fun and interesting year for me with many highlights and special moments.

In late August, Duran Duran finished an amazing 18 month World Tour where the band seemed to gel more and play better together from each show to the next. The energy and excitement built to an all time high and the shows were some of the most enjoyable for me since first playing with the band back in December 2004.

In September I began renting a professional studio where I go to work 5 days a week. It’s my first studio away from home. Ithas been a place of great artistic development for me and has been a lifelong dream.

I have been writing with and producing many interesting artists and bands, and everyone who has worked there has positive things to say about the experience.

A few other interesting things have been; promoting my Blue to Brown album, seeing the fantastic results of a 13 week house renovation (though living through it seemed like hell), and last but not least, being able to spend a lot of time with my amazing family.

It’s a blessing to be able to see my children grow and develop, and to spend quality time with them and Martha.

Thanks to everyone for the kind and thoughtful messages and wishes.
Til next year
Dom x

Here is some quotes about the meeting:

“18 years ago, 30 days in rehab turned my life around,” John Taylor said to representatives of the House of Commons and House of Lords. Since rehab, he has enjoyed worldwide success with this music and acting, and traced his journey of addiction and recovery in an autobiography last year.

“Due to its success, I believe in rehab. Addiction is an Equal Opportunity illness: it affects people from every walk of life, regardless of gender, sexual orientation, religion or wealth. However, I was OK as I could write a cheque for rehab – most people can’t. They need the government to step in and help.”

“Residential rehab is not free and usually not cheap – but they do lead people into 12-step programmes which act as free aftercare for life. There should be a nationwide campaign to inform GPs of what addiction is and the proven value of 12-step programmes. There should be more support for people to study and train as addiction counselors.”

“One day, I would like to see rehab offered to all who need it.”

Dr Richard de Visser, School of Psychology, University of Sussex added that “John is right in saying addiction is an Equal Opportunity illness, unlike others which can be linked to lower socio-economic groups”. It can affect anyone.

Minister Norman Lamb said that “I am passionate about mental health, and extremely concerned about suicide. That is why I launched a suicide-prevention strategy last November, and we have also had the Time To Change campaign. There are links between alcohol and self harm: suicide is an impulsive act and alcohol has a dis-inhibitory effect, leading to far greater risk”.

Other speakers at the APPG included David Wilkins of Men’s Health Forum and Dr Amy Chandler of the Centre for Research on Families and Relationships at the University of Edinburgh.

Before the meeting I got to visit Number 10 Downing Street. I can tell you it’s like Doctor Who’s Tardis. Behind that door is a vast warren of stairs and rooms, and a killer collection of British art…and some quite substantial silverware that Mrs. Taylor would have had her eye on if she had been there.

In the evening Nick and I went to the annual event of the Founders Forum, hosted by Prince Andrew at Windsor Castle. Another first, I had not been there before either, and it was as spectacular as one would hope. Here’s the view as we left the party.

All in all, a good day!
-John

In December 2010, Duran Duran initially released the digital version of “All You Need is Now,” containing nine tracks. In March 2011, the standard CD and a digital re-release came out with 14 songs: “All You Need is Now,” “Blame the Machines,” “Being Followed,” “Leave a Light On,” “Safe (In the Heat of the Moment),” “Girl Panic!,” “A Diamond in the Mind,” “The Man Who Stole a Leopard,” “Other People’s Lives,” “Mediterranea,” “Too Bad You’re So Beautiful,” “Runway Runaway,” “Return to Now,” and “Before the Rain.” A few different digital versions, through HMV and Amazon, were available as well. At the same time the UK, Germany and Italy were treated with a limited box set with 16 tracks housed in a flip-top box. Along with the limited box version, a deluxe version was sold in the UK through HMV with 19 tracks on two discs.

Not to be outdone, the USA got a limited box set with 15 tracks and a DVD included. Additionally, Newbury Comics in Boston sold a special release signed by the band and housed in a digi pack. The US also had two more limited editions: one sold through Best Buy, containing 17 tracks and a DVD in a slipcase, and one through FYE, containing a 15 track version, which is different than the first 15 track version, and came in a standard jewel case. Alongside these editions, “All You Need is Now” was released in Hong Kong and Taiwan with the same 16 tracks (in standard jewel case) as the European box set. In September 2011, The Vinyl Factory released the strictly limited (to 500 copies), individually signed and numbered Deluxe Box. This set contained the full album on two LPs, all the previous released bonus tracks and remixes of the songs “All You Need Is Now” and “Girl Panic!” on three 12″ records plus one more bonus track: “This Lost Weekend.” The box, made of perspex, also contained two 12″ books.

Right after the release of the limited box set a standard two LP vinyl set was released in both the UK and US. The difference was the packing: The UK version came in a gate fold sleeve and the US version in a regular LP sleeve.

Interestingly, the Japanese version of “All You Need is Now,” didn’t come out until June, 2012. This coincided with the release of the live CD and DVD of Duran Duran’s “A Diamond in the Mind” on Eagle Rock. In Japan, “All You Need Is Now” is available as a two CD set containing 19 tracks (including “This Lost Weekend”). However, in Japan, the AYNIN album is also available in a 6-disc deluxe box set containing the two CD set, “A Diamond In The Mind” on DVD and Blu-Ray, and a two CD set of “A Diamond In The Mind.”

All together, there are at least 14 official commercially available editions of the “All You Need Is Now” album. A lot of choices, and for the completist collector, a lot to lay your hands on!

Created by Peter Brinkhof/Edited by Katy Krassner/Photos courtesy Peter Brinkhof & Derek Supryka

This is not a comeback. This is a continuation. Duran Duran may have taken the bulk of Nick Rhodes’ attention (it’s been 35 years and he’s still at the helm of the band; in fact, they just performed at Cannes), but he’s always dabbled in other artistic pursuits. One such project has resurfaced after it was first recorded in the mid-nineties. TV Mania was an experimental album produced with then band member Warren Cuccurullo. Originally conceived as a musical, the album is an extraordinarily prescient account of the invasion of reality TV. In conjunction with its long overdue release, Rhodes recently celebrated the making of Bei Incubi, a personal photography exhibition which features the fame-obsessed, materialistic daughter of TV Mania’s dysfunctional (de-)nuclear family.

DIXIE – What was it like discovering TV Mania after 17 years? Were you surprised by its spot-on prophetic take on society today?

NICK – I remembered what we were doing fairly well and I know that it sounded great when we finished it, but I hadn’t heard it in a very long time. So it was a pleasant surprise when I re-listened and realized that it had matured really well. Something as unusual as that could end up being a real relic of the period, but instead I think it feels more like a time capsule. And some of it certainly was prophetic in an unintentional way. We obviously didn’t know what was going to happen at the time, but there was something in the air with the way the world was feeling about the developments of different technologies. For example, surveillance cameras were being installed all over London where I lived. There were new satellites going up every day. With pharmaceuticals, there was a whole new range of antidepressants that were coming out. And I think people were realizing that the big one was reality TV.

DIXIE – From previous interviews, you seem to take great interest in the anthropological effects of your profession.

NICK – In general, I quite like people. They’re fascinating subjects, even some of the ones you don’t like so much—they’re fascinating. I thoroughly believe that one should live one’s life rather than watching other people on TV, but I understand entirely why so many people are drawn in by these reality shows. It’s [about] putting a bunch of people in a room that should never be together and just watching what happens. Obviously it creates interesting viewing, but no, I like working with people and collaborating. I’m trying out different things. We’ve been very lucky with Duran Duran projects over the years in that we’ve worked with fascinating people in most areas of the arts, from photographers to filmmakers, fashion designers, set designers, artists, other musicians, and that’s always inspiring.

DIXIE – Would you consider yourself a voyeur?

NICK – To a degree, yes. I’m always interested in what people think, why people are thinking that, what’s going on in the world, and why technology changes the way we think and how it cross-pollinates with different aspects of our lives. The internet, computers, and hand held devices have revolutionized the way the world thinks and behaves—a lot of it clearly for the better, and some of it, sadly, for the worse. So it really does bring out extremes as well as everything in between. That subject will never cease to amaze me and keep me looping in and listening to what people are doing. Developments always excite me. I love technology and I’m fascinated to see the next developments with nano technology and genetics. There’s a lot we haven’t seen yet—it’s moving at such a fast pace. I was astonished and horrified to find out the other day that someone had 3D printed the first gun. It’s going to be strange world out there over the next few years.

DIXIE – It must have been a welcome relief to get back to the medium of a Polaroid camera for Bei Incubi.

NICK – Yes, there’s something thrilling about Polaroid even though we’ve got instant digital photography now. The culture of Polaroid photography is growing for the first time in many years. The show I had here in London had about 20 or 30 Polaroids as part of the exhibition and they were the first to sell. The format of it is still great; the size of it and the quality of what you get in a Polaroid is special. I have the same sort of affinity for Polaroids as I do in some ways for vinyl. It’s one of those old analog formats that’s just great for what it is, [even though] it’s been updated, outmoded, replaced. And it’s still part of the fabric of photographic creativity. I really want to start taking more.

DIXIE – Do you have any favourite fashion photographers?

NICK – I love fashion photographers. My favourite ones are sadly gone now, people like Avedon, Guy Bourdin, Helmut Newton, and Man Ray. But there are lots of new photographers out there that I think have a great eye. Mario Testino takes great pop fashion pictures. Nick Knight is also very good. Mert and Marcus, Steven Meisel… I was just looking at some David LaChapelle photos and I thought about how truly original his style is and what he created himself. We met David very early on. He photographed us for Interview Magazine before he was doing his colour photos. They weren’t [his usual] high gloss, high drama images. He actually photographed us in black and white at a park in New York. To see how he developed his style—because he was literally just starting out then—is fantastic.

DIXIE – You’ve amassed quite a fabulous wardrobe, too, a lot of which is purely from the 80s and a record of that era’s fashion movement. Can you share some of the history behind your collection?

NICK – I recently lent clothes to a fashion museum in Santiago [in Chile], and they said I’ve probably got one of the better collections for men’s fashion from the 80s. I collected things from Armani, Versace, Theirry Mugler, Anthony Price, Yohji Yamamooto, Comme des Garcons, Jean Paul Gautier, Stephen Sprouse… a lot of different designers. And I tended to buy some of the slightly more flamboyant pieces. It’s an interesting collection—I’m glad I held on to it! I have David Bowie to thank for that because when I’d met him very early on you, I was still a teenager, maybe 20, and asked him what he’d done with all his clothing. He said, ‘Oh, I’ve kept everything.’ And I thought that’s great to know those things still exist. And ironically now as I’m speaking to you, a few miles up the road from me on display at the V&A Museum in London are David Bowie’s clothing. So it’s good he kept them, and that truly is the reason why I kept mine from very early on.

DIXIE – Do you ever feel nostalgic for those days?

NICK – I’m not really a nostalgic person, to be quite honest. I just like moving on and going forward, but what I would like to see is someone really radical, with different music ideas, come in and smash up the whole mould and do something new. It would be really exciting instead of just hearing hip-hop produced out of plastic boxes. I think there are great things out there but I’d love them to get a real shake up.

Courtesy Frische Magazine

Now former city DJ Graham Jenkins has recalled his memories of Duran Duran’s early days in this, the group’s 35th anniversary.

Graham, now 53, used to spin discs at Broad Street’s Rum Runner club, the venue where it all began for the band.

“I knew Nick Rhodes and John Taylor from school – we all grew up together in Hollywood,” he said.

“Nick got the New Romantic night going at the Rum Runner, but there wasn’t that much new music coming through.

“It was mostly made up of Bowie and Roxy Music, and old glam music.

“Blitz Club in London was just kicking off and ours was a bit of an importation of that decadent kind of party night.

“Duran Duran’s formative members were Nick and John and they started recruiting in the early 80s.

“They were ‘together’ in 1978, but not fully together. Then the band members we all know started joining, and they used to practise up in the loft space at the Rum Runner.

“Their material evolved over quite a long time.

“As their band practices became more demanding, John gave me a ring. I was just doing normal pub DJ-ing.

“I started doing the nights at the Rum Runner in 1980, at the point where the fully-formed Duran Duran had gone in the studio and were recording their first material.”

Graham juggled his DJ-ing with a job at British Gas in Solihull – sometimes forgetfully wearing eyeliner at work.

“The nights at the Rum Runner went from strength to strength,” he said.

“The walls were covered in mirror tiles, and there was a unisex make-up area.

“It was unusual to have such a busy popular night on a Tuesday in Birmingham, and it was extended to Fridays as well.

“I used to meet up with John regularly at Rockers Records shop in Hurst Street.

“We would audition all of the new stuff that was coming out, and choose the playlist together there every Friday.”

By this stage, Le Bon, Andy Taylor (‘fantastic guitarist’, Graham opined) and Roger Taylor (‘great drummer’) had leapt onto the Duran rollercoaster.

“I can remember the very early, nervous days that Simon had with them – it’s funny when you look back,” said Graham.

“He had a very distinctive voice.

“If you listened to them in rehearsal they were more rocky, rather than synthesiser-led. That’s what carried them, I think.

“They played in a big warehouse loft – you can imagine a big empty space with the rubbish that places like that accumulate over the years.

“To have somewhere like that where you could practise and spend every waking minute in, that’s what bands need.

“That’s where the magic happened. They were of the moment.

“But they had a perfect formula which was very pop hit-oriented, and I think they could have moulded themselves to any era because the songs were there.”

Graham quit the club in late-1980 after falling out with band svengali Paul Berrow, who asked him to play Duran’s debut single Planet Earth several times.

“I had a bit of an artistic difference – if I was his age then, I would have acknowledged that promoting the song was a commercially sensible thing to do.

“But when you’re a young, impressionable 20-year-old, being told to play Planet Earth more than twice a night seemed a bit over the top.”

Graham spent two years at Villa and Wolves star Andy Gray’s city centre club, Holy City Zoo, in Water Street, which wanted to catch the New Romantic bug.

He encountered stars like Midge Ure, Boy George, and, in 1981, Soft Cell’s Marc Almond.

“He came in with this white-label 12-inch single – it was Tainted Love, the track of the moment.

“He wrote all over it for me. He sat there at the booth doodling on the record.”

Graham later ditched the music scene to run a successful gas utility business.

Now he and his wife Clare, 55, run Henry Tudor House in Shrewsbury, having spent £1 million converting a pub into a classy restaurant.

On the second floor, in the roof space of the Grade I listed building, is a recently-fitted live music room.

Music runs in the blood, too, as Graham’s son Sam, 20, readies himself for a slot there with his funk-rock band New School Futures on June 19.

“The top floor we run as a passion,” said Graham, who admitted he had lost contact with the Duran Duran boys.

“I’ve had more fun in the last six months doing this than at any time in the last ten years in the gas industry.”

Courtesy Birmingham Mail. Click here to see more photos of band

Simon, 54, enthused: “As the father of three determined daughters, I support the drive for equality worldwide.”

Courtesy Daily Star

But he may have just given me a new reason to love him.

This week, Le Bon said, “In the year which marks the centenary of the Suffragette Movement, I am excited to be a performer at the Twickenham CHIME FOR CHANGE show this Saturday. As a man, raised by a strong, inspirational woman, and the father of three determined daughters, I unreservedly support women’s rights and the drive for equality world wide. So prick up your ears, because Chime is coming to town.”

And the feminist in me tingled.

On Saturday, he performs with Timbaland at a concert in London that benefits Chime for Change, which is touted as a “community of people working to promote Education, Health and Justice for every girl, every woman, everywhere.”

Le Bon and Timbaland are far from being alone in this campaign. Beyonce, Florence + The Machine, John Legend and Madonna plan to perform at the sold-out four-hour concert that 55,000 are expected to attend at Twickenham sports stadium. The concert is underwritten by Gucci so that all proceeds go toward 50 projects that provide education, healthcare and justice for women and girls’ in countries around the world.

While the stars may get the bulk of attention, it’s the project aspect that could change lives.

According to the website, Chime for Change is “the first crowd-funding site where people can make real change happen for girls and women through Catapult. That’s a platform that allows nonprofit organizations to post their projects so that “people can find and fund the issues that speak to them the most.”

For instance, in the United States, funds will help Girl Up host a two-day summit in which girls will learn how to raise funds and awareness and engage their communities. In Malawi, 120 girls will receive secondary education scholarships if the project is fully funded. Fifty Haitian girls could have a safe space to learn and lead in their communities via the Haiti Adolescent Girls Network.

The Haiti project tells the story of Ester, 15, who survived the 2010 earthquake, and “seeks a way to create a better future for herself and her community.” She wants to become a doctor one day. She’s fortunate because she can still attend school unlike many Haitian girls who “lack structured activities, such as school or sports.” In turn, they can become victims of violence, have unplanned pregnancies and contract HIV.

Currently, that project is only 12 percent funded.

Other projects include preventing maternal deaths in Sierra Leone, helping brothers and sisters of sick children in Rio de Janeiro stay in school and giving women in Senegal a chance to use their skills to provide an income for themselves their families and communities.

There’s even a project that supports Wedding Busters, a girl youth movement in Bangladesh. School girls come together if one of their peers is forced by her father to abandon school for marriage to persuade the father to rethink his decision.

Sure, a concert featuring my teen idol is fantastic, but it’s not up to Simon Le Bon or Beyonce to save women around the world. We are living in the age of crowd sourcing where ever single one of us can be a hero to a girl somewhere on Planet Earth.

Courtesy The Broad Side