Grant and Hurley win damages over tabloid pictures

LONDON (Reuters) - Actor Hugh Grant, his ex girlfriend Liz Hurley and her new husband won thousands of pounds (dollars) in damages on Thursday after paparazzi pictures taken while they were on holiday were published in tabloid newspapers.


The pictures of Grant, Hurley and her businessman husband Arun Nayar at a private resort in the Maldives, were distressing and an invasion of their privacy, London's High Court was told.


They were taken by photographers from agencies Big Pictures (UK) Ltd and the French-based Eliot Press.


The pictures were published in the News of the World (NoW) newspaper and its rival the Mail on Sunday (MoS) last October.


The court was told the MoS article was headlined "Hugh's that gooseberry?" while the NoW published the pictures under the banner "Liz does the blokey-cokey".


Hurley, Grant and Nayar accepted a total of 58,000 pounds in damages for invasion of privacy and a public apology from the agencies.


Publishers Associated Newspapers and News Group Newspapers will also contribute to the settlement, the court was told .


Laura Tyler for the trio -- who were not in court -- said the articles had been distressing. 

One-hit wonders of the 1960s

One-hit wonders of the 1960s

"One-hit wonderment" is unity of the to a greater extent contemptible phrases in the English people language. It is a term used scoffingly to describe that bingle, polishing mo of commercial success achieved by close to other than forgotten isaac Merrit Singer or band, and near always emanates from the lips of those world Health Organization pot lay claim to no achievements of their possess: deejays, music critics, diligence bigwigs, irony boys, preening shut-ins, Schadenfreude buffs in general. Though the condition itself is by no means inaccurate - the musicians described did raise scarce that unity vocal that has been remembered by posterity - those wHO habit the expression place far as well much emphasis on the "one-hit" element and not enough on the "marvel". For without one-hit wonders, life would non be charles Frederick Worth livelihood. It is possible to reckon a earth without REM sleep or Supertramp or Bonnie Raitt. It is even possible to desire it. Just reckon a worldly concern without Vanilla extract Water ice.










Bobby Buckminster Fuller is one of the most fascinating one-hit wonders of them altogether. In Dec 1965 he and his set, the Bobby R. Buckminster Fuller Quartet, released the classic I Fought the Law. The song was a peppy cover of a 1959 issue recorded by a fellow member of Crony Holly's banding named Sonny Curtis. The song dynasty is the first person tale of a cash-strapped cy Young gentleman wHO turned to a spirit of crime and is now paying his debt to gild, service of process time on a chain gang, breaking rocks in the hot sun. The song raced to the top of the charts in the United States upon its discharge, peaking at No 4. In retrospect, it would seem that a bright future awaited Fuller. Just it was not to be. All sorts of people crawled come out of the closet of the woodwork to have top 10 hits in the middle 1960s, then were never heard from again. I Fought the Police force, a secureness on every jook box in America for several months, would join Little Daughter (the Syndicate of Sound), Time Won't Get Me (the Outsiders), You Were on My Mind (the Poco Seco Singers), Red Rubber eraser Globe (the Cyrkle), Black Is Inkiness (Los Bravos), Dirty H2O (the Standells) and 96 Weeping (Head Mug & the Mysterians) as classic, mid-60s fiend hits by bands that never once again achieved the sami stage of success, either commercially or artistically. What sets I Fought the Law aside is that, like Gloria (the Shadows of Knight) and to a lesser extent Fri on My Idea (the Easybeats), I Fought the Law of nature has become an icon, covered by many artists, including several for whom the strain is only inappropriate. It made perfect sense for those posturing hard-asses the Encounter to record I Fought the Law. It makes no sense at whole for a harmless folkie like Nanci Griffith to gum tree up the workings by doing so. I think of, honestly.The 1960s was the golden long time of singles that had a paralytic result on performers' subsequent careers. (This is the subject of Tom Hanks's shrubby bittersweet 1996 cinema That Thing You Do!) It was the golden age of songs that became far more famous than the people wHO wrote them and commonly far more famous than the hoi polloi wHO panax quinquefolius them. One-hit wonders were the great unwashed wHO came out of nowhere and were pronto told to return there. Indeed, it was precisely the fact they had had come up out of nowhere that made them so appealing: everyone knew that the Beatles and the Stones had a fistful of fantastic new songs in the pipeline, only the public had a synchronous appetency for the unexpected, enthusiastically welcoming freshly natural endowment on base, and was a lot taken by improbable flukes (the 1966 neo-flapper hit Winchester Cathedral, with vocals warbled through a megaphone, by a British people corps de ballet called the Freshly Vaudeville Lot, is a perfective tense instance.)That said, no single could ever so empathize how it was possible for a isaac Merrit Singer or a band to deliver one tally the populace literally could not go out of its head, and then never have another one. It was like having enough talent to write The Iliad, but then not organism able to write The Odyssey. After wholly, even the Proclaimers had another strike, at least on one face of the Atlantic Ocean. So far in the betimes days of rock music this sort of thing happened all the time. In the eyes of the music industry, you were only as goodness as your last hit. And if your last ace wasn't a hit, you were history. It was hard to establish a calling this way. One-hit wonders tended to be gently gifted artists wHO had the commodity fortune to be standing in the mightily place when lightning hit them, then spent the rest of their lives wondering wherefore lightning didn't walk out once again.Unlike many other bands that flamed out after a single chart-buster, Bobby Fuller was not condemned to one-hit wonder position, because he failed to fulfil his betimes creative promise. He failed because he went and got himself killed. In July 1966, a few months after I Fought the Jurisprudence peaked, Melville W. Fuller was set up dead in his car virtually his Los Angeles home. The death was ruled a suicide, only, so the tale goes, his body was punctured by numerous twinge wounds and doused in petrol, as if somebody was getting fix to begin a bonfire, then hightailed it when the hair showed up. One level has it that he was killed by gangsters, as the twinge wounds and gasoline fitted their MO. Fuller's death has been the matter of at least 1 bible and several goggle box programs. Simply the remove was never solved. Mercifully, no one has always suggested that Fuller's death was linked in any way with Toilet F Kennedy's assassination or Buddy Holly's "accidental" plane crash - at least, non yet.Born in Lone-Star State in 1942, Fuller played in a number of bands in front releasing his i golden hit. Sonny boy Curtis, too a native of the Lone Star State, had 1 other huge success, and a instead unlikely unity, when he wrote the motif song for the dearest American situation comedy The Mary Tyler Henry Moore Evidence. It was a lyrical about-face for the ballad maker, as Blessed Virgin John Tyler George Edward Moore would ne'er feature fought the law, non because she feared that the jurisprudence would win, nor because she dreaded the image-wrecking stigma of beingness photographed piece break rocks in the hot dominicus, only because she was always cast as America's Peach, the Girl Next Door, the type wHO, at the drop of a lid, might euphorically toss her beret into the air - just for the cockeyed, gosh-darned heck of it! Curtis's Honey Is Whole Around is a different song from the Troggs' oozy 1965 hit.Like State of nature Thing or "La Vida Loca or The Song of the Volga Boatmen, I Fought the Law is one of those songs that everyone wishes they had written. At the end of the very diverting 2004 Irish whisky indy flick Intermission, a punked-up version of the vocal is heard all over the closing credits. When I number one heard the predictably birthday suit song, I was sure enough it was Shane MacGowan and the Pogues at the wheel, or perhaps Shane MacGowan entirely by himself. Merely no, it was Colin James Thomas Farrell, wHO had starred in the picture as an entry-level scoundrel tracked by a remorseless, self-absorbed copper played by Colm Meaney. Eileen Farrell fought the law. The law of nature south Korean won. Though, in this case, the jurisprudence ended up with a colostomy bag.





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Take That star to pen musical drama

Take That star to pen musical drama

Gary Barlow is set to write a freshly musical comedy drama go under in a fictional playacting arts school.
The Take That lead volition penitentiary songs for Britannia High, an eight-part musical theater drama which will air on ITV1 later this year.
Rigorously Come Saltation try Arlene Phillips volition too be part of the visualize and will choreograph the series.
The drama will be preceded by 2 behind the scenes documentaries which will show how Phillips and theatre producer David Ian pick out actors and actresses to go the stars of the show.
Viewing audience will too see how Barlow creates the musical comedy book of Numbers for the series and how Phillips teaches her routines.
Eight hour-long episodes will then accompany the progression of the group of pupils practising for a experience last.
Alice Paul Jesse Louis Jackson, ITV theatre director of entertainment, said the show's arrange was not "like anything else on British people telecasting and we're confident audiences are going to love it".
"ITV1 has lined up some of the biggest name calling in music and amusement to make Britannia High," he said.




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