English isaac Bashevis Singer Pete Doherty has revealed that he is still in love with Kate Moss. The Babyshambles frontman added that he was off drugs and hope for balancing with Moss. The emotional Doherty aforesaid that he knew the relationship was over simply was unable to accept it. He added that it was painful to talk most the past relationships as the older emotions riposte to haunt you.
Doherty has been notorious for his drugs related problems. He has even served a prison house sentence subsequently he breached the bail terms. Pete also disclosed about his administration for troubled singer Amy Winehouse and expressed his desire to work with her. Doherty claimed to consume written a letter to Amy's confined husband Blake Fielder Civil stating that he was not eyeing his wife.
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Tuesday, 9 September 2008
Sunday, 10 August 2008
Shiv Kumar Sharma
Artist: Shiv Kumar Sharma
Genre(s):
Reggae
Folk
Ethnic
Discography:
Ananda - Bliss
Year: 2002
Tracks: 4
Music of the Mountains
Year: 1993
Tracks: 10
The Glory of Strings
Year: 1991
Tracks: 3
Shivkumar Sharma is peerless of the genuinely capital visionaries in the Hindustani classical medicine heavens. His popularity has created a elusive problem for his admirers. Popularity has light-emitting diode to a demand for recordings by him, to a degree that having a Shivkumar Sharma album acts like a kind of validation for a label. Consequently the market is inundated with his recordings. His playacting is masterly, so he is improbable to bring out a piece of work out that is below equality, which makes selecting a short number regular more difficult.
Sharma's story is unrivalled of dedication. He was innate in January 1938 in Jammu Kashmir. His sire Uma Dutt Sharma asked him to pursue the developing of the Kashmiri santoor. Being a dutiful boy he obeyed and persevered disdain private reservations. Though its Persian congenator, the santur, had associations with Persian and Iranian classical music, elevating the Indian official document to the classical concert platform was widely viewed as madness in button-down living quarters. But Shivkumar Sharma persisted, experimented, restrung and reconfigured his official document. His first base major santoor recital took topographic point in Bombay in February 1955, only it took, he reckons, until the 1970s to at long last silence the whiny, "the diehard connoisseurs of the music, musicologists and purists." Parallel with his development of the santoor he worked as a tabla player (he accompanied acts as various as the famous Punjabi folksinger Surinder Kaur and sitar master Ravi Shankar), and his agreement of tabla playing and regular recurrence has immeasurably enhanced his performance style and stagecraft.
Wednesday, 2 July 2008
Mario Klemens
Artist: Mario Klemens
Genre(s):
Easy Listening
Discography:
Princess Mononoke: Symphonic Suite
Year: 2001
Tracks: 8
Tudo Azul
Monday, 23 June 2008
Monday, 16 June 2008
Paula Deen's restaurant reopens after fire
SAVANNAH, Ga. — A restaurant owned by well-known Southern chef Paula Deen reopened for lunch Monday following a late-night fire.
Savannah Fire and Emergency Services Capt. Matt Stanley said firefighters responded to a blaze about 11 p.m. Sunday at The Lady & Sons eatery. No injuries were reported.
He said the blaze apparently started in a laundry bag full of linens and rags.
Stanley said investigators believe the rags had oils in them that broke down and generated their own heat, causing a spontaneous combustion.
He said the fire generated heavy smoke, but firefighters were able to pull the bag from the restaurant and no water had to be used to douse the blaze.
Contacted by telephone Monday morning, Deen's publicist, Nancy Assuncao, said the restaurant had reopened and planned to serve lunch.
"I think if we get one round of fried chicken goin' in here you won't smell the smoke at all," one of Deen's son, Jamie Deen, told the Savannah Morning News after the fire.
He rushed to the restaurant along with his mother, her husband, Michael Groover, and his brother, Bobby Deen, soon after the fire broke out.
Firefighters at first refused to let Paula Deen, who was wearing a robe and slippers, beyond the yellow security tape. She went under the tape and was quickly returned behind it. She was allowed to go through the tape when a firefighter recognized her.
Deen, 61, opened her downtown restaurant in 1996 and watched her popularity grow after her TV show, "Paula's Home Cooking," debuted on the Food Network in 2002.
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Sunday, 8 June 2008
Mojinos
Artist: Mojinos
Genre(s):
Rock
Discography:
Las Margaritas Son Flores Del Campo
Year: 2001
Tracks: 15
En Un Cortijo Grande El Que Es Tonto Se Muere De Hambre
Year: 2000
Tracks: 15
Mojinos Escozios
Year:
Tracks: 15
Spanish Mojinos Escozios was formed by basketball team local musicians after participating in a music contest in Barcelona, devising their hot debut on December 1, 1994. The group's particular expressive style combines rock with lyrics based on humourous situations became known all over Spain soon subsequently. In May 1996, Mojinos Escozios made their debut album, achieving the top-selling status after issuing Demasiao Perro Pa Trabajá -- Demasiao Carvo Pal Rocanró, having the opportunity to play along with Napalm Death and Manowar during Barbarian Rock Festival. After sign language up to Dro East West, En Un Cortijo Grande El Que Es Tonto Se Muere De Hambre was released in 2000, followed by Las Margaritas Son Flores De Campo, produced by Esteban Coll in 2001.
Saturday, 7 June 2008
Anne Heche pays the price in divorce settlement
LOS ANGELES —
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Anne Heche's five-year marriage to Coleman Laffoon is officially over, but not without a pinch to her pocketbook.
A judge ruled that Heche must pay $275,000 to her ex-husband, along with monthly child-support payments of $3,700 for the care of their 6-year-old son, Homer, according to court documents released Friday.
Heche will also have to pay 75 percent of Homer's private-school tuition. The couple agreed to split the cost of any "agreed upon extracurricular activities" for their son.
Heche, 39, and Laffoon, 34, were married Sept. 1, 2001. He filed for divorce on Feb. 2, citing irreconcilable differences.
Heche starred in TV's "Men in Trees." She and Laffoon, a cameraman, met while working on a documentary about Ellen DeGeneres - with whom Heche was romantically linked for three years.
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Patrick Swayze - Swayze In Good Health At Lakers Game
PATRICK SWAYZE defied reports he's close to death by appearing happy and healthy at a Los Angeles Lakers play-off game on Friday night (23May08).
The Ghost star, who has been diagnosed with pancreatic cancer, joined celebrity basketball fans including Jack Nicholson, Tobey Maguire, David and Victoria Beckham, Eva Longoria Parker and Sylvester Stallone at the Staples Center in Los Angeles.
Cheering on the Lakers against the San Antonio Spurs, smiling Swayze was spotted in the crowd with his wife Lisa Niemi.
And his presence seemed to give the Lakers the life they needed - the team hammered the Spurs 101-71 to go up 2-0 in the Western Conference basketball final series.
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Oasis - Oasis Set To Receive Top Accolade At Silver Clef Awards
British rockers OASIS are to be honoured with a lifetime achievement award at the annual Silver Clef Awards in London next month (Jul08).
The Wonderwall stars will receive the award in recognition of their dedication to the music industry, and the success of their record sales.
The band will be honoured alongside seven other categories, including Record of the Year and Best International Artist, which will be revealed at the ceremony in July.
Last year (07), former The Jam singer/songwriter Paul Weller took home the lifetime achievement gong in celebration of his 30-year career.
Bryan Ferry and renowned tenor Andrea Bocelli were also among last year's (07) winners.
The band, including members Noel and Liam Gallagher, Gem Archer, Andy Bell and Zak Starkey, shot to fame in 1994 after the release of their hugely successful Definitely Maybe LP - putting them at the forefront the Britpop scene and prompting a return of guitar music in the global charts.
The band are set to release their seventh as-yet unnamed studio LP later this year (08).
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Tracey Edmonds And Diddy Not Dating
Tracey Edmonds, ex-wife of Kenneth 'Babyface' Edmonds and former flame of Eddie Murphy, has denied a British tabloid report that she is dating music and clothing mogul Sean 'Diddy' Combs.A British paper had claimed that Edmonds, 41, called Diddy "the man for me" and said that he was funnier then her ex, comedian Eddie Murphy. The report, which was widely picked up on the internet, quoted Edmonds as saying Diddy "whisked me off my feet". However, reps for Edmonds and Diddy both deny that the pair are romantically linked. "Tracey Edmonds never uttered the words quoted in the [tabloid]," her rep told People magazine. "The story is a complete fabrication.” Adds Diddy's rep, "Sean is very single. He and Tracy have known each other for over 10 years." Edmonds, who produced the 2001 movie 'Josie and the Pussycats', split from Murphy, 47, in January, just two weeks after they were married in Bora Bora.Photo courtesy of Bay Boy.
Ex Home and Away star eyes new movie
Former 'Home and Away' star Melissa George is in final negotiations to star in a new supernatural thriller called 'Triangle'.
The Hollywood Reporter says that the film will be directed by 'Severance' director Christopher Smith.
The film tells the story of passengers thrown into great danger on a yachting trip.
George's character is a woman with three personalities who relives the experience through each of them.
Shooting is set to begin in Australia in April.
George was most recently seen on Irish cinema screens in '30 Days of Night'. Read the review here.
The Hollywood Reporter says that the film will be directed by 'Severance' director Christopher Smith.
The film tells the story of passengers thrown into great danger on a yachting trip.
George's character is a woman with three personalities who relives the experience through each of them.
Shooting is set to begin in Australia in April.
George was most recently seen on Irish cinema screens in '30 Days of Night'. Read the review here.
How music saved Ice-T from a life of gangs and robbery
Introduction to crime
Ice T: When I got to high school, I started seeing people with things that were beyond their means. I saw guys in the 12th grade that got cars and you're looking at everybody asking yourself what was really going on. Then my boys started to sell weed. They would buy pounds of home-grown weed, then sell joints for a dollar. Then my other friend, his sister used to steal the lunch ticket roll from the school and sell the tickets. She was making a lot of money. She put us to work. She said, "You guys sell them and I'll give you half the money." I was like, "This little broad is running an organised crime ring."
When you get into that you start to hang around with people who take pride in beating the system. That's the scary part. Everyone around you says, "If you ain't a hustler then you're not cool." You believe stolen money is good, and working money is not.
My friends were doing little corny things like grabbing car stereos, selling fake jewellery. We'd go downtown to the jewellery mart and get the fake shit, and they'd put the "14K. Gold" sticker on it and we'd hustle that. Then we learned how to run cons with fake diamond rings at the bus station. You walk up on a guy and tell them you just bought this for your mother and now you're stuck out of town and can't get home. We'd tell them the ring was worth $800 and the guy would end up giving you $100 for a ring that was worth $10. The only people that get conned are greedy people. You never get conned if you're honest.
I was on a petty game and then I got my girlfriend pregnant coming out of 12th grade and I started to feel a little hint of responsibility. That's when I went into the military. When I came out my friends had elevated their game. Jewellery stores were the targets.
Playing a jewellery store is all about lifting jewellery without anyone knowing it. There used to be what we called a pop lock on jewellery cases. We inserted a modified nailfile called a trim that functioned as a lock pick. You'd turn 'em and the locks would pop out, opening the case. With teams of people and confusion we were able to throw the jewellery store off long enough for somebody to reach over and do the bust. It's not like a one-minute lick, you had to plan it. At the end of this game they're not even supposed to know their shit is gone. That was a victory for us. That was finesse. There was what was called "bashing", which is really just walking in with sledgehammers during the day and taking the jewellery store down. Another basic one is the snatch and grab. For that they have to put the jewellery in your hands. They bring it out, and you say, "Can I see this watch? Can I compare this one against that one?" Some fools will bring all that shit out.
I never been to prison. I never been caught. The getaway is more important than the crime. You have to figure out what you're going to do with the jewellery before you steal it. If you're getting something that's very expensive, pre-sell it. Drug dealers want it. Drug dealers' girls are the best - they want every fucking thing. They want minks, they want this, they want that. The guys selling the drugs, they've got illegal money, they can't really spend it in stores. A lot of casing goes on. I could be in Salt Lake City and find what we call "a lick" - a little store with an old lady that happens to have a lot of shit and no one around.
I saw a lick recently in Vegas. I looked right at it and I told my wife, "Yo, this could get got, really, really easily." I don't care what you've done, if crime was ever a part of your life, that part never leaves.
What happened with me was, everybody that I was rolling with started to go to jail. One of my friends was in the middle of a bank robbery and his friend got killed by the police. What happens is that eventually those small crimes aren't going to sustain the lifestyle you live. When you're young you sell a little weed here and there, you try to get some rims OK. Now, you move up to Benzs and Ferraris. You can't sell joints, you gotta sell pounds. The more the crime escalates the more violence escalates.
I was in as deep as I could get and my friends started to go under. I'll never forget, I went on this one lick in the Pacific Palisades with all these cats that I normally wouldn't fuck with. It was the most slapstick disastrous shit I ever been on. We got away, but I was like, "Yo, no. This is why I never fuck with these guys." It gets crazy. From an artistic perspective, those rappers and artists that got out of the life, have great experiences to share. I think people can be entertained with other people's pain. It's exciting and fun to listen to, but to live it is something totally different. Watching the mafia is an exciting thing, but to be in it and to live every day with the potential of somebody blowing your brains out is not as sexy as it sounds.
Nelson George: I remember getting caught shoplifting a comic book, trying to stuff it down my pants. I was so embarrassed, I really wasn't cut out for crime. I grew up in the projects of Brooklyn during the era when heroin first came in. I remember when we had junkies on the corner and how that changed the tenor of the neighbourhood. They would break the elevators and knock the lights out in the stairways. My mother used to go to night school; I couldn't sleep until she got home. She'd have to walk past the junkies by the subway station. She'd have to negotiate the elevator or the staircase and it was a nightmare.
We had a lot of gangs, the 70s gangs like the Jolly Stompers and the Savage Skulls. Once there was a gang kid on a little mini-bike and he fell down in front of my building. A bunch of the dudes hanging out in front laughed at him. He went home, came back and shot one of those kids. That was like a light bulb that told me the world was changing. My little crew of friends were all sports guys. We flipped baseball cards, collected comic books and played sports all the time. Then this stuff started happening. We used to have conversations about whether or not the gang would try and recruit us and what you would do if they did.
My most frightening adult memory of crime involves the police. It happened in DC where I was seeing this woman and we were walking out of her house at about 5 or 6pm. Six police cars pull up, cops with 9mms jump out, I'm grabbed, frisked and thrown in the back of a car. The girl's freaking out, I'm freaking out, and I'm handcuffed. There had been a robbery in the neighbourhood maybe a half-hour earlier. The guy had a black leather jacket on, I had a brown leather jacket on. The police grabbed me, drove me and another guy they'd snatched up to a line-up on the sidewalk. Three people were in the store. One of them looks at me and nods that I'm the guy. Now I'm fucking freaking out. But the two other people came out and said I wasn't the guy. Then they apologised and let me go. I was like: "Wow. Just one more bad ID and I'm in jail for the weekend."
It made me realise how easy it would be to get arrested. It just ruins your whole self-image: "Well, I'm a respectable dude, I'm an adult, I'm this, I'm that..." - no. In the old days, black kids got snatched up like that all the time. They still do in South Central and places like that. People think they are so disconnected from criminal activity and the criminal justice system. But you can always be just one or two bad IDs away from jail.
If you live in a neighbourhood that has a lot of crime, you may never actually be a victim of crime but the fear of it prevails. Seeing all these random bits of crime around you can drive you crazy. The same way we talk about what's going on in Afghanistan and Iraq with traumatic stress syndrome - a lot of these gang-bangers have the same thing. I was intimidated at a point earlier this year, because of my involvement in the American Gangster TV show. I wasn't threatened physically, but there was a guy who came looking for me with a bunch of others. For about a week it was really bad. I realised how physically I was affected by that fear. I had to meet with this dude, and I actually had to bring a dude with me and all that drama. I didn't sleep the night before, I didn't want to make love to my girlfriend. It worked out in the end, but the fear factor was high. What if this is your existence for months and years at a time? What does that do to you?
The mental health aspect of that fear is something that isn't explored enough. A TV show like The Wire taps into it in a really good way, the kind of fear that happens daily with every interaction. Some of Deadwood gets it. I dated this white woman from California and when she used to visit me in the city she was blissfully unaware of everything. I grew up in New York. I'm walking down the street at night, my head's on a swivel looking to see who's behind me. Things that were vaguely threatening would happen and she would never even know they occurred. It amazed me. When 9/11 happened, part of me said, "Well, now the rest of America knows how most black people have lived." The fear that something really bad could fucking happen to you at any time. Not to minimise the violence, but to say that fear and paranoia are a daily thing in most housing projects in America and have been for ever. There, it's also the fear of white authority. It's not like, "Oh, I'm scared today." It's like, "I can't keep my food down," or "I have a burning in my stomach," or "I can't make love to my husband or wife." That's all crime.
Hip-hop and violence
Ice-T: Thank God this music called hip-hop came along, and then rap. We were pimping, we were in the game, we had girls making money. Then rap came along and at that time I idolised Iceberg Slim, the style and flair of his conversation. I took my name from him. At some point I realised, "This dude is a writer. So, if I'm really idolising him I not only gotta live the game, I have to document it." That's when I started to rap. I didn't really feel I could be a writer, so this was a place where I could talk about "the life".
What makes my music different from pretty much anybody else's is that I always try to show both sides of the game. I tell you about the fun at the beginning but there's pain in the end. Anybody who tells you about crime and doesn't tell you that there's pain, they're full of shit and they've never been there. Half of my crew is locked up. They tell me what's going on, and I listen. Sometimes you learn from your mistakes, sometimes through the mistakes of others. I felt like I was running down this road, this hustling road, where I thought it was going to be roses and money and all that good shit at the end. I got to the end of the road and I seen there's a cliff, over the edge of the cliff fires are burning. Now I'm running back up yelling at people not to go down that road.
Nelson George: There is a really weird dynamic with hip-hop culture. On one hand there's a feeling that music is so powerful that these guys can create violence. They're engaged in a dialogue about it, obviously, but they don't create it by any means. On the other hand these guys are all great actors. Hip-hop music is about a creation of persona. When you talk about the whole violence thing, the truth is that no matter how criminal-minded you are, or whatever your life was before you started making records, that's maybe two albums' worth of stuff. If you were that big a criminal, and had done all the things that are on the records, you would never get signed because you'd be in jail.
If you have any success on your first album then your lifestyle changes so radically. Take 50 Cent, for example - it's kind of weird to hear him talk about shooting people or beating people up because he lives in a mansion in Connecticut. He's got horses and a stable. He just made $60m-$70m, he's a big businessman. So how credible is he as an MC talking about the streets? By this point it's all memory, or it's all other people's stories. It's a very complicated relationship, yet the world believes that rappers are what they say they are.
Al Pacino played two of the greatest gangster figures of the postwar period in Scarface and The Godfather: Tony Montana and Michael Corleone. Fuck all these rap records, nobody's more influential in the gangster mentality of this country than Tony Montana and Michael Corleone.
The basic perception of a lot of black people is that white people buy hip-hop to enjoy the violent tales of black people killing each other. It's really that simple. When you hear that 70% of all rap records are purchased by white kids in the suburbs, that makes people insanely mad. White people are enjoying this, especially young white people, and we're allowing them to say things like "nigger". They hear it on the record so they feel like they can use it as well. And then there's the question: what is this doing to black people? When you look at the numbers of people incarcerated, you look at the unemployment numbers, the dropout rate, you can see this downward spiral that has been happening since the 70s. Rap records have been a phenomenon of this period, so people want to blame it all on the music.
Take LA. The black population that rioted in Watts in 1965 worked at jobs. There were factories out in South Central, construction work, manual labour. A lot of people moved to California after the war because of all these jobs. That sustained places like South Central, Watts and Compton for years. As white people moved out, black people moved in. Since the 70s, the jobs went away, overseas and to Mexico. So the kinds of jobs that their grandfathers and fathers had just disappeared. The crime industry and gangs filled that vacuum. The gang problem in LA - and eventually around the country - was exacerbated by crack. Gangs got more guns, more weapons; the amount of money they could make increased. The stakes got higher and the violence grew.
Gangsta rap, as we know it, comes out of that context. If you go back to Criminal Minded by BDP - which was really the first crack album - the crack economy, and the mentality fostered by it, was articulated and taken to the next level on record. You can make a good argument that the first few NWA albums are "ghetto reporting". Rappers say the 1992 riots validated them, and I agree. It validated everything they said about the conditions, and the fear and interplay between the LAPD and the black community.
There are tangible economic conditions that created the world we live in today. The three strikes thing made incarceration easier. It put a lot of people in jail quickly, but when they got out it created a deeper criminal class. Housing juveniles in jail with adults happened frequently. The music is all about these things. For people to act like the music exists in a vacuum is bullshit.
Hip-hop continued to evolve up until the 90s. There were always counter-movements - the political stuff, the bohemian De La Soul thing - and all those threads are still around. But the gangster thing became the easily marketable formula. Especially after Tupac and Biggie died. There are nuances in what Jay-Z does and what 50 Cent does that are different from Tupac and Biggie, but it's a formula these guys profit from that is easily understandable by the corporations that now run the music. Somebody told me the other day that 70% of the rap market is controlled by one entity, Universal Records.
There's a group thing that happens in any corporation that's selling culture. Hollywood does the same movies over and over again. Hip-hop is the same. The videos really reflect that. There are very few countervailing images in the videos in terms of what sexuality is, what success is, what gender roles are, and what materialism is. So what once could legitimately be called ghetto reporting - Chuck D called it the black CNN - is pale and tired 15 years after the 1992 riots. That's why sales are down. A lot of these same white kids that everyone was so upset about are moving away from hip-hop in big numbers. They're not buying those records because they're not raw; it's almost like NWA and PE were rock'n'roll figures, rebel figures. Jay-Z and 50 Cent present themselves as businessmen and always have.
It's become corporate hip-hop in the way that we used to make fun of corporate rock in the 80s. One of the reasons hip-hop rose was because it was very masculine in the era of Michael Jackson, Prince, Luther Vandross, Freddie Jackson. The LL Cool Js of the world provided the answer to a craving for masculinity. Now these guys are so slick and cleaned up and smoothed out; they claim to still be street but they're not. It was interesting when Jay-Z's new album came out last year, the audience was like: "You're old and you're rich." The audience that buys those records wasn't interested in a middle-aged guy being rich in hip-hop. Puffy's album didn't do that well and he's wearing a suit on his album cover. The self-satisfaction and glorification of materialism has reached a point that there's a great exhaustion. As always with any cultural movement, the success often predicates the decline.
Video games
Ice-T: I love them. The best one is Grand Theft Auto, which is just fucking mayhem. I'm in the Scarface game, which teaches you how to sell drugs, and I was in Grand Theft Auto: San Andreas. I played a cracked-out rap star who had his lyrics stolen and the person that stole them became a star. So I went on crack and by the end of the game I get my reputation and my mansion back. You start off as a kid in South Central LA, you build up your rep and then you get a gang. It's definitely some crazy shit.
The Vice City games are the worst shit ever - in a good way. It's so intentionally wrong that you've got to get into it. You go, "Oh my God, if I'm out of money I just rob a liquor store." Inside this world, all the things that you think about, you can do. Does that make you want to do it in real life? No. To me it diffuses it. People say video games make kids violent. I don't think so. It can be an outlet for that aggression. It's a masculine thing. Human beings have some weird blood lust, it roots back to us being animals. It's ill, though.
Nelson George: Video games are more important than hip-hop. There's no doubt about it. The violence and nihilism that everyone thinks is in hip-hop is pumped up about 18 times in video games. That's really what's driving young male culture, that's really the new rock'n'roll. The funny thing about this debate is so many hip-hop critics are fixated on rap and not talking enough about video games, which aren't a racially determinant form. Obviously those Grand Theft Auto guys were very canny because they tied in to Scarface, they tied in to hip-hop. I mean, Def Jam has a line of video games. Hip-hop became subsumed into the games.
But the games are different - they're not folk statements. Hip-hop was a folk music up until the late 80s; I mean, it was music made by people for people. Even Run-DMC, you know, three million records was big for rap but it wasn't big on an international level at the time. There were little labels pushing it. In the 90s bigger companies started getting in there and it began to change. I would say Interscope and what they did with Snoop, Tupac and Dr Dre really took it to a new level. With video games the relationship to the culture is different, they're much more like movies. They're a really interesting hybrid. The Grand Theft Auto dudes were all about figuring out how to tap into urban culture. Video games, like movies, take in so many disciplines. At the same time, it's not a folk expression - at least, the way I understand it - of an individual.
· This is an edited extract from Crime, by Alix Lambert, published by Fuel later this month, priced £22.95.
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Monkey Alex for Mojo triumph
HE'S barely out of his teens, but ARCTIC MONKEYS frontman ALEX TURNER is
leading the nominations at Britain's Mojo Awards.
The Sheffield lad is hoping to win prizes in four categories with his original
band and side project THE LAST SHADOW PUPPETS.
The chart-topping quartet - who shot to fame with I Bet You Look Good On The
Dancefloor in 2005 - are up for Best Album with Favourite Worst Nightmare
and Best Live Act.
Alex's side project, which he fronts with THE RASCALS singer MILES
KANE, will fight it out for Best Song with The Age Of The Understatement
and for Best Breakthrough Act.
Welsh songbird DUFFY will battle both acts, with debut record Rockferry
competing with the Monkeys for Best Album and track Mercy competing for Best
Song with The Last Shadow Puppets.
Legendary rockers LED ZEPPELIN also received a nod in the Best Live Act
category after they reformed for a comeback concert in December last year.
The awards will be announced at a ceremony in London on June 16.
leading the nominations at Britain's Mojo Awards.
The Sheffield lad is hoping to win prizes in four categories with his original
band and side project THE LAST SHADOW PUPPETS.
The chart-topping quartet - who shot to fame with I Bet You Look Good On The
Dancefloor in 2005 - are up for Best Album with Favourite Worst Nightmare
and Best Live Act.
Alex's side project, which he fronts with THE RASCALS singer MILES
KANE, will fight it out for Best Song with The Age Of The Understatement
and for Best Breakthrough Act.
Welsh songbird DUFFY will battle both acts, with debut record Rockferry
competing with the Monkeys for Best Album and track Mercy competing for Best
Song with The Last Shadow Puppets.
Legendary rockers LED ZEPPELIN also received a nod in the Best Live Act
category after they reformed for a comeback concert in December last year.
The awards will be announced at a ceremony in London on June 16.
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