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How did you get back stage? Is it to do with work?
Yeah Sonia noticeably barely sang much of the choruses. I don't really remember too much of the second half as I was rather drunk, but the Nanas were definitely the highlight. Steps were alright but I'd already seen them live three times in 2012 so wasn't that fussed. I BARELY remember Kylie and Jason, after six pints of beer and meeting OUR SIN! Talking of which, here is the photo of us!
NB I am VERY drunk in this photo...
Last edited by Kalabaliken; 25-12-2012 at 01:49 PM.
How did you get back stage? Is it to do with work?
Top up, Sue?
I'm absolutely living for Lonnie's GIRDLE in that video
"The few who understand me and learn from me will be wise beyond belief" - Lauren Harries
It wasn't backstage, it was at the bar bit to the right side at the back. I went to the loo with my friend then we went to get a drink and we saw Sin standing at the doors! I think it was during Jason as she said she had to get back stage soon for the last number.Originally Posted by Eileen
Oh yes! I forgot.
Top up, Sue?
I mumbled something about how she was the STAR of the show (well to me she was!) and that she looked fabulous bla bla bla. She seemed lovely and chatted to us for about 2-3 minutes before dashing off. I got a few dirty looks from other gays nearby. WEL JEL.
What did she SMELL of? Did you inhale her feminine essence?
DAX WAX
Top up, Sue?
Something juicy for NYE. Mike Stock is pissed, UTTERLY pissed about 21st. His recent status updates on FB:
You can imagine how I feel having to answer tweets, Facebook questions and email to various addresses of mine, about why Matt Aitken and I were not at the Hit Factory show at the O2 on Friday. I felt quite bad because, firstly, the situation was beyond our control or influence. Secondly, I did not wish our supporters to feel we let them down, and thirdly I did not want to say anything before the event so as not to appear too negative towards it.
You will see in press releases back in the late eighties, or in magazines and articles that Stock Aitken Waterman were known as The Hit Factory. PWL as a label at the time was quite irrelevant to our success. In fact only Kylie and Jason from 1988 onwards had hits on it. Nearly everyone else on the bill at the O2 was on another label at the time and SAW had hit after hit with these stars on other labels starting some four years earlier. That is the reason why we became thought of as the Hit Factory.
I believe Pete Waterman's deliberate move to exclude Matt and me was very small of him. It's disappointing to everyone that we were not able to unite under one banner again. I told Pete this back at the time after the Hyde Park gig was announced. There had been no conversation or reference to Matt and me whatsoever. It was all sprung on us with no contact or courtesy. Typically Pete blamed others for this. Then lamely tried to explain that the reason for calling it PWL The hit factory was that some of the acts appearing were not produced by SAW. True. But the majority of the acts WERE and most were NOT on PWL. If there was any honesty it would have been quite simple really. "Stock Aitken Waterman, The Hit Factory." That's one banner everyone can understand. For a person who likes to keep things simple, Pete deliberately blurred the edges for the sake of his own ego. For all the fans and artists he has taken the sheen off a unique collaboration which in promoting such a show needed only to be approached with integrity. The sad thing is he can't see it.I am fairly overwhelmed by the messages of support about the Hit Factory show on Friday last and the fact that neither Matt Aitken nor I was present.
Newspaper reports such as The Mail and the Express carried coverage of the event. Interestingly none mention PWL or Pete Waterman himself. It has mainly been referred to as a SAW or 80s reunion. That's how the world sees it. But not PW.
I'm horrified to see on page 31 of the Daily Mail Pete's account of the production of You Spin Me Round, by Dead Or Alive where he talks about his cocaine use. In the next sentence my name is mentioned and I really want it to be absolutely clear that taking illicit drugs was not part of my life at all, whether professional or private. I do not like the association as implied in these remarks. I do not also agree with some comment made by a 'spokesman' that PW has acquired some 'cred' by this admission. In fact quite the opposite for me.
In future Pete's recollection of exactly what went on in the making of those Dead Or Alive records or any others for that matter,should be seen in the Light of this admission and rather explains a lot to me. Naive we must have been. But he kept this drugs usage covert and For my part, at least, I never knew about it.
Finally in the making of virtually all the records Pete hardly set foot in the studio. We would not see him, sometimes for weeks on end. All musical and lyrical and production ideas were carried out by Matt and me. There were but a very small number of moments when Pete had any input. But he was unable to actually contribute anything of a musical, or creative, or technical nature that I recall or witnessed.
Matt and I were prepared to be equal partners in a collaboration which understood the dynamic of a 'music business' relationship. To some extent this has required that we do not mention some difficult realities. Some inequalities or some other factors to which a blind eye was turned. Particularly those which would tend to weaken that partnership. We accepted we were in a team. Matt and I stuck by that with integrity. What happened last Friday has destroyed any remaining vestige of that relationship and there now seems little point in keeping a dignified silence.Just a note to all before we hit the new year. In case anyone feels I'm being too negative or AR about the whole PWL/SAW/Hit factory thing. I'm not! I am quite happy in my world and very busy on a range of new musical endeavours. History, however, must not be rewritten for the sake of one person's ego.
Having worked very hard to establish his credentials and provenance,PW is now out of control. Until recently we had agreed to either remain silent or show a united front on all matters SAW. Some dedicated and long term supporters know the truth anyway. But a whole new group of probably younger people are receiving a lop-sided version of events. I cite as an example the post on the front page of the PWE web site which explains that PW was awarded an OBE to honour his work as a composer. Now I don't mind if they want to say 'services to music' or charity work etc but composer? I feel therefore that I have no choice but to make it clear to any new generation what the truth is. The Hit Factory was Stock Aitken Waterman. The studio was the Vineyard, and the label was just about every label major or minor that there was operating at the time. Matt and I wrote the songs, made the records and Pete helped to promote and sell the product. Not good enough for Pete to be one third of the most successful pop team in music history, he now attempts to side line everyone else who was there, and to take credit for creative things he has no right to. He would look an awful lot bigger and better if he remembered this and acted in accordance. The honours system has been blackened by recent events. Some Knighthoods and other honours are looking dubious. PW should start to behave in a way which will not call in to question his various honorary awards. OBE for being a composer is the first thing he should correct. He campaigned very hard for his awards. He now needs to work just as hard to clean up his act.
Euphoric - and proud supporter of Tooji-ism
Living the life of POP - 24/7!
The concert is on Smooth FM as we speak, by the way...
It's been too long, it's been too long...
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