![]() Tulisa: “It was going to be my next single after ‘ Young’, until it was taken so it is what it is. He got me!”Ģ: Tulisa co-wrote and recorded the original version of Britney Spears’ 2012 global chart-topper ‘Scream & Shout’. Simon’s lovely really, but I remember he did pick on me that one time. It was one of the most-viewed Buzzcocks ever, until my next appearance when I entered descending from the ceiling. Tulisa: “Well, he liked the viewers you brought to the show!”ĭappy: “Definitely. I genuinely don’t think he liked me and he wanted to make me look stupid…” Close enough! You lavished praise on a fellow guest you assumed was Catatonia’s Cerys Matthews (responsible for the 1998 cut ‘ Road Rage’), only to discover that she was Martha Wainwright.ĭappy: “Ah, Cerys! Yeah, it wasn’t her! Why did she look like Terrence Matthews then? What do you want me to say to her? Don’t look like Terrence! She could have at least changed her hairstyle to help me! Listen, that Simon Amstell dweeb was a proper nasty person towards me on that. 1: In 2009, which indie singer did Dappy confuse Martha Wainwright with on Never Mind the Buzzcocks ?ĭappy: “I can’t remember her name, but she sang the song ‘Road Rage’.”ĬORRECT-ISH. You need to answer all questions correctly for a full point. Tulisa: “They’d have to pay me a lot of money – to make it worth disturbing my peace! ”ġ0 Time for a quickfire individual members’ round. At this moment, I’d find that hard to imagine.”įazer: “Unless they give you a fat pay cheque!” Anything that disturbs me is not something I’m going to involve myself in or do, so I can’t see how something like that would fit in with my peace right now and being my authentic self. And especially doing it with N-Dubz, which feels like my comfort zone. It’s a time of my life that was incredible and amazing, but I also had a lot of drama during that period and I’m very much enjoying this peaceful time of my life just making music – which is what I do best. It’s not something I could think about at this moment. Would you be up for returning as a judge? Rumours keep abounding that The X-Factor could be coming back. Even though they’re all grown up now, a part of me still sees them as the babies I once knew in their little dicky bows and glasses.” I know they’re not working together at the moment, but when I saw them become the first girl group to win the BRIT Award for British Group in 2021, I became teary-eyed. Tulisa: “Whenever I see Little Mix, I always get a little bit emotional – especially during big moments. 2011 was Little Mix, Nu Vibe, The Risk and 2 Shoes.” Due to PTSD reasons! I’m half-joking with you. Tulisa: “I’ve got a mental blackout for everything before 2013. Drawing on the example of dub-plate culture in certain music scenes, whereby limited pressings of tracks are cut on acetate or vinyl and circulated informally-a practise that has recently enjoyed a resurgence as a reaction to digitisation-I propose the revival of a old practise: private circulation.9 Tulisa: name the final four groups you mentored on the 2011 series of The X-Factor. The latter is essentially commodity fetishism, better suited to established classics than to new work. The former is ideal for scholarly work, but tends to devalue literature, as its de-commodification sacrifices the principle of scarcity: it is as if the book is still on the market with a price of zero, a marker of worthlessness. ![]() ![]() Attempts to escape this race to the bottom have mostly followed one of two alternative strategies: open access (free and digital) and the book as artefact (expensive and physical). This informal pact is threatened by economic rationalisation, under pressure from deep discounting imposed by aggressive retailers and the devaluation concomitant with digitisation. ![]() Publishers who care about literature as an end in itself are tacking into the wind, attempting to nurture aesthetic value using methods designed to generate monetary value. Date: 13-14 November 2014 Tag(s): libraries, dubplates, sound system culture, Experimental publishing, Publishing Permanent URL: Abstract: The trajectories of the commercial imperative and of cultural production are at best orthogonal. Title: Independent Publishing Conference Conf. Author(s): Joshua Mostafa (see profile) Date: 2017 Subject(s): Publishers and publishing, Arts-Experimental methods Item Type: Conference paper Conf.
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