2012 was definitely the year of the balladeer, with Adele and Ed Sheeran winning two gongs each. Topping off an amazing year which saw her pick up no less than six Grammys last week, Adele walked away with Best British Female Artist and the much-coveted British Album Of The Year award. Sheeran, who rather unfathomably performed in a tatty-looking green t-shirt yet wore a sharp suit for his acceptance speeches, won Best British Male Artist and Best British Breakthrough Act.  Whatever your personal opinion of the two erstwhile singers, they have both undeniably had a massively successful twelve months and their performances were exceedingly well received in the hall.

Coldplay are no strangers to the BRIT Awards and this year, they had the honour of opening the show before scooping the accolade of Best British Group. There was a slight ‘WTF’ moment when One Direction picked up the award for Best British Single for ‘What Makes You Beautiful’, beating the likes of Adele’s ‘Someone Like You’ and Jessie J’s ‘Price Tag’. Jessie J herself had a rather sedate evening. Despite having had a stonker of a year, she failed to win a single award and didn’t even perform. Critics’ Choice Award winner Emeli Sandé was equally conspicuous by her absence. Previous BRIT favourite, Florence + The Machine, also went home empty-handed despite giving arguably one of the strongest live performances of the evening.

Best International Breakthrough Act was Lana Del Rey, who appeared incredibly emotional and fragile while giving her acceptance speech. Other international awards went to Bruno Mars (Best Male Artist), Rihanna (Best Female Artist) and Foo Fighters (Best Group).

The BRIT Awards have become notorious for a distinct air of ‘devil may care’. This year was no exception. After grandstanding the British Album Of The Year category more than any other year, eventual winner, Adele, was literally left dumbfounded when host James Corden appeared on stage during her acceptance speech and told her he had to cut her short. This was particularly unfortunate given that Adele was midway through declaring her pride in being British and her gratitude to her homegrown fans. The Londoner reacted with characteristic earthiness by giving the finger to what she described as ‘the suits at the BRIT awards’. This highly unfortunate interruption to what should have been the peak of the evening was symbolic of a general sense of chaos which often pervades the awards. The BRIT Awards is sometimes criticised for croneyism through its apparent enthusiasm for favouring alumni of the BRIT School. Adele, a graduate of the school herself, demonstrated in her own inimitable way that loyalty to your alma mater should not be taken for granted. We love her for it.

But supporters of equal marriage are already fighting back and an opposing site has been launched for those who agree with changing the law. The Coalition for Marriage Equality has already attracted several hundred signatures but has quite a way to go to catch up on the lead gained by Carey and friends.

Head over to www.c4em.org.uk to add your name to the supporters list, and send out a tweet with #c4em to spread the word.

We already know that this will be the last series to feature current companions  Amy Pond and Rory Williams (Karen Gillan and Arthur Darvill), so what do the creators have in mind for their final voyage with the Doctor?

Last week, the BBC confirmed that Being Human creator Toby Whithouse and Torchwood regular Chris Chibnall would be writing episodes for the new series, so it is safe to say that we can expect stories full of suspense, horror and humour throughout Rory and Amy’s last series.

Matt Smith, who returns for his third series as the Eleventh Doctor, has said that it’s ‘thrilling and exciting to be back and working with two of my closest friends.’ Karen Gillan, meanwhile, who recently wowed critics with her performance as Jean Shrimpton in last month’s BBC Four drama We’ll Take Manhattan, has said, ‘it’s just brilliant to be back in the TARDIS with Matt and Arthur for our craziest adventures yet.’

Guest stars already confirmed for series include Harry Potter stars Mark Williams and David Bradley and Sherlock’s Rupert Graves.

The series is also set to take a dramatic turn when the Doctor meets a new friend and we are being warned to expect thrills, adventures and dramatic surprises as the show builds towards its enormous, climactic 50th anniversary year. The series will consist of ‘fourteen big, blockbuster-movie episodes’, although it’s not clear whether these will be blockbuster in style or in length (we hope the latter!) We can also expect some new monsters and familiar foes as we’ve never seen them before.

In the end, of course, there’ll be just one question left to answer: what will the Doctor do after his heartbreaking departure from Amy and Rory?

Positive East provides vital services to the individuals, families and communities of East London who have been affected by HIV. With over 36,000 people in London diagnosed with HIV (with an additional 9,000 estimated to be unaware of their positive status), a Health Protection Agency study has revealed that there are 5,600 people accessing HIV related care in East London alone.

The charity, which offers a unique holistic provision of welfare, housing, asylum and counselling support to HIV sufferers, is now working with over 40% of these East Londoners to ensure that their lives are as fulfilling as possible.

In support of the charity’s great work, LGMC has teamed up with Champagne Charlie to put on a one-off show called Positive Sounds. The show will include LGMC’s usual mix of musical excellent, warmth, humour and style as they tell stories of love through the ups and downs of every relationship. Alisdair Low, LGMC’s chairman, said: “We are delighted to be performing in support of Positive East. Our missions align perfectly; we both challenge social preconceptions and contribute to an enriched society.”.

100% of Positive East’s service users who participated in their 2009 survey felt that the charity had helped them to improve their ability to live well with HIV. A successful show on 4 March will ensure sufficient funds are raised so the charity can test 200 people, and follow this up with appropriate support to stay safe.

Tickets are available online here or via telephone on 0207 791 9353. 

If you are unfamiliar with the fraternity and sorority systems at American colleges, you will not know that they are essentially boarding houses for college (university-age) students that incorporate ritual, tradition, charity and brother/sisterhood for its members. You will also be unaware of the level of apparent homophobia present in these houses, in a similar way that homosexuality is discussed in the FA over here – it is simply ignored. Therefore, to see a programme where homosexual characters are not only accepted in these situations, but encouraged and treated like any other, is a rare find.

Greek’s premise was originally to showcase the secretive worlds of fraternities and sororities in a way that hadn’t been approached before, highlighting the flaws in the system by using characters that expose its weaknesses. As it is a show about over-compensating masculinity, you can guess at the obvious choices for stereotyped characters – the geek, the Christian, the party boy, the posh boy, and the gay. All of these characters are dealt with honestly, and so it was with great relief that we discover that the gay character, Calvin Owens, was to be treated as just one of the guys. There is a lovely storyline about his love life and copulation with a member of another house, and the obvious ‘How do I come out?’ plot that we all expect, but generally the writers treat him the same as the rest of the characters in the show – there is nothing remarkable about him being gay, just slightly different.

Paul James, photo by Leslye Reaves

This point is also made quite clear by the fact that the actor playing Calvin, Paul James, is black. In terms of racial media representation, non-Caucasian characters have moved from not being allowed, to begrudgingly accepted, to tokenism and finally to general acceptance, and this is the final stage of what appears to be the same process for homosexual characters.

Generally, the programme was a strong effort. The only reason it was ditched by its production company was that it wasn’t drawing in the viewers, but the sensitive way the writers of Greek dealt with its homosexual characters makes it stand out to the point where the show was nominated  for various awards by GLAAD.

When watching the show, we felt it ironic that Greek was panned by many critics for being unrealistic, as in terms of LGBT interest in the show, we found it wholly realistic and representative, and we are sad it is now over.

Although Greek is no longer in production, you can find the DVDs for sale online, and it is also shown on E4 during the day.

Vocally, the track is great, and his understated talents manage to communicate the themes of frustration and deep melancholy that are present in the lyrics. The combination makes for an intriguing shift in Young’s repertoire and helps to ingratiate him with the ‘working stiffs’ of the world who can feel the same frustration that they are not really living but rather drifting through life on autopilot.

The video accompanying the vocals also makes for a surprising change from the 33 year old’s known repertoire. The sense of depression and frustration are still present and compliment the lyrics extremely well and the choreographed visuals help the themes reach a whole new level.

That said, the track is not perfect. The understatement of the vocals and imagery, though going well with the overall theme, can sadly leave the listener feeling more than a little depressed and yearning for something more uplifting. Though it’s far from bad, it’s certainly not outstanding.

In short, a well made solid track, but one which will leave you with a bad case of the ‘Mondays’ every day of the week.

These are the questions asked of older lesbian, gay, bisexual and transgender people (LGBT) in a film being screened on February 27, at The Hive,  Shrewsbury.

The documentary, Gen Silent, is being screened as part of LGBT History Month 2012 by Shropshire Rainbow Film Festival in partnership with AgeUK Shropshire Telford and Wrekin.

Two screenings are planned, at 2.30pm and 8.00pm. There will be a Question and Answer (Q&A) session, with a distinguished panel, following the afternoon showing.  The panel are:  Heather Osborne – CEO Age UK, Shropshire, Telford and Wrekin; Debbie Price – Chair, Shropshire Partners in Care; Stephen Chandler – Head of Adult Care and Support, Shropshire Council; Karen Kalinowski, Head of Care and Support, Telford and Wrekin Council; Anthony Smith, Opening Doors LGBT Project, AgeUK.

Free entrance to the afternoon screening is being offered to those who work/are training in Care/HealthcareCare/Healthcare services. All other tickets are £5.00. Everyone is welcome.

Gen Silent is the new LGBT documentary from award-winning Director, Stu Maddux and askes six LGBT seniors if they will hide their lives to survive.

Their surprising decisions are captured through intimate access to their day-to-day lives over the course of a year in Boston, Massachusetts.

As we journey through the challenges they face, we also see reasons for hope as each crosses paths with a small, but growing, group of professionals trying to wake up to the long term care and healthcare services to their situation. Many of them also talk of a life lived prior to changes to the law, societal attitudes and gay liberation.

‘We are pleased to be working again with AgeUK, screening such a poignant, relevant film. We can all learn from the issues raised and be moved by the courage shown by those involved’, said Geoff Hardy, Rainbow Film Festival volunteer organiser.

Heather Osborne, Chief Executive of Age UK Shropshire Telford & Wrekin said ‘over the last few years we have worked with the Rainbow Film Festival and we were delighted to be invited to be part of the UK premier showing of the film Gen Silent. The issues raised in the film throw up many questions about what is life like for older LGBT people in our care and health system. Would they have the same experience as their counterparts in America? Are there people who do not approach agencies and organisations like ours for fear they will be discriminated against? How can we make sure that services are welcoming and inclusive to make sure that this is not the case. I look forward to the debate that I’m sure the film will bring about.’

Tickets for the 2.30pm screening/Q&A, contact: 01743 249888 or email info@rainbowfilmfestival.org.uk for details.

For the 8.00pm screening, contact The Hive: 01743 234970.

Through my university paper I had managed to secure a couple of tickets to a gig of a quasi-cool band, circa 2003. I decided this was perfect First Date territory, and invited this one guy I had been talking to for a few weeks to join me. He was totally keen.

On the night he was waiting for me on a bench with a notebook, looking like Ryan Phillippe in Cruel Intentions. Suddenly, I was transformed. I was Reese Witherspoon.

The gig was amazing. We stood near the front, he – being taller – standing behind me, letting me lean against him as we danced and sang along to a set we both knew inside out. We even introduced ourselves as ‘boyfriends’ to one Superfan (with pink hair) who took a particular shine to us.

In the end we had to leave the gig early so that he could get the last bus home. In those days, the bus station of my university town was a run down shack. By 11:40pm, it was deserted. As we stood waiting for his bus, he dragged me around a corner, pulled me close and kissed me.

It was long, lingering kiss that meant something. It was a thank-you-for-a-good-night kiss. It was a see-you-soon kiss.

I don’t know if he knew he was my first kiss. I have no idea if I was his. I won’t tell you how many more kisses might have followed, or if we ever made it to that ‘boyfriend’ status we had alluded to on that first night. Needless to say, however, that kiss was awesome.

We have all sat there on a night off where we cannot be bothered going out and uttered “No likey, no lighty”, or “Surprise, surprise”, at some point. Sometimes it’s like watching animals in a zoo – it’s just funny. So when I agreed to go on one, I was, to say the least, cynical to the point of oozing hostility.

After being shuttled from London to the middle of nowhere (it doesn’t exist according to Google maps – a fact that scared me no end), we were forced to wait around to queue, wait around to register, wait around to get our information, wait around to get food, and wait around to get to the actual show. Having completed an online questionnaire come personality profile test, blitzed out of my mind on white wine, I was fairly sure that I was not going to get anywhere, so had resigned myself to playful sniping with the only other gay guy I had run into during the waiting process. Then I was called up and forced on stage to meet the person that was my “perfect match”, a cute guy who seemed to have far too much in common with me to be normal, who also happened to live forty minutes away by car, at best. Bollocks.

That’s what they don’t tell you on these things – it is all very well and good setting up a couple who managed to find a way of ticking the same boxes in a list of questions asking you to discuss what words better describe themselves (seriously, if I wasn’t drunk at the time of completion, I would have died of boredom), but the logistics of dating someone who lives in another county are laughable.

There’s also the other thing – getting on stage with another male who is your apparent “perfect match” is essentially outing yourself as a homosexual on TV, in front of an audience of a few hundred strong, where the majority are heterosexual. Eep. Saying that, the response when I was waved on by the stage manager (who I really should apologise to for being so twitchy and nervous), was the most positive I have had since my last public outing – bigger cheers than the average straight couples. The guys screamed the girls screamed, and it was all rather lovely without a hint of someone taking the mickey, being sarcastic or generally being out of order. I realise most straight people don’t have a problem with us gays, but never have I had such an authentic response from an audience.

I entered this endeavour ready to tell horror stories of how we were herded like cattle (which we were), where no one got what they wanted (one guy left out of frustration of having to wait to be part of the 901^st couple to be matched), and where the only people involved were just desperate to be on the telly (this happened a lot – me and the boy in question traded stories from the boys and girls sides respectively), but my personal experience was nothing like the sceptical versions we tell ourselves as an audience member: I found someone I genuinely liked, who seemed to like me back, and who I could actually see as a potential partner. Bollocks.

Is this what happens in the end? Who knows…

Featured image used with permission from glassghost

Rating: ***

The third episode of the series sees a return visit from the exposition fairy to the great state of Louisiana, Picking up where we left off in the last episode, a very confused (and attractive) half naked swedish vampire is on the side of the road, with no memory of who he is. This sets the tone for the rest of the episode which manages to fit in several role reversals into the existing cast which made for pretty entertaining viewing. But this came across feeling little bit like ‘more of the same’ and the storyline continues to move along at a rather turgid pace.

Back in Bon Temps, Eric has been bewitched and finds himself with no memory of himself, Sookie, or anyone else. This made for strangely compelling viewing as Alexander Skaarsgard realises a new childlike and innocent version of the character that was oddly charming and addictive to watch. It was in an unexpected scene where he is having his dirt encrusted feet washed by Sookie that he suddenly smiles and says it tickled, that left me having to remind myself this was the same threatening character that dominated the first three seasons. It was the dialogue between Sookie and Eric which made this episode which sparked with a new kind of chemistry that makes the amnesia story all the more intriguing.

In other parts of the state the other characters continued to go about their business. Jessica confessed to Hoyt that she fed on another man, and promptly glamoured him to forget it when he reacted badly to it. Bill carried out his duties as the new King of Louisiana but does it with a stylish beurocracy that seems to have been heavily inspired by the 80’s, even down to the overdecorated office. Jason finds himself drugged with viagra, with a whole line of slightly inbred hillbilly women who want him to father a whole new line of werepanthers. The sad fact though is that none of these little segments go much of the way toward pushing the story along, leaving the viewer begging for something interesting to happen.

The main story arc with the coven of witches seems largely overlooked the week beyong 2 scenes with Marnie dealing with the fallout of her spell. It is revealed through her dialogue that she herself is not a powerful witch, but seems to be channelling the spirit of another powerful being to fuel her strength. This small scene does help to take the desperation of the character to a whole new level as she barters with the spirits on the ‘other side’ to find a sense of purpose in her own life. The only major worry here is that the coven’s story is still largely unexplored and now 3 episodes in, I am itching to know more.

The final concluding scene sees the return of Claudine, Sookie’s Fairy Godmother, in a shocking final confrontation. This final act led to some of the funniest lines ever heard in the show, but seemed to come too little too late to save this episode from being anything more than average.

We’re hoping to see improvement in next weeks instalment, or at least more of Eric Northman’s abs to make up for the lack of story development…