Take That Progress Track-By-Track - Affirmation

Take That Progress Track-By-Track - What Do You Want From Me

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It's Take That and panty at the hotel

TAKE THAT have had worse years.

Their album Progress has shifted nearly 2million copies and their tour is sold out.

The lads and their families are now swanning about in Barbados preparing for their special New Year's Eve gig - an unpaid favour for a friend.

GARY BARLOW, JASON ORANGE and MARK OWEN were all smiles on their hotel balcony, especially Mark after his wife EMMA flashed her undercrackers at him.

HOWARD DONALD was mucking about in the sea with missus KATIE HALIL.

ROBBIE WILLIAMS can't make the gig due to family commitments but I'm sure Mark will find somebody else to play in the pool with.

Fuente: The Sun

Take That Progress Track-By-Track - Happy Now

Fotos de Mark, Gary y Jason en Barbados

Fotos tomadas de: Mark Owen Daily Photo Gallery

Más fotos en la playa de Mark: clic aquí

Más fotos de Howard en la playa: clic aquí

Take That Progress Track-By-Track - Pretty Things

Take That Progress Track-By-Track - Kidz

Progress #1 en Navidad

Progress se mantiene en el nº 1 de las listas británicas por 6ª semana consecutiva convirtiéndose en el nº 1 de estas Navidades. ¡Enhorabuena!

Take That Progress Track-By-Track - Wait

Take That Progress Track-By-Track - SOS

Take That Progress Track-By-Track - The Flood

Mark Owen and wife Emma back on track for good

After what was surely an annus horribilus for Take That star Mark Owen and his wife Emma, the pair's marriage which was rocked by affair revelations looks to be firmly back on track.

Owen, 38, admitted to 'maybe 10 affairs' behind the back of wife Emma, 33, during their five-year relationship, after checking into rehab to fight his addiction to alcohol.

But now it seems all that is a distant memory as the star was all smiles with wife Emma as they left a restaurant in South West London.

He has since promised actress Emma, 33, a fresh start and friends say they’re working through their troubles.

A source told The Mirror: 'Things are looking up for them, which is great as they make a super team.'

Mark and Emma married last October and have a son, Elwood, three, and a daughter, Willow Rose, one.

A glamorous Emma showed off newly blonde hair, and wore a slick of red lipstick as she enjoyed date night with her husband.

And Mark looked less haunted than he has in recent months, as he battled to save his traumatised marriage.

The 38-year-old was forced to come clean to flings with girls on tour and an affair spanning five years with accounts manager Neva Hanley, 24.

And after being thrown out of home by his devastated wife Emma, Owen entered a clinic to be treated for his drinking.

His 33-year-old wife had demanded he get help, and Owen has sought professional therapy as well as relying on the support of his bandmates Gary Barlow, Howard Donald and Jason Orange.

Fuente: DailyMail

Take That: Style icons for older men

The mature Take That have reinvented their sound – and given their wardrobe a serious overhaul. They're now the perfect fashion role models for men over 40

The extraordinary Take That revival has taken everyone by surprise. Five middle-aged men, who don't play instruments, have generated the fastest-selling tour in UK history and the fastest-selling album (Progress) of the century and they've been almost omnipresent on TV, appearing on the finals of both Strictly Come Dancing and The X Factor. But one aspect of their appeal has passed without much comment: the flattering cut of their trousers.

Take That have proved that it is possible for men beyond the first flush of youth (Robbie Williams is the youngest of the group at 36, Howard Donald the oldest at 42) to dress fashionably without looking silly. Successfully reforming a teen group with a maturing audience, making them appear age-appropriate, relevant and pointedly unembarrassing, is one of the holy grails of pop culture. It's hard enough writing a new hit and getting the sound just right. Getting the strides just-so is even harder.

And winter proved to be absolutely perfect timing for the Take That reunion. The fact that the weather turned bitterly cold just as the band announced their tour dates meant that coats, scarves, hats, beards and boots featured in every photo and press conference.

Forget the stirring, anthemic chorus of The Flood and Robbie's funny marching-on-the-spot dance – the management's real masterstroke was to market Take That as a boys-to-men band who wear heavy, double-breasted Lanvin coats, leather-soled All Saints boots, who aren't frightened of polka dots and bum-freezer jackets. Males who can confidently mix Top Man with Mad Men. These are the clothes of an older and more thoughtful, craggy-faced Take That, who have loved and lost and cried and been to rehab and steadfastly refuse to dance in unison any more.

Summer isn't flattering for men in their 40s. It's callous and exposing. Sunlight streams through thinning hair. Harsh shadows act as a cruel grout in crow's feet. Clothes are flimsy and perfunctory. Worst of all, if you happen to be Jason Orange, 40, you simply can't look wistful and vulnerable in clam-digger shorts and a Superdry polo shirt. Winter – which is all about layering, camouflage, buttoning up and introspective insulation – is much more forgiving.

Take That's stylist, Luke Day, arguably the most influential figure in menswear right now – he's fashion director at GQ Style – knows this well. "Since I've been working with the group, I don't think we've ever done anything that's involved sunshine," he says. "Winter is just better for older guys. And generally speaking, I don't think colours work too well on men either. Dark tones make them seem more serious and an older guy always looks good in a big coat, fur and scarves."

Working closely with Mark Owen, the band's most forthright fashionista, Day has developed the Take That Mk III look: Westfield Ginsberg meets millionaire vagabond meets Shoreditch dad, with subtle elements of 70s-era David Essex and that nice, floppy-haired, corduroy chap off BBC1's Flog It. And in doing so he has not only provided the perfect day-into-night, on-and-off stage capsule wardrobe for the band but also a series of workable reference points for the older, still fashionable civilian male. It's an easy rather than edgy look, which looks good at a gastropub Sunday lunch and won't embarrass the kids on the school run.

The TT3 look has its roots in 1995. Just before the band's first breakup, with Robbie still clinging on, they released what many critics consider to be their finest four minutes. Back For Good was a quantum leap towards musical maturity; it was the band's Careless Whisper, their Better the Devil You Know. It was also their biggest overcoat record so far. Most significantly, it was evidently freezing and absolutely chucking it down in the accompanying video. "They looked like a bunch of adorable wet labradors, didn't they?" says Day.

There would be a few unfortunate hiccups with tailcoats along the way, but here was a band who would never put on studded leather gilets again. Fast-forward 15 years and the band have settled into their various styles with an ease and comfort that suggests that the next world tour might be conducted from rocking chairs. The image of Owen taking a therapeutic walk across a tidal causeway as part of his recent rehab in their recent documentary, Look Back, Don't Stare, wearing a billowing, knee-length cardigan, is the band's most poignant fashion moment so far.

Does the modern pop group always have a stylist present these days? "Honestly, a lot of the time we'll wing it, stylistically speaking," insists Luke Day. "One of Mark's really big roles in the band is a sort of second stylist and he takes a lot of interest in his clothes," says Day. "Often he'll get out of the car wearing an outfit and then wear exactly the same thing on stage. We keep it cool and stay away from anything too theatrical."

The overly cuddly, fussy, circus-y clobber of the Take That Come To Town TV special was, says Day "a mistake".

"I don't have a problem with a boy band becoming men," says Gary Kemp, guitarist of the recently-reformed Spandau Ballet. "But I think as an older guy, you do have to always be aware that being in a band is, essentially, quite a childish thing to be doing."

When they announced their first tour last year since their 1990 split, Kemp's band, all in their mid-40s, thought hard about their clothes. "We knew that you have to look like a gang but you can't all wear the same thing . . . or look too disparate. There has to be some sense of dressing up otherwise you'll look like roadies."

Wisely, Spandau Ballet didn't opt for kilts. "You have to be age-appropriate and period-appropriate. Nodding to contemporary fashion but not looking like idiots. You can't wear what you used to back in your heyday. You have to move on. That said, because we are older there is always a danger of looking slightly conservative. It's quite a tricky balance."

Making Take That look good, says Day, isn't hard, now that they're happy with their constantly evolving wardrobes. He does most of their shopping, knows what they like and what will suit them. "They are all slim with pretty decent figures. Clothes tend to sit well on them."

Williams keeps a wooden last at Lobb of St James's, bespoke cobbler to the royal family. Gary Barlow is probably the most conservative while Owen likes Lanvin, Dries Van Noten and is "partial to Gucci and Margiela". The band tend to agree that they are all a bit too old for drainpipes these days, so Donald is happy to wear cropped, carrot shaped strides from Top Man. Or John Vavartos, depending on his mood.

And those wintry, all-enveloping, broodingly thought-provoking scarves? "Yes, well," says Day, sounding peeved. "One Direction started nicking the scarf thing, so we had to ease off on those."

How to get the middle-aged Take That look

• Simple palette of black, grey, navy blue. Dark tone on dark tone.
• White T-shirts are acceptable for contrast and accenting, but no happy reds or sunny yellows.
• No logos.
• Lots of layers.
• Knitwear in thin, figure-hugging merino wool.
• Woolly hats pulled low over ears.
• Sturdy, lace-up workwear-inspired boots.
• Sensible, slightly boyish side-parted haircuts.
• Facial hair (but no Craig David/Ali G topiary).
• Labels: All Saints, Top Man, Martin Margiela, Burberry, Gucci, Lanvin, Spencer Hart, John Varvatos.
• Blazers should be short bumfreezers, such as those by American tailor Thom Browne (long jackets are ageing).
• Trousers can be cropped but not too tight (drainpipes look desperate on older men).
• No leather – it looks tragic on over-40s.

Fuente: The Guardian

Look back, don't stare: Review

"I learned to be a pop star before I learned to be a man. I didn't know how to sing that well, I didn't know how to play any instrument. I didn't contribute a thing to the writing. It could just as well have been someone else. Apparently, I smiled the right way. I won the smile competition in Oldham when I was 5 or 6 years old; apparently that was my training." This sober confession from Mark Owen, the British-born singer-songwriter, is the key to understanding "Look Back, Don't Stare," a documentary that follows his band, Take That, as they record their reunion album.

According to the tagline, this is "a film about progress," a wordplay on the title of the new album, "Progress," but the linguistic quip misses the point. This is a film about masculinity, or to be more precise, about men who have finally found their masculinity.

I never thought of "masculinity" as a word that might surface in the context of Take That; that it might provide an alternative perspective to "teenage-girl idols," "kitsch," "toys," "commercialism," "manipulation," "marketing machines" and "ego." Certainly not after the album cover of "The Circus," which was released before Christmas two years ago and featured the band members, then still without Robbie Williams, dressed as acrobats wearing clingy, striped sailor shirts as if they were getting ready to make the usual jokes about sexual orientation.

The plot underlying "Look Back, Don't Stare" is of course the reunion of Robbie Williams with his old friends who still bear a grudge. His departure at the height of the band's success, his decision to embark on a solo career that positioned him as the talented and charismatic member of the band, the dirt he made sure to spread about Gary Barlow and the others whose solo careers flopped while he was packing stadiums and selling millions of albums, left accounts that sorely needed to be settled. Particularly painful was his absence from a television program that sought to get the guys together and eventually prompted Gary, Mark, Howard and Jason to hook up again.

Robbie's condescending attitude toward the band from which he sprouted is a key juncture in this relationship. It also marks the moment when things turn around. From that point on, Robbie's career starts sinking while the resurrected Take That emerges improved, mature and more popular than ever. When Robbie comes groveling to those who shaped him, it is an admission of his failure and a major victory for Take That. This is how the wayward son who thought he was better is brought back to the fold. A film crew is invited to document the rapprochement.

The main difference between then and now is that Robbie does not come back to the band he fled, the consumer product that was totally crushed by producers, managers and public relations executives. He returns to a band which for the first time in its history is holding itself accountable for results and functions as a real band that knows what it wants of itself. This band is hungry for success, it has a mission, and it has independent control of its artistry. Even more important in the context of "Look Back, Don't Stare" - it has the dynamic of a band.

In this respect, the film is not different from "Some Kind of Monster," which followed events in Metallica's studio room, and "No Distance Left to Run," which followed the return of Graham Coxon to Blur. A band is a band is a band; whether it is dressed in black, freaks out over distortion and sings about justice for all and children's nightmares, bangs out Britpop anthems or prides itself on choreography, disco innovations and shrieking female fans. In all three band films, there is an internal struggle between the two leading creative forces, yin and yang: the megalomaniac with his feet on the ground - that could be Lars Ulrich, Damon Albarn or Gary Barlow - and the complex negative counterpart with the wounded ego - that could be James Hetfield, Graham Coxon or Robbie Williams - who, like Homer in "The Odyssey," just wants to go home.

The greatness of "Look Back, Don't Stare" is that it is a human drama of conflict with great emotional complexity but not only that. It succeeds in doing what until now seemed impossible: it makes you appreciate Take That.

Fuente: Haaretz.com

The Flood - Actuación en Alemania

Royal Variety Performance - The Flood & SOS

Especial Robbie Williams

Actuaciones del fin de semana

Strictly Come Dancing - The Flood


Strictly Come Dancing - Back for Good


X Factor - Never Forger


X Factor - The Flood
http://www.youtube.com/watch?v=PKEmfoqrU_8


X Factor: Take That forced to change song after Simon Cowell row

Take That were forced to change their final song of the night after a last-minute row with Simon Cowell.

They had been due to perform Kidz - complete with 50 dancers dressed as police in riot gear. But X Factor supremo Simon demanded that the song be pulled because of the student tuition fee protests. A show source said: "He was worried the performance might annoy people. It was too close to what went on last week."

After a tense stand-off, the band agreed to sing The Flood for a second time this series.

Fuente: Mirror

Wagner and Take That in X Factor final return

Take That and Wagner are reportedly set to reappear on the X Factor stage for the show's grand finale this week.

ITV bosses have a star-studded line-up planned for the final, including Robbie Williams, who is rumoured to perform with One Direction, and Rihanna, who will reportedly be sharing the stage with Matt Cardle.

Liverpudlian Rebecca Ferguson is expected to duet with Christina Aguilera, while controversial finalist Cher Lloyd will be performing with either Avril Lavigne or Black Eyed Pea - and friend of Cheryl Cole - Will.i.am, The Mirror reported.

Robbie will also be returning to the stage with the rest of Take That following the group's successful performance earlier in the series.

However, the reappearance of Brazilian singer Wagner with the rest of the finalists is causing equal amounts of excitement and anxiety among insiders.

A source told the newspaper: 'People are really looking forward to Take That coming back on the show, but to be honest they are not so happy about seeing Wagner again.

'He caused a lot of problems, so we just hope he is on his best behaviour this time around and doesn't clash with Matt or anyone else backstage.'

Since leaving The X Factor, Wagner has been caught up in a row over benefits. The Brazilian is due to be investigated for his eligibility to claim incapacity benefits following his energetic dance routines on the show.

Fuente: Metro