Katy Perry security alert as fan storms stage in Sydney
The American singer is currently in the midst of her The Lifetimes Tour and is performing in the Australian city over three nights. On Monday, the singer was startled when a fan broke onto the stage while she was singing her 2008 hit single Hot n Cold. Footage of the alarming moment has gone viral on social media and shows the star strumming her guitar on stage when a fan dressed in dark clothing suddenly appears at her side. After squealing in surprise, the singer moves away and begins to sing while two security guards attempt to wrangle the intruder away.
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News.com.au
an hour ago
- News.com.au
Pop star Guy Sebastian's email revealed in Titus Day trial
Guy Sebastian personally negotiated a release from his contract to join manager Titus Day's new company in 2009 before their relationship ultimately soured, a court has been told. Mr Day is standing trial in the NSW District Court accused of embezzling more than $600,000 from the Aussie pop star. It's alleged that Mr Day failed to pay Mr Sebastian performance fees and royalties that were collected by his 6 Degrees talent agency, including $187,000 for performance fees when the Australian Idol winner supported Taylor Swift on her 2013 tour of Australia. Mr Day has denied doing anything dishonest or fraudulent and is fighting the allegations. He has pleaded not guilty to 34 counts of embezzlement as a clerk or servant and one count of attempting to dishonestly obtain financial advantage by deception. The court has been told that Mr Sebastian first became involved with Mr Day when he signed with the 22 Management company early in his career. At the time, Mr Day worked for 22 Management, which was owned by Sean Anderson. Then, in early 2009, Mr Day told Mr Anderson that he was looking to form his own company, the court was told on Wednesday. 'He indicated to me that he was looking for something a little bit more than an employee role and whether I was open to a partnership or bringing him in as a partner in the business,' Mr Anderson told the jury on Wednesday. 'I indicated I wasn't quite ready to do that and so he said he was looking to start his own business. And I encouraged him to do it.' And when Mr Day formed 6 Degrees and went out on his own, Mr Anderson said Mr Sebastian followed Mr Day because of their close relationship. 'Guy indicated he had formed a great relationship with Titus and he wanted to follow Titus, which I expected would happen,' Mr Anderson said. 'I didn't have anyone in the business that had the music skills that Titus had, so I then negotiated a release from my contract with Guy and he left shortly after.' The court was told that 22 Management had a written contract with Mr Sebastian, but Mr Anderson had since not been able to find a copy. The court was told that Mr Sebastian's contract with 22 Management was due to expire in April 2010; however, he negotiated a release to join Mr Day when he went out on his own to found 6 Degrees. The jury on Wednesday heard details of a mid-2009 email exchange between Mr Anderson and Mr Sebastian as they negotiated the terms of the singer's exit from his managerial contract. Initially, Mr Anderson proposed that 22 Management be given a percentage of Mr Sebastian's gross income for the next two years – 10 per cent on the first year and 5 per cent on the following year. However, Mr Day replied saying that 22 Management was only entitled to 20 per cent of all gross income up until April 2010 and after that a 'trailing commission' on any work done that was negotiated by Mr Anderson's business. The court was told that 'trailing commissions' were negotiated by managers to cover them for their investment in young and up-and-coming performers in the event they become successful and later leave to join new management. It prompted Mr Anderson to propose new terms, including a 15 per cent split to 22 Management and a 5 per cent split to 6 Degrees as well as trailing commissions. 'Titus should be doing somersaults with this outcome, if I was able to go out on my own and take the marquee client with me and earn commissions from day one, I'd be buying lottery tickets,' Mr Anderson wrote to Mr Sebastian in an email, the court was told. Mr Anderson also asked Mr Sebastian to perform at his 40th birthday free of charge, which he agreed to do as part of their amicable split, the court was told. The terms of Mr Sebastian's contract with 22 Management have been a key part of the trial. During his evidence, Mr Sebastian was grilled by Mr Day's defence about his deal with Mr Day in the early days of his contract. Mr Day's barrister Thomas Woods suggested to Mr Sebastian that he had agreed to 'look after' Mr Day down the track 'by compensating him for the lost commission during this early period' in 2009 when he was only earning 5 per cent. Mr Sebastian, during his evidence to the court last week, denied the assertion. '(Mr Day) wanted more than 5 per cent for that period but couldn't get it because of your arrangement with (22 Management) – you would look after him down the track when you were in a stronger financial position, and that was then what you did. That's what I'm suggesting to you,' Mr Woods said. 'Firstly, that's completely false … their agreement was a 15-5 agreement, and that was between them,' Mr Sebastian replied at the time. 'The concept that in 2014, that where I was already paying a lot of commission to Titus … that seems really ridiculous to me.'
ABC News
an hour ago
- ABC News
Spirit of rock legend Chrissy Amphlett channelled in Rising cabaret Amplified
As frontwoman of Australian rock group Divinyls, formed in Sydney in 1980 with guitarist Mark McEntee, Chrissy Amphlett was renowned for her powerful stage charisma. Her thick, bright red hair; short, black-and-white sailor tunic with suspender belt and fishnets; her "Monster Schoolgirl" persona and sexually provocative stage-writhing, are legendary. And her music is still incredibly powerful. "When you're in the centre of those songs and they're a wall of rage, it feels mythically enormous," says Sheridan Harbridge, who performs in Amplified: the Exquisite Rock and Rage of Chrissy Amphlett, as part of Melbourne's Rising festival. The word that keeps coming up as I talk about Amphlett with Harbridge and the show's director, Sarah Goodes, is "electric". "People who I've spoken to, her friends and people who saw her, they really describe her as conjuring an electricity that just gripped the room," Harbridge says. "There were no women in rock doing what she did at the time. She was getting up there and giving sex, passion and rock'n'roll, any way she wanted to. With no rules of pandering for men or pandering for women." Amplified, a cabaret, brings to life Amphlett's story through her music. Goodes is quick to point out that the rockstar contained multitudes, beyond her on-stage, rage-filled persona. "At the time you had to pre-empt it, you know. To avoid being eaten alive, you had to kill first," Goodes says. The show aims to let all Amphlett's contradictions — of rage, vulnerability and anger — "shimmer in the air together", Goodes says. Harbridge is drawn to telling stories of the women society has labelled "disobedient". "As a writer, it's always been my sort of manifesto … making sure that their story is on the record." Amphlett rejected feminist ideas prevalent in the late 1970s and early 80s, that dismissed overt sexuality as pandering to a male gaze. "Chrissy was like, 'I don't need to follow any of these rules,'" Harbridge says. "That was her punk." "It's that ancient [contradiction of] women being too sexual or not sexual enough," Goodes says. "It's this impossible shadow-boxing with what it means to be a woman. And she just burst through it and roared. Everyone just shut up and loved it and embraced it." The idea for a one-woman show about Amphlett's life was conceived by Amphlett herself. She'd been working on the idea before she died of breast cancer in 2013. It was Amphlett's longtime friend Simon Morley (of Puppetry of the Penis fame) who brought the idea to Goodes, back in 2018. COVID delays pushed the project back but, eventually, Morley asked Goodes to direct. She was interested, on one condition. "If I can do it with Sheridan," Goodes says. "I couldn't really imagine anyone else who can traverse that tightrope between rock'n'roll and theatre. "You don't want someone impersonating Chrissy," Goodes says. "What [Sheridan is] able to do is channel the spirit of her." Harbridge describes Amplified as a "rock odyssey". The cabaret format allows her to directly address the audience, to conjure memories of what Amphlett was like on stage. "The fans who adored her are as much a character as I am," Harbridge says. "I want it to be a communion of an artist. So yeah, we're in the room together." The weight of responsibility in creating a show centred on the life and music of someone so beloved by fans doesn't escape Harbridge. "People get this distant, shimmering, glossy look in their eyes when you mention Chrissy Amphlett. They go, 'Oh yeah, I saw her in Toowoomba in '88. And she just blew the roof off.'" Goodes has directed numerous plays about other trailblazing Australian women — art patron and founder of Melbourne's Heide gallery, Sunday Reed (Anthony Weigh's Sunday, for MTC in 2023, STC in 2024), former prime minster Julia Gillard (Joanna Murray Smith's Julia, National Tour in 2024). And she says that the key is not in attempting to imitate that person, but in finding ways to bring their essence to life in the room. Harbridge and Goodes hope Amplified: The Exquisite Rock and Rage of Chrissy Amphlett will offer younger audiences the chance to get to know Amphlett's music and celebrate her as an artist and rule-breaker 20 years ahead of her time; as a pioneering woman who kicked down doors for future generations of women artists to walk through. "I think an artist who enrages at the time, is often giving you a glimmer of the rules of the future," Harbridge says. "Someone who just keeps pushing other people's brains into that kind of considerate sponginess. Until one day, the whole matrix moves. "I know I stand on the shoulders of women like her, who demanded to work in an art form. And now I don't take that for granted." And what would Amphlett think of the show? "That's all I'm worried about," she admits. "I hope we're honouring her. I really hope we are. And I hope we're letting people meet her beyond the 'monster' persona. Which is what she wanted from doing the show." Amplified: the Exquisite Rock and Rage of Chrissy Amphlett runs as part of Rising festival from June 11-13.
ABC News
2 hours ago
- ABC News
Your favourite recipes from A Bite to Eat with Alice season 2
Have you been watching A Bite to Eat with Alice? It's comfort viewing, with host and cookbook author Alice Zaslavsky, making delicious food, guided by the likes — and dislikes — of the notable Australians who join her in the kitchen. Recipes are created with a range of motives, from tackling sausage stigma and creating creaminess, without adding cream. Now that season two has wrapped (you can catch all episodes on ABC iview), let's look back at your favourites. It might require some oven time (between two-and-a-half to three hours), but this lamb shoulder recipe will reward you with tender, succulent, fall-apart lamb. Former AFL player and ABC Melbourne's breakfast radio host Bob Murphy enjoyed the Aussie classic. Alice used this recipe to show champion swimmer Ariarne Titmus that a gluten-free diet doesn't mean cutting out comfort food. It's also the perfect candidate for an easy midweek meal. Soft, pillowy dumplings are made with ricotta and paired with peas, broad beans and fresh mint in a buttery sauce. A classical musician, actress, and human rights activist of Syrian-heritage, Taj Aldeeb loves simple, no-fuss recipes. This grate apple and cinnamon crumble cake delivers! Granny Smith apples are grated straight into a cake tin (no mixing necessary) and even peeling is optional. Alice shared this recipe for a classic dessert crumble with a tropical twist with chef, author and teacher Elizabeth Chong. It combines caramelised pears and a crisp, nutty oat topping. Alice made this comforting and hearty veg frittata for John Pearce (aka the Purple Wiggle), who loves a no-fuss meal. Frittata is also an easy way to sneak in or use up extra veggies. Alice says this Tuscan tomato bread soup is like a warm, comforting bowl of bruschetta. It was a perfect fit for comedian Chloe Petts, who has a passion for big, bold Italian flavours. Alice makes bangers and mash easy, with all ingredients baked on a single tray for comedian Mark Watson. Picture juicy sausages, slow-roasted tomatoes, sweet onion and golden smashed potatoes, all baked together. This one-pan braised chicken with lemon and green olives, for Ugandan-Australian comedian Anisa Nanaula, delivers a pan full of comfort and citrus. Don't forget crusty bread for soaking up all the sauce. Alice created a dish that delivers on comfort and flavour for musician and comedian Eddie Perfect. This rich and creamy pie will suit a family dinner or a special occasion. The fish can also be swapped for any firm white fish, based on what's fresh or available in your area. This flavour-packed and easy tandoori chicken tray back was a fan favourite. Cooked with musical theatre leading lady Ruva Ngweny, the winning recipe requires little prep and boasts roasted chicken thighs on a bed of golden, aromatic rice.
