What’s the difference between American and English roulette?

What’s the difference between the American and English roulette games?

Well, go on, how much do you think you know about the devil’s game? Did you even know it’s sometimes referred to as the “devil’s game”? Are you wondering how this nickname came about?

If you add up all the numbers on the roulette wheel, they sum up to 666. That’s why it’s sometimes referred to as the devils game. See, you’ve just learnt something new today – and that’s usually my happiness; seeing my readers getting informed on something new.

Still on the happiness topic, I’ve prepared a brief guide that will help the novice players get to grips on all the differences between American and English roulette; hopefully enabling you to enjoy playing the game.

But before we get to the finer details, let’s have a look define the American and English roulettes using their subtle features.

English Roulette

It’s commonly referred to as the European roulette online and it’s the variant that most players are more accustomed to. English Roulette features 18 black numbers, and 18 red numbers on the wheel, with a single zero which appears as a green. In total, the English roulette wheel has a total of 37 slots.

American Roulette

The American roulette variant is the second most played version of roulette online after the English roulette. The game has all the features similar to the English roulette; in terms of the black and red numbers, with the only main difference coming in the zeroes. Unlike the European roulette, it has both the single green zero as well as an extra double zero, which is marked in green too. This makes the total number of slots on the American roulette wheel to 38.

The difference between the two versions and the best option for you!

Let’s take a look at how the main differences between these two popular versions of roulette influence game play and which version of the two you should start playing.

The Extra Number

As already mentioned, American roulette has an extra 00 numbers, which gives it an extra number on the wheel. Novice players might think this is a good thing, given that players will have more betting options to choose from, but on the contrary, it’s a bad thing. How?

The extra 00 increases the house edge on the American version. The English version has a house edge of 2.7%, while the American version has a house edge of 5.26%. When playing any casino game, including roulette, the house edge simply refers to advantage the online casino has over on each bet you place and when applied on a large scale, it means that you’ll be losing £2.70 for every £100 you stake on English Roulette and £5.26 on the American version.

A higher house edge on the game means less chances of winning. However, for those who love taking large risks, it could mean better odds because the American version usually has better payouts as compared to the English version.

The En Prison Bet

This bet can only be placed on the English roulette and it offers you with an opportunity of recovering your stake after you spin a zero as the outcome. However, there’s a condition attached to it; you have to place an even money bet i.e., odd-even, red-black, etc. This bet will be placed ‘en prison’ and then carried over to the next spin. Should your bet win on the next spin, your initial stake will be refunded but if you lose, the bet shall be forfeited.

As mentioned, this bet is only offered on the English Roulette games and it’s not available on the American Roulette variants.

This article provides some additional key differences between the two.

So which is the best game for you?

It has been said from time to time that the best option as you play mobile or online roulette is to avoid the American version! If you are a novice player, then playing European roulette absolutely makes sense, but even the savvy players shun the American version because it remains harder to win.

All in all, the English Roulette version is the clear winner for all and luckily, you can play different versions of the game online.

Julianne Moore and Michael Angarano Discuss “The English Teacher”

Craig Zisk’s new comedy, The English Teacher stars Julianne Moore as Linda Sinclair, a teacher in smalltown Pennsylvania whose quiet life is interrupted by the return of former student, Jason Sherwood. Sherwood, played by Michael Angarano (Haywire, Red State), is a failed playwright who Linda decides to redeem by mounting a production of his college thesis play at her school. Linda is helped along by the school’s drama teacher played by Nathan Lane. Moore and Angarano spoke to MediaMikes as the film made it’s debut at the Tribeca Film Fest this week.

Lauren Damon: How was it to work with this ensemble cast? You have all these Broadway veterans as well as small cameos from John Hodgman and Jim Bruer.

Julianne Moore: “That’s right! It was a pretty extraordinary cast actually. There were great, really really great people with yeah, Norbert Leo Butz and Jessica Hecht and Nathan Lane, Greg Kinnear and then yea, John Hodgeman and Jim Bruer. Jim Bruer I’d done SNL with a long time ago so I knew him from that. I mean that was my son was two months old, so that was fifteen years ago, which is crazy. But yea, we had a great cast. We were pretty lucky.”

Michael Angarano: “It was amazing, especially for me. Like I grew up watching them…Nine Months, The Birdcage, all these movies are like my family favorite movies. Like the kind of movies that you watch with your family. So for me it felt really cool and there was one scene, like other than the scenes I got to do with Julianne and Nathan and by myself which were so much fun, the scenes we would do with the whole ensemble really felt kind of like a play. Which was kind of fun to think about. I did a play when I was seven years old. I was Tiny Tim in Radio City and so I don’t have play experience. It was really fun.”

 

LD: Your last play experience was in 2006’s The Vertical Hour, is there anything that would lure her back to Broadway?

Julianne Moore: “Nothing!”

Michael Angarano: “I eavesdropped on a lot of conversations with her and Nathan where he was like ‘You know you’d be really great…’”

Moore:  “But then Nathan was like ‘I have this play’ and he’d send it to me and it’d be something that he’d like to direct and I was like ‘If you’re not gonna be in it, I’m not gonna do it!’ because directors do it and then, you know, they leave and stuff. Plays are really hard when you have children and when I did The Vertical Hour years ago, I just, I didn’t think about that. About how they wipe out your entire weekend and one day in the middle of the week where you’re not home and it’s just not worth it for my family. It’s actually easier to do a film. Because you come home at the end of the night, you’re there for dinner, you put them to bed, you get up, you go to work. You know, it’s like you’re on their school schedule and you have weekends free. But the theater is tough with kids.”

 

In that production Moore played opposite onstage boyfriend Andrew Scott who’s since went on to a MediaMikes favorite, BBC’s Sherlock.

LD: Do you keep in touch with Andrew Scott since he’s become Moriarty?

Moore: “I haven’t seen him in ages! He’s a great guy. He’s a wonderful guy.”

 

Crucial to the story of The English Teacher is the role Moore’s Linda played in inspiring Angarano’s Jason, Moore was lucky enough to have a similarly life changing teacher she spoke about:

Moore: “I had a teacher, I mean my high school drama teacher, Robie Taylor was the one who said to me you know, ‘you could be an actor’ and I was in plays after schools but I’d never met an actor, I’d never seen a real play, I didn’t think you could make a real living doing it. I didn’t know anything about the theatre. And she said ‘here’s a copy of dramatics magazine and here are different schools that you can go to’ and she kind of…I was like oh, okay! If I hadn’t met her, I don’t think I would have done that. I mean, so she really changed my life. And she knows that. I told her. I met her years later when I was in LA for a while and she was living in Arizona. And yea, she altered the course of my life.”

 

LD: Were there any special school productions that you did with her that you thought was like a turning point?

Moore: “Well she was…super ambitious in terms of what she put on. I mean the first production I put on with her was Tartuffe, Moliere’s Tartuffe. So nobody does that. They usually do Barefoot in the Park, you know? Or something. So she, I also did The Music Man with her which is a little more traditional. But I also played Madea for her. She just was very, she was like a real director, she seemed like a real theater director.”

 

LD: What drew you to the character of Linda?

Moore: “I loved Linda. I mean I was like Linda, I was the kind of kid that read all the time and went to the library and won the summer reading contest and ended up in the drama club after school because it was just another–I wasn’t athletic, I couldn’t do anything else–it was just another extension of reading. I feel like it would have been very easy for me to have been Linda if I didn’t have a high school English teacher who told me I could be an actress. So I found her incredibly relatable and I loved her. And I loved her kind of…she’s sort of an innocent, you know? And yea, I thought she was really endearing actually.”

 

LD:  A lot of these characters offer no apologies for their actions where it might be expected, can you talk about that?

Angarano: “It was kind of interesting because when we did a table read for it and when I first read Jason out loud with everybody there, it came across much angrier than I think he should have come across and I realized that there’s like this real like, kind of childishness about him that’s very annoying. You know what I mean? Like even his relationship with LInda in movie is kind of, I don’t know, he thinks that he’s this mature guy and he’s kind of projected himself to be that but he’s really just a boy. And so in the end I think it’s kind of like, you know I don’t think he really intentionally wants to hurt anybody. But he’s kind of like you know, kind of manipulative in an annoying childish, annoying kind of guy-getting-what-he-wants kind of way.”

Moore: “I think one of the nice things though about the movie too is people don’t apologize. A lot of them do some things, it’s kind one of those cause and effect things. Where at the end of the day, a lot of people are very shamed by their behavior [laughs] but there’s a kind of forgiveness that they all offer one another and a kind of looking the other way. Maybe they all weren’t their best selves at that moment but they had the best intentions. There’s a humanity I think to their recovery that’s very nice. In a sense where you know, your mother always told you ‘just let time go by and it’ll be better’ it’s true, they all kind of let a little time go by and it all sort of settles down again.”

The English Teacher is available now OnDemand and will hit theaters on May 17th.

 

Corri English talks about her role in FEARnet’s “Holliston” and Season 2 plans

Corri English is the star of FEARnet’s “Holliston”, created by Adam Green and Joe Lynch. The show completed it first season this summer and will be returning for it’s second in 2013. Media Mikes had a chance to chat with Corri about her role on the show and the plans for season 2.

Mike Gencarelli: How did you end up on the show “Holliston”?
Corri English: I had worked with Adam a couple of times. I did a series of holiday claymation webisodes he did for American Eagle. The series was called “Winter Tails” and he had me do some voice work on those. Shortly thereafter Adam was doing one of his infamous Halloween shorts and needed someone to fill in for Daniel Harris because there was a scheduling conflict. We had a great time doing that and became friends. “Holliston” has had a couple of incarnations so when he first started putting that together he brought me on board to do the show. It was really exciting to work with Adam again and see the show come to life as I had been attached to it for about 2 years prior to shooting.

MG: What do you enjoy most about your character and how does she relate to yourself?
CE: I know Adam pulled certain parts of our personalities in to the story. He made my character an aspiring country singer. I am actually a country singer. For the audience I know things are a little bit blurry because we all have our own names. At times they may not know where the characters end and where we as real people begin. I feel like anything on the show can happen and that is something that I really love. Initially Adam told me about the role and how I would be the girl that was always breaking his heart and that the audience would probably end up hating me. However, until that happens though they are going to torture me. (Laughs) I think in season 1 Adam found out I was up for anything and has really ran with that in season 2.

MG: What do you think it is that makes the show work?
CE: I think for fans of horror there are tons of those references going on within the show. Also though for people who may not necessarily be horror fans there is a whole lot of other stuff going on. Adam did such a good job of creating characters that I am sure everyone can relate to at least one of the characters on the show. I think there is so much heart and real life emotion going on that it makes the show interesting. There is a lot of reality in the show.

MG: What was a highlight for you of season 1?
CE: Laura and I had so much fun with the market basket episode. That was something that came out of rehearsal and Laura not being able to say those lines as English is not her first language. Sometimes little quirky things would come up and she couldn’t tell the difference. They would just let stuff like that go on forever. There were a bunch of really great guests on the first season as well. Tony Todd was great and also getting to meet John Landis was awesome.

MG: Can you give us any updates on season 2 of the show?
CE: We just finished filming. We shot most of the show on sets here in Los Angeles however for the last episode we actually shot in Holliston, Mass. We finished up with a found footage episode so we are running around the woods “Blair Witch” style. It was a fun way to wrap up the season. I am really excited for fans to see the new episodes because it dives much deeper in to the characters and their relationships. When we got done with the table read we were all laughing and crying. There will also be an animated episode this season as well as a holiday special which bridges the gap between the 2 seasons.

MG: Can you tell us a little about your band Broke Down Cadillac?
CE: We are a country/rock band that works out of Nashville. We have a ton fun doing it and we also have had quite a few opportunities to write songs for television and films. It’s really great when I get to put the singing together with the acting. I get to sing one of our songs on the show this year which I am very excited about.

Dave and Dave A Go Talk: An Interview with Dave Wakeling of the English Beat

Ska /skä/ (noun) – A style of fast popular music having a strong offbeat and originating in Jamaica in the 1960s, a forerunner of reggae.

If you’ve ever listened to music by the likes of the Mighty Mighty Bosstones, Madness, Fishbone or The Specials – as well as bands that infuse elements of ska into their music like No Doubt and Reel Big Fish – you know that the genre’s intense energy makes it almost impossible not to get out of your seat and start to move your feet to the rockinest, rock-steady rhythm around. The Beat – known in the US as The English Beat – was one of the bands at the forefront of ska’s second revival (or “wave”) and one of its best.  With hits like “Save it for Later” and “Mirror in the Bathroom”, the English Beat had the ability to propel audience members into a skankin’ dance frenzy.

And they still do.

Dave Wakeling, the lead singer and guitarist of the English Beat, and the entourage of musicians that round out the current iteration of the band extensively tour the United States and feed audiences a steady dose of high-energy music that often manages to weave in politically-astute and cutting lyrics.  The crowd sweats, the band sweats and, by night’s end, both are all the better for it.

I recently had the opportunity to chat with Dave about the driving force that powers the English Beat’s seemingly non-stop touring, a great soundtrack album that never happened, how a cup of kindness can occasionally have a very bitter taste and why he might cause quite a ruckus when visiting the Rock and Roll Hall of Fame in Cleveland.

Dave Picton: The English Beat tours VERY extensively.  How do you maintain such a rigorous schedule given that your shows are intensely energetic?
Dave Wakeling: Well, we’ve got a decent balance.  Every other month we go on tour for about three weeks and we do about 15 or 17 shows in 21 days.  The other five weeks we’re here at home and we just work Fridays and Saturdays in California normally driving up and down the coast depending.  That way, although we’re doing an enormous amount of work, we’re all getting time off in those weeks so it all works out very well.  We never stay on the road more than three weeks because you start scraping the barrel.  It’s always nice to be able to have fresh real emotions to do the songs.  We can do our memory muscle emotion but it’s not the same. It doesn’t connect as well. It’s kind of dissatisfying.  But if I do a show right under the right circumstances, I feel fresher at the end of the show than I did at the start.  So it’s sort of nurturing to me at this point.

DP: I went to one of your shows about a year ago and it was the first time I had seen you guys.  It was certainly the most fun I’ve ever had at a concert.
DW: Thanks! Where was it?

DP: In Fairfield, Connecticut at FTC’s Stage One.
DW: Right, the train spot.

DP: Yep, that’s the one.  Everyone in the crowd danced throughout the entire show and I’d never really seen that happen before to that level of intensity, but I’m guessing that’s something you’re quite accustomed to.
DW: You know, sometimes people are surprised the first time we get to a venue and they’re not expecting it.  Now, at Fairfield, we’ve been a good few times and people come with an anxious anticipation of having a good dance, I think. It’s all the more benefit, Dave, I think because times are times are really tight. Our social lives and our work lives particularly can be quite tense and the world, at least according to the TV news, is a scary place.  So it’s nice to be able to go someplace with a peer group and throw all caution to the wind and feel at one with yourself and your memories and everybody else in the room.  It’s a rare occasion and the people tell us that they’re really grateful of it and that it can see them through until the next Wednesday.

DP: That certainly was the case for me.  In fact, the show spawned probably the most justified concert t-shirt purchase I’ve ever made because, by the end of your first set, I was absolutely drenched with sweat.  So I bought the shirt, went into the bathroom and changed out of my wet towel of a shirt in favor of my newly-bought English Beat shirt.  Sure enough, by the end of the show, that one was drenched too.
DW:  Ah yes!  Bless your heart.  That’s the ticket.  I end up soaking wet at the end of the shows too, but I don’t really notice it, even though you might start to get tired heading into the second hour of the show after about the one-hour mark. After about an hour and fifteen minutes, you’re back up there again with the energy from the audience. So it’s kind of like what the band does in the first half, the audience holds us back up with in the second half.

DP: I’m curious to know about how the band came together in 1978.
DW: What was most remarkable about it that it was the first person we met played a particular instrument ended up playing that instrument in the band. There weren’t any auditions or “what about this guy” or “what about that guy” and so it was very much like what you might see in a movie script about putting a band together.  Everything all came together so wonderfully easy that, right at the beginning, you had a sense that it wasn’t going to last for very long. [laughs] It had a certain magical charm to it that this group of people were put together for a certain purpose.  And it turned out that it was, you know.  We managed to combine dance music with a gentle social commentary or a subtle gentle prodding. So we wanted to combine both types of prodding, the sexual and the social. [laughs] And it worked perfectly.  Even now, I’m getting messages from people at Occupy Wall Street saying that the Beat album is being played, that the songs “Big Shot” and “Stand Down Margaret” are deemed particularly appropriate for the times.  One of the huge benefits is that if you’re lucky enough to get a chance to be in the moment fully, then it never really goes away.  Once you’ve made that connection – even though sometimes the waves of ska take seven years in between high tides – it always flows back and all of a sudden lyrics become pertinent again.

DP: Any chance you’d put together some new material and release a new studio album that might include songs in which the lyrics deal with current issues and socio-political topics?
DW: We’re in the process of doing that now, actually. I’ve got just over 20 songs started and some of them are my favorite songs that I’ve ever done.  I always feel that, though.  But, interestingly, I was just going though them and initially I hadn’t really thought about them in terms of an album.  But then I started trying to figure out what songs would I put on an album this week and it sort of changed a little bit.  It was a bit more romantic of a mood a few months ago but now the streets are filling up with people and some of the other songs are starting to become very timely and appropriate.  The English Beat and the General Public catalog are both being re-licensed and re-released at the beginning of next year and so I’m hoping to take a jolly good slipstream off the back of some of that and introduce my new songs. I’ve been playing them out live.  We played a few of them in Fairfield over the past couple of years.  Just as we get a song ready, we might play it at somewhere that is friendly to us.  They’re going down really great.  I’ve been battling with how to get the songs out sort of algebraically correct as everything’s done with computers nowadays and still manage to retain the live groove and excitement of the live concert and, after much exploration, we finally found a way to do it.  Once we got our technique down, we banged out a lot of the songs with full spirit and they sound tremendous.  I’m really pleased.

DP:  The English Beat is currently a tale of two bands: The English Beat fronted by you here in the States and The Beat that includes two of your original band mates from the early 80’s.  How does that work – especially if you want to perform shows or tour in the UK?
DW: Well, it was fine.  Now it’s causing enormous trouble.  I wish I had never suggested it in the first place. You know, your kindness can come back and bite you in the ass, can’t it? Now it’s difficult for me to find a gig in England because they can’t call me “The Beat” because [Ranking] Roger’s used that name so much and they can’t call me “The English Beat” because they’ll think that everybody will think that’s a cover band covering the Beat’s songs.  I find myself with the irony of trying to arrange a song in my hometown and finding it more difficult than I expected! [laughs]  It’s the troubles of ska, Dave.  I tell you it’s not as easy as it looks, mate! It looks like one knees-up party but – oh no! – the Machiavellian things that go on in the background. [laughs]

DP: So where do you see the future of ska going?
DW: I think it’s got a rosy future. It’s always been a music of happy protest and I think there’s going to be much of a taste for that in the upcoming months and year.  We found during the punk times or during the 90’s that if you protest too much, it starts to sound like whining and you actually wind up distancing yourself more from the people that you want to reach.  Ska – and reggae I suppose – has always had that ability to sound like a party from a distance and then as you dig into the lyrics, you hear that there singing about starving children but it’s acceptable because it’s been put to you in such a delicious way with the beat and it hits your spirit way before it tries to stretch your mind.  I think we’re going to start to see a lot of that especially as there aren’t really a lot of record companies that are telling artists “don’t do this” or “don’t do that” to try to modify them for the charts.  I think you’re going to see a lot more people just singing straight from their heart and straight into the computer.  I dare say there will be a renaissance.  I don’t know what wave of ska we’re on now.  I think maybe the fifth wave is about to come, I’m not sure.  But I imagine that we shall see one and I’ll be there trying to flagrantly take best advantage of it as soon as it happens you can be rest assured of that! [laughs]

DP:  In addition to being a fan of your music, I’ve always been a fan of UB40, a band that started in Birmingham and got together the same year that the Beat did, 1978. Why do you think was there such a massive ska and reggae movement in your hometown?
DW: The guys in UB40 and I grew up within a mile of one another as kids.  It’s remarkable.  There were also the Selector and the Specials in Coventry and Dexy’s Midnight Runners in Birmingham at the same time. I think more than anything else it was a post-punk reaction where punk hadn’t really been a huge deal in Birmingham.  Most of the people who had made any name of it in that genre had gone off to London to do it, as is traditional in Birmingham.  But immediately post-punk, for reasons I’ve never really fully understood, a terrific scene developed that we weren’t even aware of, frankly, because who was to know that UB40 was going to become the biggest-selling reggae band in the world or that Dexy’s Midnight Runners were going to be lauded as poets for decades?  Nobody had that idea of that at the time, really.  We were just three local pub bands trying to be sarcastic about each other behind each other’s backs! [laughs]

DP: Your song “March of the Swivelheads”, an instrumental version that you released of “Rotating Head”, was used extremely effectively in the ending chase sequence in “Ferris Bueller’s Day Off”.
DW: It was, wasn’t it?

DP: Definitely. And it’s probably the song that’s most associated with the movie – with the possible exception of Yello’s “Oh Yeah”.  Yet, despite the degree to which music was at the core of the movie and how successful the film was at the box office, no soundtrack album was ever released.  Do you know why this was the case?
DW:  I never really fully understood why.  I think what was happening at that time was that John Hughes was starting to develop his own company, John Hughes Music, and all of a sudden trying to license tracks three ways rather than two became thoroughly complicated.  I think that was what happened because we were fully anticipating a soundtrack at the time and, of course, it was going to be a fairly great one.

DP: And probably a big seller, too based on the fact that soundtrack albums to his movies usually moved lots of copies because kids dug the music and, in order to relive the movie experience, bought the soundtrack album or cassette given that, at the time, you couldn’t go out and buy a videotape of the film or download it.  I know a lot of soundtracks from John Hughes movies wound up in my record collection for that very reason.
DW:  Right. You know, they’re making a documentary about that film now. I’ve been invited to speak on the DVD of that documentary but I haven’t really decided yet.  I’m not really sure, to be honest.

DP: While we’re on the topic of soundtracks and collections of songs by various artists, if I snagged you iPod, turned it on and pressed “random”, what would I hear?
DW: Well, you’d be very lucky if you managed to snag my iPod, because I don’t have one and I never will.  I don’t think they sound any good.  My son, a few years ago, came running up all disappointed like “Oh, dad! My iPod’s broken!”  And I said “Good!” [laughs]  You know, the instruments in a classical orchestra were effectively designed around human’s emotional points –  chakras is what I call them – and analog recording was designed around those same parameters.  But when you switch the whole thing to digital, one of the things that happens is that the instruments don’t resonate at the same places they used to.  So the old people who say the “album” vinyl version of Led Zeppelin I sounds warmer than when they listen to it on their iPods are absolutely correct.

DP:  I noticed that on the English Beat’s facebook page that you had posted a picture of your hallmark teardrop-shaped guitar that had made it into the Rock and Roll Hall of Fame.  How did that come to happen?
DW: Yes, I just put the photographs of it up yesterday on my facebook as well as that, recently in my hometown local newspaper, the Birmingham Evening Mail, printed out what they thought were their all-time top 10 bands to come out of Birmingham and we came fifth after Black Sabbath, the Moody Blues, Duran Duran and ELO.  So to be able to post both of those things in the same week was stunning to me.  I first met the people associated with the Hall of Fame when we opened for Devo in Cleveland and they started coming to a few shows.  They gave us a tour of the museum and we got to go back behind the scenes. You have to have a coat on and a pair of gloves sort of like a doctor to go back in this spot. You’re not allowed to touch anything.   We saw one of Bob Marley’s dreadlocks in a box covered in paper tissue.  They opened another box and there was a longish envelope that had been slit open and on the inside in John Lennon’s handwriting was an early draft of “Lucy in the Sky With Diamonds” with all of these crossings-out and changes.  You could see where he was playing with the words and the rhymes.  Absolutely stunning.  I had a fantastic time.  I got to meet the guy that runs it and it turned out that in 1980 he’d been a college radio guy in Ann Arbor and, unbeknownst to me, I’d been his first interview ever on the air and I was really kind to him, I guess and helped him through and now he’s the head honcho at the Rock and Roll Hall of Fame! [laughs] So on my way out, they asked me if I enjoyed myself and I said that it was fantastic.  The only placed that had ever moved me more, really, was the Motown Museum I have to visit every time I go to Detroit.  So they said, “OK…well when do we get your guitar?” and I was like “WHAT?!?” [laughs] It was sad though, to be honest, because I played that particular guitar at every gig for 27 years.  So it came the morning to hand it in and I had a little play on it in the hotel room, talked to it a bit and shed a couple of tears.  They fell on the guitar so I polished the guitar with tears, put it in the box and took it in.  I still feel kind of guilty because I know it doesn’t know what’s going on.  It thinks it’s just waiting between the sound check and the gig, you know? “No, no…Dave will be here in a minute. Long break before the show tonight isn’t it?” [laughs]  So I have to talk to it whenever I go back and look at it in the case and try to explain the situation, but then I start gathering crowds of tourists looking at me. “Oh look, daddy!  That old man is talking to a guitar!” I’ll have to stop, let the crowd disburse and then go back and have another chat.

DP:  So if the Hall of Fame gets broken into and that guitar is the only thing missing as a result, I think I’ll be able to tell the authorities who their main suspect should be, right?

DW:Yeah! Either that or it probably walked and came back! [laughs] One day, I may have to use it at a show in Cleveland.  The paperwork is extensive because it’s now not a musical instrument.  It’s insured as an artifact.  In fact, nobody’s allowed to touch it without white gloves – including myself.  A lot of people said it sounded like I played it with gloves on anyway, so it’ll all work out! [laughs]

 For more information about the English Beat and tour dates visit:
Facebook: http://www.facebook.com/EnglishBeatFans
Twitter: http://twitter.com/#!/englishbeatfans
MySpace: http://www.myspace.com/officialbeatspace
Dave’s official web page: http://www.davewakeling.com/home.asp

New Trailer and Poster for “Johnny English Reborn”

A little intelligence goes a long way. Check out the new trailer for Universal Pictures’ upcoming comedy spy-thriller JOHNNY ENGLISH REBORN, starring Rowan Atkinson and Gillian Anderson. Rowan Atkinson returns to the role of the improbable secret agent who doesn’t know fear or danger in the comedy spy-thriller Johnny English Reborn. In his latest adventure, the most unlikely intelligence officer in Her Majesty’s Secret Service must stop a group of international assassins before they eliminate a world leader and cause global chaos.

Release Date:  October 28, 2011
Rating: PG
Genre:  Comedy spy-thriller
Cast:  Rowan Atkinson, Gillian Anderson, Dominic West, Rosamund Pike, Daniel Kaluuya and Richard Schiff
Directed by:  Oliver Parker
Story by:  William Davies
Screenplay by:  Hamish McColl
Produced by:  Tim Bevan, Eric Fellner, Chris Clark
Executive Producers:  William Davies, Debra Hayward, Liza Chasin

Synopsis:
Rowan Atkinson returns to the role of the improbable secret agent who doesn’t know fear or danger in the comedy spy-thriller Johnny English Reborn.  In his latest adventure, the most unlikely intelligence officer in Her Majesty’s Secret Service must stop a group of international assassins before they eliminate a world leader and cause global chaos.

In the years since MI-7’s top spy vanished off the grid, he has been honing his unique skills in a remote region of Asia.  But when his agency superiors learn of an attempt against the Chinese premier’s life, they must hunt down the highly unorthodox agent.  Now that the world needs him once again, Johnny English is back in action.

With one shot at redemption, he must employ the latest in hi-tech gadgets to unravel a web of conspiracy that runs throughout the KGB, CIA and even MI-7.  With mere days until a heads of state conference, one man must use every trick in his playbook to protect us all.  For Johnny English, disaster may be an option, but failure never is.

Official Site: http://www.johnny-english.com/
Facebook: http://www.facebook.com/johnnyenglishmovie
Images: http://linked.lbiusaccess.com/Universal/JohnnyEnglishRebornImages.zip

Universal Pictures:
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