
Celebrate Bee Gees Music With 2-Day Live Show In KL; Ticketing & Seating Plan Announced
Proudly presented by Milestone Production, this upcoming concert dives headfirst into the Bee Gees' monumental discography spanning four decades. From early classics like 'Massachusetts' and 'To Love Somebody', to the funky fire of 'Jive Talkin'' and of course, the disco megahits like 'Stayin' Alive' and 'Night Fever'. This concert has got all the grooves to transport you straight into the disco era.
Bringing that iconic Bee Gees sound to life is the talented Saturday Night Bee Gees from the UK. Over the years, this six-piece powerhouse has received rave reviews for their performances that perfectly capture the energy and essence of the original Gibb brothers with spine-tingling precision.
Concertgoers can look forward to unforgettable renditions of hits like 'How Deep Is Your Love', 'You Win Again', 'Tragedy' and many more. It's a dance-filled night of falsetto, funk and full-on nostalgia you won't want to miss! Concert details are as follows:
Saturday Night – Celebrating Bee Gees Concert
Dates: 31st July (Thursday) & 1st August (Friday) 2025
31st July (Thursday) & 1st August (Friday) 2025 Time: 8:30pm
8:30pm Venue: Zepp Kuala Lumpur
Zepp Kuala Lumpur Organiser: Milestone Entertainment
Milestone Entertainment Ticket Prices: Premium RM638 | VIP RM538 | CAT A RM398 | CAT B RM298 | CAT C RM198 | Platinum Box RM4,800 (6 pax)
Exclusively for Maybank Cardmembers: Enjoy up to 25% off on tickets when you pay with your Maybank card, T&C apply. For more information, log on to www.milestone-entertainment.com. It's going to be a couple of months before show day, so while we wait to get our groove on, how about we enjoy one of the Bee Gees' greatest hits to get the excitement going?
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Malay Mail
3 hours ago
- Malay Mail
Caught on the jumbotron: How literature helps us understand modern-day public shaming
LOS ANGELES, July 26 — The scene at Gillette Stadium in Massachusetts on July 16 was steeped in irony. During Coldplay's Jumbotron Song — the concert segment where cameras pan over the crowd — the big screen landed on Andy Byron, then-CEO of data firm Astronomer, intimately embracing Kristin Cabot, the company's chief people officer. Both are married to other people. The moment, captured on video and widely circulated on social media, shows the pair abruptly recoiling as Coldplay's lead singer Chris Martin says: 'Either they're having an affair or they're just very shy.' Martin's comment — seemingly light-hearted at the time — quickly took on a different tone as online sleuths identified the pair and uncovered their corporate roles and marital statuses. Within days, Byron resigned from his position as CEO while Cabot is on leave. This spectacle raises a deeper question: why does infidelity, especially among the powerful, provoke such public outcry. Literary tradition offers some insight: intimate betrayal is never truly private. It shatters an implicit social contract, demanding communal scrutiny to restore trust. When trust crumbles publicly French philosopher Paul Ricoeur's notion of 'narrative identity' suggests we make sense of our lives as unfolding stories. The promises we make (and break) become chapters of identity and the basis of others' trust. Betrayal ruptures the framework that stitches private vows to public roles; without that stitch, trust frays. Byron's stadium exposure turned a marital vow into a proxy for professional integrity. Public betrayal magnifies public outcry because leaders symbolise stability; their personal failings inevitably reflect on their institutions. When Astronomer's board stated the expected standard 'was not met,' they were lamenting the collapse of Byron's narrative integrity — and, by extension, their company's. This idea — that private morality underpins public order — is hardly new. In Laws, ancient Greek philosopher Plato described adultery as a disorder undermining family and state. Roman philosopher Seneca called it a betrayal of nature, while statesman Cicero warned that breaking fides (trust) corrodes civic bonds. The social cost of infidelity in literature Literature rarely confines infidelity to the bedroom; its shockwaves fracture communities. French sociologist Émile Durkheim's idea of the 'conscience collective' holds that shared moral norms create 'social solidarity.' As literature demonstrates, violations of these norms inevitably undermines communal trust. Leo Tolstoy's Anna Karenina (1875-77) dramatises the social fracture of betrayal. Anna's affair with Count Vronsky not only defies moral convention but destabilises the aristocratic norms that once upheld her status. As the scandal leads to her ostracisation, Anna mourns the social world she has lost, realising too late that 'the position she enjoyed in society… was precious to her… [and] she could not be stronger than she was.' In Gustave Flaubert's Madame Bovary (1857), Emma Bovary's extramarital affairs unravel the networks of her provincial town, turning private yearning for luxury and romance into public contagion. Nathaniel Hawthorne's The Scarlet Letter (1850) makes this explicit: Hester Prynne's scarlet 'A' turns her sin into civic theatre. Public shaming on the scaffold, the novel suggests, delineates moral boundaries and seeks to restore social order — a process that prefigures today's 'digital pillories,' where viral moments subject individuals to mass online judgment and public condemnation. Domestic crumbs and digital scaffolds Contemporary narratives shift the setting but uphold the same principle: betrayal devastates the mundane rituals that build trust. Nora Ephron's autobiographical novel Heartburn (1983), based on her own marriage's collapse to investigative journalist Carl Bernstein, weaponises domesticity. Heartburn's protagonist Rachel Samstat delivers her emotions through recipes — 'Vinaigrette' as a marker of intimacy and betrayal, 'Lillian Hellman's Pot Roast' as a bid for domestic stability and 'Key Lime Pie,' hurled at her cheating husband — become symbols of a life undone by public infidelity. Ephron's satire, later adapted into a film, anticipates our digital age of exposure, where private pain fuels public consumption and judgment. Jenny Offill's Dept. of Speculation (2014), which draws from her own life, shows another perspective: betrayal as quiet erosion. Offill never depicts the affair directly; instead, the husband's absences, silences and an off-hand reference to 'someone else' create a suffocating dread. This indirection shows betrayal's power lies in its latent potential, slowly dismantling a life built on trust before any overt act. Both works underscore betrayal's impact on the collective conscience: a lie fractures a family as fundamentally as a CEO's indiscretion erodes institutional trust. Power magnifies the fallout by turning private failings into public symbols of fragility. Even hidden betrayal poisons the shared rituals binding any group, making the notion of 'private' unsustainable long before any public revelation. The limits of power Literature acknowledges power's protective veneer from consequence — and its limits. Theodore Dreiser's Trilogy of Desire (1912–47), modelled on the Gilded Age robber baron Charles Yerkes, follows the rise of financier Frank Cowperwood, whose power shields him — until it doesn't. Even his vast empire proves vulnerable once his adultery becomes public. The very networks that protected him grow wary. Though many critics of the elite are themselves morally compromised in the trilogy, Cowperwood's transgression becomes a weapon to discredit him. His brief exile shows that power may defer, but cannot erase, the costs of betrayal. Once trust fractures, even the powerful become liabilities. They do not fall less often — only more conspicuously. Gender also plays a role in shaping these narratives. Male protagonists like Cowperwood rebound as tragic anti-heroes, their moral failings recast as flaws of character. By contrast, women — think Flaubert's Emma Bovary or Hawthorne's Hester Prynne — are branded cautionary figures, their transgressions stigmatised rather than mythologised. This imbalance in assigning consequences reveals a deeper societal judgment: while broken trust demands repair, the path to restoration often depends on the transgressor's gender. The unblinking eye From Tolstoy's salons to TikTok's scroll, literature offers no refuge from betrayal's ripple effects. When private trust visibly fractures, communal reflexes kick in. Scarlet letters, exile or a CEO's resignation all aim to heal the collective trust. The jumbotron, like Hester's scaffold, is the latest instrument in this age-old theatre of exposure. Jumbotrons. Scaffolds. Same operating system. Same shame. — Reuters


New Straits Times
a day ago
- New Straits Times
#SHOWBIZ: Grammy-winning US jazz musician Chuck Mangione dies
ROCHESTER: American two-time Grammy-winning jazz flugelhorn player Chuck Mangione, best known for his 1970s cross-over hit "Feels So Good," died this week at age 84 at his home in Rochester, New York. The prolific musician and composer — whose career spanned five decades and 30 albums — died in his sleep on Tuesday, a local funeral home said. "Chuck's love affair with music has been characterised by his boundless energy, unabashed enthusiasm, and pure joy that radiated from the stage," his family said in a statement to the Rochester Democrat & Chronicle newspaper. Mangione showed his appreciation for his audiences by sitting at the edge of the stage after his concerts, signing autographs for fans who stayed to meet him and the band, it said. Born Charles Frank Mangione in 1940 in Rochester, he was a virtuoso flugelhorn and trumpet player. He grew up in a household where his father exposed him to the jazz greats of the 1950s, including Dizzy Gillespie, a family friend who dined with them frequently. He began taking music lessons at age 8, and by the time he was a teenager, Gillespie was so impressed by his musical prowess that he gave Mangione one of his trademark "upswept" trumpets. His composition "Chase The Clouds Away" was featured at the 1976 Summer Olympics in Montreal, while his "Give It All You Got" was the theme music for the 1980 Winter Olympics in Lake Placid, New York. Mangione's biggest hit was his 1977 single "Feels So Good," which reached No.4 on the Billboard Hot 100 and was nominated for Record of the Year at the Grammys. His album by the same name is a staple on smooth jazz radio stations. Mangione won two Grammys out of 14 nominations — the first in 1977 for best instrumental composition for "Bellavia," named in honour of his mother. In 1979, he won in the best pop instrumental performance category for "The Children of Sanchez." The latter, a soundtrack for the movie of the same name, also won a Golden Globe. In the late 1990s, Mangione's music attracted new fans after he played himself on the Fox TV cartoon show "King of the Hill" as a celebrity spokesman for the fictional "Mega-lo-mart," with the slogan "shopping feels so good." He also scored the music for the 1998 Valentine's Day episode.

Malay Mail
a day ago
- Malay Mail
Grammy-winning jazz musician Chuck Mangione dies at 84
ROCHESTER, July 25 — American two-time Grammy-winning jazz flugelhorn player Chuck Mangione, best known for his 1970s cross-over hit 'Feels So Good,' died this week at the age of 84 at his home in Rochester, New York. The prolific musician and composer — whose career spanned five decades and 30 albums — died in his sleep on Tuesday, a local funeral home said. 'Chuck's love affair with music has been characterised by his boundless energy, unabashed enthusiasm, and pure joy that radiated from the stage,' his family said in a statement to the Rochester Democrat & Chronicle newspaper. Mangione showed his appreciation for his audiences by sitting at the edge of the stage after his concerts, signing autographs for fans who stayed to meet him and the band, it said. Born Charles Frank Mangione in 1940 in Rochester, he was a virtuoso flugelhorn and trumpet player. He grew up in a household where his father exposed him to the jazz greats of the 1950s, including Dizzy Gillespie, a family friend who dined with them frequently. He began taking music lessons at age 8, and by the time he was a teenager, Gillespie was so impressed by his musical prowess that he gave Mangione one of his trademark 'upswept' trumpets. His composition 'Chase The Clouds Away' was featured at the 1976 Summer Olympics in Montreal, while his 'Give It All You Got' was the theme music for the 1980 Winter Olympics in Lake Placid, New York. Mangione's biggest hit was his 1977 single 'Feels So Good,' which reached No. 4 on the Billboard Hot 100 and was nominated for Record of the Year at the Grammys. His album by the same name is a staple on smooth jazz radio stations. Mangione won two Grammys out of 14 nominations — the first in 1977 for best instrumental composition for 'Bellavia,' named in honour of his mother. In 1979 he won in the best pop instrumental performance category for 'The Children of Sanchez.' The latter, a soundtrack for the movie of the same name, also won a Golden Globe. In the late 1990s, Mangione's music attracted new fans after he played himself on the Fox TV cartoon show King of the Hill as a celebrity spokesman for the fictional 'Mega-lo-mart,' with the slogan 'shopping feels so good.' He also scored the music for the 1998 Valentine's Day episode.