Sephira

Vote for Mika!!!!!!!!!!!! I think that you are all really busy to made WAG third on UK iTunes Store:thumb_yello: I buy WAG but on the french store because impossible on the UK one:sad:

poor Mika we are really mad fan

WAG is number 7 in UK but in France is number 5 and in Italy number 2!!!! Mika naked,lol:roftl:

It's for jocking I love all Smiles and I wantt used it

:starwars::sniper::gun_bandana:

:roftl:Just some Mika devoted fans

Please vote again and again because the 2nd is not far away http://tweeterwall.mallplace.com/tw/usa/mr-twitter

From The Sunday Times September 6, 2009 Mika returns with The Boy Who Knew Too Much Follow-up to 2007's Life in Cartoon Motion includes first single We Are Golden and is Disney through a Tim Burton lens Lisa Verrico (Julin Broad) In a canalside studio complex in east London, Mika ushers me into a dimly lit room where a team of people are hunched over tables. The atmosphere recalls a school science lab. Several artists, including the singer’s sister, are pasting hundreds of tiny paintings, some smaller than a thumbnail, onto pieces of paper. For three weeks, Mika and his cohorts have been perfecting the artwork for his second album, the follow-up to 2007’s 6m-seller, Life in Cartoon Motion. The title, The Boy Who Knew Too Much, was decided on only last month, while the artwork will be delivered just in time for the album’s release in a fortnight. The record company, Mika concedes, must be having kittens. If it sounds as though the 26-year-old is poorly prepared to reclaim his pop crown, don’t be deceived. Beneath the flamboyant facade, the attention-seeking outfits and the songs that can seem as suited to seven-year-olds as grown-ups, lies one of the sharpest minds in music. Mika is meticulous about every aspect of his career — from the horn arrangements on the first single, We Are Golden (about which he argued with Jerry Hey, the maestro who has worked with Michael Jackson, Frank Sinatra and Elton John), to the shoes he wears on stage (handmade by Christian Louboutin, whose only male client is Mika). His critics — and there are plenty who find his songs too sugary-sweet to take seriously — may mock, but you’d be hard pushed to find a pop star more concerned with the concept of “art”. “Look at the detail in this,” insists Mika, pointing to a shrunken strip of photo-booth portraits repainted by hand. “We could have used the original photos and altered them digitally, but it wouldn’t have looked as good. The painting gives them a strange, 3-D effect. It gives them soul.” For the next 15 minutes, Mika takes me on a tour of his CD booklet. It features colourful cartoon characters called Mubbins, inspired by Little Golden Books, each with their own personality defect — one is narcoleptic, one cross-eyed and overweight, another a weed-smoking manic depressive. All hold clues to the songs and, according to Mika, parts of his own personality he has left for his fans to decipher. Even a painting of an old Tube ticket boasts a significant date: February 14, 1996. “What does it refer to? Well, obviously, it’s Valentine’s Day. And I’d be... er, hang on. If I was born in ’83, what age would I have been in ’96?” Mika ponders his question for a moment, then gives up on the maths. Clearly, his decision to drop out of the London School of Economics after a day, to pursue a pop career, was a wise one. Yet the poshly spoken, elegantly mannered and surprisingly attractive (he looks a lot more handsome off stage than on, not to mention considerably taller), Beirut-born, London-based singer is no longer the awkward wannabe who won a place at the Royal College of Music by sheer persistence. After failing his audition, Mika found the phone number of the tenor Neil Mackie, the school’s head of vocal studies, and hassled him for four weeks until he agreed to a second audition that won Mika a place. Within six months of its release, Life in Cartoon Motion turned Mika into an international pop star. The album sold everywhere from America to Australia, and he won three World Music Awards and a Brit, while the single Love Today was nominated for a Grammy. When it came to starting his second album, the spectacular success of its predecessor proved a problem. “I couldn’t deny that the landscape around me had changed,” explains Mika. “My plan was to write the album in my flat, just as I did with my debut. But I couldn’t. The fact that my old songs didn’t belong to me any more I found most disorientating. I write very selfishly. To me, my songs are bedroom records. Suddenly, sitting at my little white chipboard piano trying to write new ones, I couldn’t get out of my head the image of other people singing them back at me.” After a fruitless few weeks, he took advice from a musician friend he eventually admits was Pete Townshend. “He told me that if I wanted to keep making music, I would face the same challenge with every album. He said to stop romanticising songwriting, to think of it as a craft, then the art would come. The fact that it was Pete Townshend was important. If it had come from anyone else, I would probably have said, ‘Yeah, but your music is ****.’” The result was that Mika quit trying to write in the basement of his parents’ Kensington townhouse — “Hey, don’t make it sound like I live at home,” he pleads. “It’s a separate flat with its own front door, and I do all my own washing” — spending six months at London’s Olympic Studios, instead. “I went to the studio every day at 11am,” he recalls. “I had lunch at the same place at the same time and, in the evenings, a beer at the same pub. I love that concept of going to work, of having somewhere to be. It’s the same reason I had to get myself into the Royal College of Music. I knew I wanted to make pop music, but I needed somewhere to be at 9am, just to structure my day.” With the album largely written, Mika decamped to LA to work, once again, with the producer Greg Wells. “I did consider changing producer, but everyone else I spoke to told me what I should change about my sound, which smelt bad to me. There is a common perception that if you make a pop debut, you have to come back more complex and guarded on your second album. I wanted to do the opposite — not necessarily be more poppy, but certainly not apologise for making pop music. I wanted to celebrate it. That’s why the video for We Are Golden has me jumping around a bedroom in gold shoes and a pair of white pants. I’m like a 16-year-old, striking poses and staring at myself in the mirror.” Indeed, adolescence is the basis of The Boy Who Knew Too Much. Lyrically, it covers first kisses, long nights out being naughty and characters trying to figure out where they fit into the world, although since the protagonists tend to be fictional figures, it’s impossible to separate fact from fantasy. Sonically, too, it’s a slightly more grown-up successor to the relentlessly childhood-referencing Life in Cartoon Motion — there is less falsetto and reliance on nursery-rhyme melodies, and more widescreen soundscapes and moments of melancholy. There may be nods to Disney soundtracks, but there is also soul and, according to Mika, the spectre of his idol, Harry Nilsson, behind even the most discotastic tunes. He dislikes dissecting his songs, but says the album feels “like my adolescence, seen through a Tim Burton lens”. Veteran guests include the horn arranger and trumpeter Hey, the English cellist and string arranger Paul Buckmaster (Miles Davis, David Bowie, the Bee Gees) and LA’s Andrae Crouch Choir (Madonna, Michael Jackson), all known for their work with Quincy Jones. Other collaborators include the producer Stuart Price (Madonna, the Killers), and Imogen Heap on By the Time, a ballad the pair co-wrote over two days at Heap’s home after Mika admired her hair at the Ivor Novello Awards. “I wasn’t looking to duet with anyone,” says Mika. “But we decided it might be fun to write together and our voices just clicked. It's the first time that’s ever happened. My voice doesn’t seem to sit well with other singers.” More likely, Mika is uneasy about sharing songwriting duties. He claims not to be a control freak, but purposely isolates himself from any pop scene and relies only on a close team of people around him, whom he refers to as ‘‘family’’. In fact, several of them are family. Two of his three sisters work with him, as does his mum, a former children’s-wear designer who makes most of his clothes. His mother’s influence looms large. When Mika rented a fancy house in the Hollywood Hills as his LA base, she cancelled the booking, insisting he stay instead in the meagre apartment he had previously rented. “Was she allowed to do that? No. Trust me, no. She put a gypsy curse on me and said the more money I spent on comfort, the worse my album would be. Superstitious idiot that I am, I went back to the same old apartment. “I mean, I saw her point. Mum didn’t want me in a beautiful house, sitting round watching movies. Money matters to me because I never used to be able to pay my bills, which I can now. But to her, my career never has or ever will be about commercial success. It’s about discipline. That’s how this all started. Since I was 12 years old, she drilled discipline and a quest for excellence into me — tirelessly. It was hard growing up with her always harping on about hard work, but I now know what she means.” Mum needn’t worry. Mika is exhibiting no pop-star peccadilloes and his work ethic is impressive. On the day we meet — his only scheduled day off in August — he will spend eight hours on his artwork, before flying to Sweden to record a radio session. He knocks back almost every celebrity-party invitation and shuns famous friends. Fashion appears to be his only indulgence. “Oh, no, not fashion, dah-ling,” he mock-drawls. “Fashion is about flogging perfume. I hate fashion, but I do love style.” For this month’s London Fashion Week, Mika is hosting a dinner for a number of designers who contributed artwork for free to a recently released, low-key acoustic EP, Songs for Sorrow, which he financed himself. Among them are Peter Blake, Paul Smith, Alber Elbaz of Lanvin, and Louboutin, for whom Mika is working on the soundtrack for a short film, alongside David Lynch. “Do you want to hear who I am inviting to my dinner?” Mika whispers. “The famous folk on my list are: Kathy Burke, Adele, Ian McKellen, Rory Bremner and Alan Cumming. Even I looked at that list and thought, ‘Oh, boy, what a weird collection.’ What do I think it says about me? Ha-ha. I let you decide that for yourself.”

The competition is not close, we have to vote till the end

He is the 1st!!!!!!!!!!!!!!

2 more and Mika is the 1st!!!!!

8100!!!!

Now the 1st place:wub2:

Please 4 more!!!!!

:toot:MIKA:toot:

It doesn't work again:tears:

It's working again!!!!!!!!!!!!

:throw:me too We vote too much for Mika :wub2:that's why:roftl:

I cut my own hair too and the result always be good but I don't know if Mika is really talented for it:naughty:I want to see the result:lol3:

Je regarde qui passe à l'émission "On n'est pas couché" pour celle du 12 septembre (enregistrement le 9 sept.) LadyGaga y est annoncé mais c'est tout pour le moment. Si j'ai signe de la présence de Mika je post un message avec le lien pour réserver les places.

J'avais déjà réservé donc je ne vais pas demander à Axie de le faire pour moi.

I think that Mika in this interview reveal too much things private. The more you give to a journalist more he want. Mika is too nice and journalists are sharks:crash:

Is it possible to find a journalist who don't ask to Mika things about her intimate life past or present. :crash:

Après avoir complété le formulaire et validé, il y avait marqué que je devais être accompagné d'au moins une personne pour assister à cette émission, donc j'ai du mettre une personne.