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Oh No They Didn't! - LiveJournal.com

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    Is BET getting enough credit for their positive programming?  I don’t think they are…

    In the past, they’ve been accused of not representing black women right because of all the booty shaking videos with half naked chicks, however, over the last couple of years they’ve been cleaning up their act. They’ve  introduced a ton of new family-friendly scripted shows while ditching reality TV altogether. [Even though their competitors like VH1 were capitalizing big time off of that area.]

    This summer, they’re jumping back into the reality TV/docuseries realm, with four unscripted shows, including Hip Hop Sisters.  On the show Lil Mama pairs up with legends like her mentor MC Lyte, The Lady of Rage, Yo Yo, Smooth, and Monie Love  as they try to jump back into the rap game and go toe-to-toe with hip hop’s new generation of artists.

    HIP HOP SISTERS is a docudrama following the relaunch of six female rappers’ careers. MC Lyte, The Lady of Rage, Yo Yo, Smooth, Monie Love and Lil Mama join forces and declare themselves the Hip Hop Sisters. Their goal is to reclaim their titles as the Queens of Hip Hop — as they manage their drama-filled personal careers and lives and search for the next great female MC.

    I have a feeling this will be a huge shade fest and The Lady of Rage is a queen.

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    At the opening of a new media center at USC Wednesday, the men responsible for six of the 20 highest-grossing movies of all time (eight, adjusted for inflation) issued a stern warning to Hollywood about the scourge of their industry: blockbuster movies. Steven Spielberg and George Lucas, who have directed and/or produced Star Wars movies, Indiana Jones movies, Transformers movies, E.T., Jurassic Park, and Jaws, are concerned — very concerned — that it’s getting more and more difficult these days to make “really interesting, deeply personal” movies, because Hollywood would rather invest in big event movies with the potential to turn giant profits. Can you imagine such a thing?

    “You’re at the point right now where a studio would rather invest $250 million in one film for a real shot at the brass ring,” Spielberg said at the panel, “than make a whole bunch of really interesting, deeply personal — and even maybe historical — projects that may get lost in the shuffle because there’s only 24 hours.” He predicts dire consequences: “There’s going to be an implosion where three or four or maybe even half a dozen of these mega-budgeted movies are going to go crashing into the ground, and that’s going to change the paradigm again.”

    Spielberg bemoaned the shifts that have already occurred, between the long runs of his early-‘80s heyday (“If it was a hit, it was a year long. Raiders was in theaters for a year. E.T. was in a theater for a year and four months… That was an amazing situation back then”) and the tiny window that now exists between theatrical and home viewing. “There’s going to be eventually day and date with movies,” Spielberg warned (and there already is, for many indie releases), “and eventually there’s going to be a price variance. You’re going to have to pay $25 to see the next Iron Man. And you’re probably only going to have to pay $7 to see Lincoln.”

    On this point, Lucas piped up: “I think eventually the Lincolns are going to go away and they’re going to be on television.” To which Spielberg responded, “And mine almost was! This close. Ask HBO — this close!”

    Let’s make one thing clear before getting to the crux of the matter: at this point in his career, Spielberg should be able to basically make whatever movie he wants. Lincoln was a thoughtful, character-driven, intelligent picture, the kind studios should make more of, and the fact that he was basically only able to get it made because (as The Atlantic notes) he has his own infrastructure is sad. That’s a problem. Spielberg should, in 2013, get some leeway — and he’s making legitimate points about the way Hollywood’s constant state of grabbing for the next giant tentpole has squeezed out mid-level flicks. Everything either costs $250 million or $1 million; it’s the moviemaking equivalent of the disappearing middle class.

    What’s infuriating about this little diatribe is that it’s coming from the two men who are, it could be argued, more personally responsible than anyone for the current state of the business. The last great era of studio backing for “really interesting, deeply personal” movies was the 1970s, when the majors were funding the likes of The Godfather, Chinatown, The Conversation, Five Easy Pieces, A Clockwork Orange, All the President’s Men, Dog Day Afternoon, Nashville, and even Lucas’s own American Graffiti. And the overwhelming, record-breaking success of two movies brought that era to an end: Steven Spielberg’s Jaws and George Lucas’s Star Wars. Their films, with their giant grosses and something-for-everyone style, ended up putting their ‘70s contemporaries like Robert Altman, Hal Ashby, William Friedkin, Peter Bogdanovich, Francis Ford Coppola, and Martin Scorsese all but out of business.“Star Wars swept all the chips off the table,” Friedkin told Peter Biskind, in his invaluable book Easy Riders, Raging Bulls. “What happened with Star Wars was like when McDonald’s got a foothold, the taste for good food just disappeared. Now we’re in a period of devolution. Everything has gone backward toward a big sucking hole.”

    Even if you don’t share Friedkin’s dim view of their work and what it has wrought (and it should be noted that these men have made good, even great, movies), there’s no denying that the current reach for the “brass ring” of Avatar and Avengers-sized grosses is a direct result of the ways in which Jaws and Star Wars changed the business. If the monster got out of these two Dr. Frankensteins’ control, it doesn’t mean that they’re blameless for its creation, so the idea of two billionaire purveyors of the blockbuster mentality whining about the pervasiveness of the blockbuster mentality looks, sounds, and smells like what it is: bullshit. The most telling comment of the day came from Lucas: “We’re talking Lincoln and Red Tails — we barely got them into theaters. You’re talking about Steven Spielberg and George Lucas can’t get their movie into a theater.” So there you have it. When Altman and Ashby and Friedkin couldn’t get their movies into a theater because of Spielberg and Lucas, no problem. But now that the chickens have come home to roost, these guys have noticed the sky is falling.


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    The Big Bang Theory’s Jim Parsons is to play a gay rights activist in a new film.

    In Glee creator Ryan Murphy’s HBO film The Normal Heart, the actor famed for playing the socially awkward Sheldon Cooper will star alongside many A-list stars.

    The film will take place during the HIV crisis in New York City in early 1980s.

    Parsons will play Tommy Boatwright, a gay activist, the role that he played in the 2011 Broadway revival of the Tony-winning Larry Krammer play.

    The cast includes Julia Roberts as a paraplegic physician who treats several of the earlier victims of the disease.

    Mark Ruffalo will play a gay man who witnesses the disease begin to take the lives of many in his community, and Matt Bomer who plays a reporter in the film who becomes the lover of Ruffalo's character.

    Last year, Parsons became one of the biggest stars in the US to come out in the quietest way possible.

    Speaking to the New York Times about acting in the Broadway version of The Normal Heart, the journalist wrote: ‘[The play] resonated with him on a few levels: Mr Parsons is gay and in a 10-year relationship.’

    The Normal Heart production is scheduled to last over the summer with a premiere scheduled for 2014.


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    After having his NYC restaurant's health inspection score downgraded from an A to a B Joe Germanotta took to twitter to tell his side of the story.

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic


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    Debbie Emery for The Daily Mail writes:
    Justin Bieber really did take his latest date to the stars and back.

    The 19-year-old pop star was spotted sitting side-by-side with a mystery girl on the roller coaster at Space Mountain in California's Disneyland resort on Sunday night.

    With a Boston Bruins NHL cap sitting backwards on his head and a casual grey hooded jacket, Bieber seemed unfazed on the a space-themed indoor steel ride, as his adventure partner laughed in glee - or fear - next to him.

    Dressed in a casual red hooded top from the Victoria's Secret collegiate collection and her curly hair flying wildy, Justin's special friend seemed enamoured by her famous sidekick.

    After a few loops on the ride, they appeared to shut out everything going on around them and chat closely in an intimate way, with Justin leaning in to get closer to his pretty pal.

    Rather than being a romantic night out for two, however, the thrill-seeking couple were joined by 30 of Bieber's closest friends.

    The crew took over the kid-friendly theme park on the busy summer evening when the Baby singer arrived with his massive entourage of friends and burly bodyguards.

    Eye witnesses say they walked in like they owned the place - what would Mickey Mouse think of that? - and headed straight to California Adventure, followed by the more junior-themed Cars Land.

    Clearly not yet getting enough of an adrenalin boost, the group then went for a death-defying elevator ride on the 183-foot Tower of Terror, with its terrifying sudden plummet to earth.

    Upon arrival at Disneyland, which is the adjacent theme park, the Biebs pulled his diva card and closed the roller coaster at Space Mountain down so that they didn't have to stand in line and then rode the fast ride a number of times in a row.

    Security guards at the world famous resort strictly kept fans away so that no sneaky cell phone photos were taken of the fun-loving group, and huge minder Hugo Hesny sat behind the singer to keep a close watch throughout the 180-loops.

    With thousands of visitors and no doubt throngs of teenage fans in the park, Justin used underground tunnels and backstage areas to avoid being bothered while he moved between rides.

    I was there this weekend: My friend and I had just gotten drinks at Flo's V8 Cafe on Sunday night in Cars Land and were sitting outside since everything was closing down earlier than we expected. I noticed two Disney cast members in plaid shirts so I searched for a recognizable celeb face because that's usually who they're escorting around. I saw Bieber in the group but wasn't sure if it was really him since he was dressed so normal. I told my friend that I was almost positive that it was him but she didn't see him at all.  We started to leave and walk toward Disneyland in the same direction as they were going.  I kind of stayed back trying to finish my drink as my friend was walking closer to the group. I ran to catch up but she still didn't get a good enough look to confirm it was him.

    I tried to take two pictures without being obvious but they came out as blurry dark blobs.  NO ONE else noticed, but it was only us and a mom/child in the walk way of his group (by the Grizzly River Run and the Redwood Creek Challenge Trail).  I didn't want to actually bother him since neither of us are fans of his so we didn't say anything.  The group was smaller than 30 people, probably 12 of them and it was mostly guys.  He was joking around with one of the guys and didn't seem as annoying as he does in the media.

    When I had my phone out, one of the guys looked back at me a few times so I got scared. When we Googled it later, I found out his bodyguard supposedly beat up somebody for taking a pic of him the day before or whatever - thank god I didn't talk to him or snap a pic with flash!  The group turned at the Grand Californian Hotel and my friend and I went the opposite way toward the exit out to Disneyland.  We had planned to ride Space Mountain before it closed but the ride had a freakishly long line once we got there and people were saying it was broken (but apparently shut down by Biebz) so we went on Star Tours instead.

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    Image and video hosting by TinyPic

    The confirmed cast continues to grow, and this evening, I’m pleased to announce not one, not two, but three more characters who will be joining us as we return to Neptune:
    Kevin Sheridan - chronic ne’er-do-well Sean Friedrich
    Jonathan Chesner- as aspiring horticulturist Corny
    Brandon Hillock - as the long-suffering Deputy Sacks


    My apologies for putting the pictures together without the right proportions. I was doing it with a toddler on my lap and no mouse. LoL

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    Back 2 Blonde @ the Myspace Launch Event:










    Bye Ginger!gron

    source 12

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    Kylie Minogue has receipts for days. The Australian pop deity is a global phenomenon – landing more than 30 top 10 hits in the UK, not to mention hitting the number one spot in her homeland a record 10 times. Now she firmly has her sights set on the American market.

    Since signing to Roc Nation in February, the skirt-dropping diva has wasted no time networking with Jay-Z‘s clique, hitting the studio with heavyweights like Pharrell and now, according to The New York Times, with Timbaland.

    In the article, Bee Shapiro writes: “She has been spending time in Los Angeles, recording tracks with the Roc Nation producers Timbaland and Pharrell Williams.”

    We already knew about Pharrell but Timba too? The man behind JT and Beyonce‘s new music? Kylie is not playing!

    This isn’t the first time the “Slow” singer has tried to conquer the States. In 2003 she went for a more American sound on the criminally underrated Body Language.

    It didn’t really work out because Minogue was too busy being a bonafide superstar in other countries to promote it properly.

    Source: Idolator

    Kylie with Timbaland, Britney with Orbit... is it producer musical chairs for pop queens this year??

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  • 06/13/13--21:14: Song of the Summer post
  • Chart Juice: Robin Thicke Scores Third No. 1 on Hot R&B/Hip-Hop Songs

    Robin Thicke’s “Blurred Lines,” featuring T.I. and Pharrell jumps to No. 1 on Hot R&B/Hip-Hop Songs this week, dislodging Macklemore & Ryan Lewis’ “Can’t Hold Us,” featuring Ray Dalton, from the penthouse after a seven week stay. ("Blurred" is up one slot, while "Can't" falls to No. 2.)

    Thicke’s upbeat track achieved the No. 1 coup in part by posting a new sales high of 315,000 downloads (up 38% according to Nielsen SoundScan) and by improving 65% in streams to 3.4 million, which is also good enough for a No. 1 ranking on R&B Streaming Songs.

    “Blurred” is Thicke’s third to lead Hot R&B/Hip-Hop Songs, following “Lost Without You” (11 weeks, 2007) and “Sex Therapy” (2 weeks, 2010), and fourth overall for both T.I. & Pharrell.

    Mariah Carey’s “#Beautiful,” featuring Miguel, skips 5-3 in its sixth week on the list, pushing down Macklemore & Ryan Lewis’ “Thrift Shop,” featuring Wanz, 3-4. “Shop” has sold 6.5 million downloads since its September 15 release and leads all digital tracks for the year with 3.7 million hits in 2013.

    Wale’s “Bad” reaches a new peak as it rises 9-5 thanks primarily to a newly released remix (June 3) featuring Rihanna. The title shifts 71,000 downloads (up 199%), with the version incorporating Rihanna’s vocals accounting for 67% of that sum (48,000). Even with the availability of a star-aided remix, the original “Bad,” with Tiara Thomas, holds fairly steady with 23,000 downloads sold (down 3%). Both versions will be featured on Wale’s album "The Gifted," which is now available for pre-order ahead of its June 25 due date.

    While “Bad” leapfrogs J. Cole’s “Power Trip,” featuring Miguel, which stays put at No. 6 on the list, Cole gets the upper hand on Mainstream R&B/Hip-Hop (viewable on billboard.biz) replacing Wale at No. 1. The 2-1 move marks the North Carolina’s emcee’s first No. 1 hit at the format after the Missy Elliott-assisted “Nobody’s Perfect” stalled at No. 2 last year.

    Closing out the top 10 on Hot R&B/Hip-Hop Songs are 2 Chainz & Wiz Khalifa’s “We Own It (Fast & Furious)” falling 4-7, Drake’s “Started from the Bottom” dipping 7-8, Emeli Sande’s “Next to Me” (8-9) also dropping one spot and Justin Timberlake’s “Suit & Tie,” featuring Jay-Z holding tight at No. 10.

    Over on Top R&B/Hip-Hop Albums, Justin Timberlake’s “The 20/20 Experience” picks up a ninth week at No. 1 (27,000 copies, down 14%) marking the longest run at the top since Drake’s “Take Care” posted 12 weeks in 2011-12. Macklemore & Ryan Lewis’ “The Heist” steps 3-2 with 22,000 copies (up 1%) while Lil Wayne’s “I Am Not a Human Being II” jumps back into the top five (6-3) with 11,000 (down 10%).

    French Montana’s “Excuse My French” holds tight at No. 4 with 11,000 as well, despite a 38% decline and The-Dream’s “IV Play” tumbles 2-5 in its second week with 9,000 copies, a 60% drop, to round out the top five.

    Further down the list, Broadway makes a rare appearance as the original Broadway cast recording of "Motown: The Musical" debuts at No. 15 with 4,000 copies. The critically-acclaimed show, and subsequent recording, features over 50 Hitsville classics helping to tell Berry Gordy's story of the label¹s early days. Two of the show's stars, Charl Brown and Valisia LeKae, received 2013 Tony Award nominations for their portrayals of Smokey Robinson and Diana Ross, respectively.

    Danish duo Quadron makes its U.S. debut as “Avalanche” opens at No. 16 with 4,000 copies. The pair began generating buzz in 2009 with its Motown-inspired "Slippin," featured on their self-titled first album as well as “The Kids are All Right” soundtrack. Most recently, Quadron's vocalist Coco O. contributed a song to "The Great Gatsby" soundtrack, "Where the Wind Blows.""Avalanche's" lead single "Hey Love" has been viewed 520,000 times on YouTube.


    The Summer Song Of 2013: Will Daft Punk 'Get Lucky'?
    … Or will it be Florida Georgia Line's crossover "Cruise"? Robin Thicke? Icona Pop? Let the race begin

    Barring a sudden run of bad luck this summer, radio programmers think Daft Punk will claim the 2013 Song of the Summer title. But predictions also include remixed country-to-pop crossover "Cruise" by Florida Georgia Line; retro-flavored hits from Bruno Mars and Robin Thicke; and the week one summer song leader Macklemore & Ryan Lewis, Icona Pop and others.

    Handicapping each year's Song of the Summer has become a shared experience, a throwback to the days when radio overall and top 40 in particular held immense sway over pop culture. The eventual choice of the summer song always says something about not only public taste, but the climate at radio. We reached out to a cross-section of radio programmers and readers of Billboard Top 40 Update's "Ross On Radio" column to help handicap the 2013 Song of the Summer.

    Daft Punk's "Get Lucky" is clear proof of climate change. During a previous dance music boom between the mid-'90s and early '00s, the act's "Around the World" and "One More Time" struggled for radio acceptance. "Get Lucky" came out in April to immediate major-market airplay and has just cracked the top 10 at mainstream top 40 radio. The duo's "Random Access Memories" spent two weeks at No. 1 on the Billboard 200 while posting the year's second best sales week when it entered atop the chart two weeks ago.

    Daft Punk is the obvious candidate to WBZZ (100.7 Star FM) Pittsburgh assistant PD/music director Scott Alexander and WFLZ Tampa, Fla., PD Tommy Chuck. There's also international support from John Simon, operations director of the United Kingdom's Real Radio/Smooth Radio group, Icelandic programmer Rúnar Róbertsson and Sander Schrik of the Netherlands' OOG Radio.

    "If the song of the summer isn't 'Get Lucky,' we're doing it wrong," says Leslie Scott, brand coordinator of classic rock KMTT (the Mountain) Seattle. "A dance song about sex with a hook that won't quit? It's a no-brainer."

    While "Get Lucky" reflects the current excitement about Electronic Dance Music, the longer incubation period for hit records means that the Song of the Summer candidate isn't always exactly "the sound of now." Kid Rock's 2008 contender "All Summer Long" was a nine-month-old album cut, but required relatively little set-up after becoming a single. Now, marketing plans are often more elaborate. Last year's winner, "Call Me Maybe" by Carly Rae Jepsen was already a hit before Memorial Day and had been building in Canada since the previous fall. And Daft Punk's main competitor began its journey at country radio last summer.

    That song, Florida Georgia Line's "Cruise," now featuring Nelly, was second in reader mentions. Kid Kelly, who's been playing the song on SiriusXM's Hits 1 for months, actually calls for PDs to play the original country hit. "If programmers have the sack to play it, they'd see it's a smash," he writes. Others chiming in for the song include Premiere Networks' Tom Garrett and KHTT Tulsa, Okla., PD Jet Black.

    Similarly, Icona Pop's "I Love It," featuring Charli XCX , needed more than a year to travel from the music blogs to the European charts to U.S. synchs to Summer Song of 2013 contention. The Washington Post's Chris Richards actually tipped "I Love It" as a left-field candidate for the Summer Song of 2012, but it didn't begin its long march to the top 10 here until a "Girls" episode in January. For that reason, it's hard to associate "I Love It" with this summer, but it certainly has the right feel and still sounds like little else on the radio. It gets the vote of ERG Music VP of programming Mike Setlock. This week, "I Love It" is still growing 4-3 on the Pop Songs chart.

    A lot of the summer song candidates are also "the sound of then" in other ways. "Get Lucky" is a throwback not only to late '70s disco, but to international late '90s hits like Stardust's "Music Sounds Better With You." And two of its other competitors have a decidedly retro feel as well.

    WWCK Flint, Mich., PD Jerry Noble--who was known for his early support of Kid Rock's "All Summer Long"--made Robin Thicke's "Blurred Lines" his Summer Song of 2013 prediction weeks ago. Before Memorial Day, Noble expressed concern that ""It could be a bit too 'dirty' for some pop guys," he allows. "Blurred Lines" this week moves 6-1 on the Hot 100 and lands at No. 3 on the premiere Songs of the Summer ranking.

    Thicke's main competitor in the battle of the grown-and-sexy R&B jams is Bruno Mars'"Treasure," with mentions from WBZZ's Alexander, OOG's Schrik, and Robbins Entertainment A&R director Matt D'Arduini. Mariah Carey's "#Beautiful," featuring Miguel, sounds more like the summer of 1963 than any new song actually commissioned for the movie "Dirty Dancing." It was the choice of Rawlco Saskatchewan PD Chris Myers, but seems to have lost momentum in recent weeks after an initial Clear Channel radio push.

    Rihanna's "Right Now" is a calculated party jam in the tradition of previous summer hits like Black Eyed Peas'"I Gotta Feeling," Pitbull's "Give Me Everything," and LMFAO's "Party Rock Anthem." Rihanna was a regular summer song contender until her release schedule changed several years ago. "Right Now" got some initial airplay earlier this year, then was throttled back by PDs until summer, not unlike Katy Perry's "Last Friday Night (T.G.I.F.)."

    Imagine Dragons'"Radioactive," which has been scaling the Alternative list for 38 weeks, gets a nod from WEEM Pendleton, Ind., GM Jered Petrey. Because of the length of time that it still takes rock hits to cross at top 40 these days, the obvious summer-flavored song on the group's Night Visions album, "On Top of the World," will likely stay there, at least until next summer. Meanwhile, reader Jennifer Durr says that she thought Capital Cities'"Safe and Sound""would be the summer jam of 2011," when it first surfaced on YouTube, "then 2012."

    "Ross On Radio" readers made their predictions in mid-May. Since then, we've seen fast-growing new releases from Miley Cyrus, also going the summer party anthem route with "We Can't Stop" and Austin Mahone, on his way to first-all-ages-hit status with "What About Love." Zedd's "Clarity," featuring Foxes, is more of a pure-EDM competitor than "Get Lucky." In recent weeks, it has continued to build along the lines of label-mate Elle Goulding's "Lights." Maroon 5 had two summer 2012 hits with "Payphone" and "One More Night." This year, the band's "Overexposed" album is still going with "Love Somebody."

    Finally, there's the possibility that one song may be a societal reflection of summer 2013, not just a musical one. Macklemore & Ryan Lewis'"Can't Hold Us" will almost certainly remain a radio staple throughout the summer, taking the first week of Billboard's Summer Song tally. But "Same Love," the same-sex equality ballad that has already sold 678,000 downloads (according to Nielsen SoundScan) and become a worldwide pop hit, is already building at top 40, meaning it will almost certainly be the soundtrack when the U.S. Supreme Court decision on marriage equality comes down this month. That makes it the current equivalent of Janis Ian's "Society's Child," the summer 1967 hit that was on the radio when the Supreme Court ratified interracial marriage.


    TL;DR Daft Punk wins the summer. But you should discuss your choices in the comments! What will be YOUR song of the summer?

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    Forget having the same rights as men, earning as much money as men, and having as much control over our bodies as men. Those were all boring feminist projects that we haven’t needed to worry about since that magical moment in the ‘70s when Gloria Steinem clicked her dowdily shod heels together three times and chanted, “There’s no political aim like equality.”

    Once all that was solved, along came postfeminism to tell us what we wanted next. Since all gender-based inequality had been tidily eradicated, we could finally want the two things men so famously want: sex and success. In fact, as Sex and the City articulated, we were actually supposed to want to have sex like men: no expectations, no commitments, no emotions. Just pure physical pleasure. Get it, girl.

    Of course, Carrie Bradshaw and her gal pals didn’t succeed at eliminating all emotion from their romantic lives; in the end (and, yes, the movies count), Sex and the City packed in just as many tears and wedding dresses and grand gestures as any of the Hollywood romantic comedies to which it was supposed to be an antidote. Conventional wisdom holds that it passed its torch on to Girls, an idea that makes perfect sense as long as you believe that any clique of four single white women in New York City is basically the same. But if you’re more interested in themes than casting practices, the ideological heir to SATC isn’t Lena Dunham’s show, with its neurotic, self-aware characters and painfully unfulfilling bedroom scenes; it’s Harmony Korine’s Spring Breakers and Sofia Coppola’s The Bling Ring, two films that take its postfeminist premise to a tantalizing extreme.

    Spring Breakers, a neon-tinted tale of college girls who rob a diner to finance the Florida vacation of their MTV-molded dreams, takes enough time off from ogling its ex-Disney cast to make a subtle (and, I’ve argued, slyly conservative) argument that television and hip hop have turned millennials into a self-obsessed, amoral generation. Based on a true story, The Bling Ring dramatizes the downfall of a group of Southern California high schoolers who spent nearly a year breaking into and burglarizing celebrities’ homes. A perfect storm of boldface names – the thiefs’ targets included Paris Hilton, Audrina Patridge, and Lindsay Lohan, and Bling Ring member Alexis Neiers was filming the E! reality series Pretty Wild at the time of her arrest – and celebrity-culture hysteria, the saga dominated tabloid headlines for months in late 2009. The parallels between these two stories of teenage girls whose obsession with pop culture drives them to crime are obvious, but the films have more in common than shared subject matter: they identify a new archetype.

    Despite major tonal differences — The Bling Ring attempts to understand young women and their relationship to celebrity culture, while Spring Breakers settles for exoticizing and drooling over them — both movies paint the teen girl of 2013 as a consummately liberated creature. A drastic departure from the insecure, anorexic mean girl and the secretly beautiful nerd in dire need of a makeover who we’ve seen over and over in film and on TV, she’s as arrogant as any guy on the football team. Sure, she has sex “like a man,” not only seeking pure physical gratification, but also living without fear of sexual violence. In one Spring Breakers scene, Rachel Korine’s Cotty flips the power balance on a potential aggressor, telling him, “You’re never going to get this… because you’re a little bitch.” Taissa Farmiga’s character in The Bling Ring appears at her boyfriend’s bedroom window one night brandishing a freshly stolen gun and ready for a romp. But for this mythical new-model teen girl, sexual agency isn’t even the point. It’s tangential to her lust for money, power, fame, and the elusive nexus of those desires, which Nick Prugo (the sole male member of the Bling Ring’s inner circle) identified to Vanity Fair writer Nancy Jo Sales as “the lifestyle that we all sort of want.”

    In fact, The Bling Ring’s fictional version of Prugo, Israel Broussard’s Marc, is the only self-conscious character in the film, tormented by the fear that he’s not as attractive as his peers. Marc’s introspective nature and anxieties about his appearance make him a sharp contrast to Katie Chang’s fearlessly acquisitive Rebecca (based on real-life Bling ringleader Rachel Lee) and Neiers’ surrogate, Nicki (Emma Watson). “I want to lead a huge charity organization. I want to lead a country for all I know,” Watson’s blithely self-assured character tells the press at one point, repeating a Neiers quote from Sales’ 2010 article, “The Suspects Wore Louboutins,” on which The Bling Ring is primarily based.

    Physically safe and autonomous in ways that teenage girls haven’t historically been, socially and financially secure to the point of boredom, and endowed with limitless self-esteem, Korine’s and Coppola’s heroines have vaulted all the way to the top of Maslow’s hierarchy of needs. Actualization is what they’re after. It’s no coincidence that Nicki and her mom are practitioners of The Secret, or that the Spring Breakers crew approaches armed robbery like a video game to be won. These girls aren’t stealing celebrities’ red-carpet outfits and shooting up gangsters’ parties to fill some hole in their lives; they’re doing it to fulfill their destiny.

    The question is, to what extent are these narcissistic postfeminist millennial supergirls an accurate reflection of a new breed of young women? Have we truly made so much progress that teenage girls no longer have to worry about the problems that plagued their mothers, and even older sisters – eating disorders, date rape, bullying, depression?

    It’s easy to dismiss Korine’s characters as middle-aged male wish fulfillment, bikini-clad but so confident and in control that you don’t even have to feel guilty for objectifying them. At the very least, they were created by a filmmaker who’s out of touch enough with youth culture to comment on MTV Beach House in 2013.

    Less sensational but more haunting are the girls of The Bling Ring, in that their story is based on real events, with much of Coppola’s dialogue pulled straight from Sales’ interviews. But what doesn’t make it into the movie is the block of terrifying statistics about girls in the Bling Ring’s cohort that Sales includes in her recently published, movie tie-in book. One in ten has an eating disorder, she informs us; teenage girls attempt suicide three times more often that teenage boys. And speaking of Sales, it shouldn’t escape notice that Nick Prugo and Alexis Neiers were the only two out of six Bling Ring defendants she was able to interview for her Vanity Fair piece. If Prugo benefitted from portraying himself as an insecure hanger-on, just following Rachel Lee’s lead, Neiers was building the ditzily hyper-ambitious brand that had already won her a reality show. In drawing heavily on Sales’ profile, Coppola is also reproducing the characters that Prugo and Neiers created for themselves and their friends. Like the Spring Breakers clique, they’re as much a fantasy as the idea that we live in a world that doesn’t need feminism anymore.

    The fact these girls aren’t more representative of their peers should take nothing away from The Bling Ring’s nuanced examination of wealth, boredom, and celebrity culture – three topics on which Sofia Coppola has long been cinema’s most perceptive observer. To her credit, Coppola isn’t a moralist; some viewers swore off her forever when, in her 2006 biopic, she attempted to understand rather than condemn Marie Antoinette. It’s not the filmmaker I’m worried about – it’s the critics who will lazily use the recent explosion of “teen girls gone wild” films (there’s also Violet & Daisy, about a pair of adolescent female assassins) to convince us that the current generation represents some kind of postfeminist dream, or nightmare. Don’t believe them.


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    Sara Bibel for Zap2It writes:

    IFC has renewed its hit original comedy series Portlandia for fourth and fifth seasons. Each season will feature 10 half-hour episodes, to premiere in early 2014 and early 2015, respectively. The Emmy® nominated, Peabody and WGA Award-winning series is created and written by Fred Armisen (SNL) and Carrie Brownstein (Sleater-Kinney), stars of the show, and Jonathan Krisel, the show’s director.  Portlandia is executive produced by Lorne Michaels and produced by Broadway Video.

    “Portlandia has celebrated sustainable local agriculture, underemployment, avian crafting, gender politics, intense bicycle messengers and so much more,” said Jennifer Caserta, president and general manager of IFC.  “We can now celebrate two more seasons.”

     The first three seasons of Portlandia expanded the boundaries of gentle satire and social commentary. From the feminist shopkeepers Toni and Candace to the overly eco-conscious couple Peter and Nance, Armisen and Brownstein transform into a collection of charmingly earnest characters who make up Portlandia, the quirky, free-range world created as an affectionate love letter to Portland, OR.

     In addition to its regular inhabitants, Portlandia has been home to an impressive list of guest stars, including Kyle MacLachlan (Desperate Housewives, Twin Peaks), Chloë Sevigny (American Horror Story), Jeff Goldblum (Jurassic Park), Kumail Nanjiani (Franklin & Bash), Roseanne Barr (Roseanne), Rose Byrne (Bridesmaids), Patton Oswalt (Young Adult), tennis champion Martina Navratilova, and George Wendt (Cheers), among many others.

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    Corin "Corky" Nemec -- star of the '90s sitcom "Parker Lewis Can't Lose" -- is suing the filmmakers he claims are responsible for the boating accident that mangled his leg, insisting it's THEIR fault he suffered permanent injuries ... and now he's out for payback.

    The accident occurred in January in Belize Nemec was riding on board a boat to the set of B-horror movie "Rise of the Dinosaurs" ... when the vessel slammed violently into a submerged barge.

    Nemec told us the crash sent him flying into the side of the boat and as a result, he broke his femur in 3 places, lost TONS of blood, and needed emergency surgery to keep him alive.

    Now Nemec has filed a lawsuit, claiming the filmmakers were negligent in hiring an operator who drove the boat recklessly. And to make matters worse, Nemec claims the filmmakers weren't even carrying required worker's comp insurance.

    The suit says the accident left Nemec with permanent injuries ... and that six months later, he's still being treated. He's suing for unspecified damages, exceeding $25,000.


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    Besnard Lakes, Godspeed You! Black Emperor also on long list

    The Polaris Music Prize today announced their long list of nominees for the 2013 award, including Tegan and Sara's Heartthrob, Purity Ring's Shrines and Metric's Synthetica. Godspeed You! Black Emperor's Allelujah! Don't Bend! Ascend!, the Besnard Lakes' Until In Excess, Imperceptible UFO and New Pornographers leader AC Newman's solo album Shut Down the Streets are also among the 40 artists nominated for the prestigious Canadian prize.

    "This year's long list is all over the map, but in the best possible way," Steve Jordan, Polaris founder and executive director, said in a statement.

    Every year, the Polaris Prize honors the Canadian Album of the Year by giving the winning artist a $30,000 award. The decision is made by a panel of 200 journalists who focus solely on merit; sales and genre are not taken into consideration.

    "A lot of our jury expressed that this was the most difficult Polaris ballot they've ever submitted. The results of this careful and passionate deliberation will make for some truly engaging listening for music lovers," said Jordan.

    The short list will be announced on July 16th in Toronto and the Polaris Gala will be held on September 23rd. For the full list of 2013 Polaris Awards nominees, visit the official website.

    Source: RS

    Canadian music post? :D

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  • 06/13/13--22:16: RiRi Hearts MAC Launch Date

  • From Temptalia:
    RiRi Hearts MAC Summer Collection
    This is more than summer love. Rihanna and M∙A∙C strike a chord with an online-exclusive colour collection created by the global superstar. Bronze and cool coral combine for a Powder Blush Duo in the unforgettable Hibiscus Kiss, while Retro Matte Lipsticks in RiRi Boy, Heaux and the instant classic RiRi Woo make a statement against sheer, shimmering skin highlighted with rose gold Lustre Drops.
    Exclusively online.

          Lipstick ($15.00 U.S. / $18.00 CDN) (Limited Edition)
              RiRi Woo: Matte cool red (Retro Matte)
              RiRi Boy: Matte vivid lavender (Retro Matte)
              Heaux: Matte berry (Retro Matte)

          Powder Blush Duo ($26.00 U.S. / $30.00 CDN) (Limited Edition)
              Hibiscus Kiss: Cool coral blush and matte neutral bronze duo

          Lustre Drops ($20.00 U.S. / $24.00 CDN) (Limited Edition)
              Barbados Girl: Rose gold bronzer

    Availability: North America June 18, 2013 at www.maccosmetics.com at NOON EST, 1.800.588.0070; International June 2013 at  www.maccosmetics.com, 1.800.588.0070.

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    Could this be the beginning of Mission Impossible 5?

    Tom Cruise and Jeremy Renner were spotted together at the Sunset Towers Hotel on June 14th, 2013. Tom Cruise wore dark jeans and a jacket over a blue shirt, Jeremy Renner in a gray suit and brown leather shoes. He had his hair slicked back in hair gel.

    lol Tom's face

    Source: fan-girl.org

    Cut your hair, Jeremy

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    01:15 - she informs everyone she has depends in her bag.
    01:50 - parenthood fans - She is grateful for the show fans, she felt guilty about the storyline. She shops at Ralphs, she is obsessed with pizza rolls.
    04:03 - she doesn't want to play a cop or a lawyer because she will suck at it and cry all the time. She sucked when she played a lawyer
    04:25 - (better off listening to this cos my summary won't do it justice)auditioning for parenthood. when she was told about the role, she was hesitant because didn't want to play a mom. She was a mum at 18. she was afraid of the role. She was the last to be cast and was told to bring a bag if she is cast, she get to stay she is,  if not she was on a plane back home.
    07:16 - Improv on the show - she didn't have any training, but she learnt quickly.
    08:08 - acting training - She learned as she earned. She was lucky to be picked by good filmmakers. she learnt by watching people. Her mum was a cleaner, she grew up poor and after school her and her sisters would go to the mall her mum cleaned and do impressions while her mum worked.
    09:47 - she used to over think her roles and it led to her being fired from The Young And The Restless.
    10:28 - parenthood stage directions - There are none. She asks the writers to write less for her, she doesn't like to talk (bitch, don't lie - op). She goes off about chatterbox vs chatty catty.
    11:49 - cast chemistry, did they have to do team building exercises? - They bonded from the start and it wasn't forced. She does an impression of the fakeness that goes on on some shows. and talks about how people are forced friends (compares it to summer camp) and then don't talk to each other after the show ends, but that doesn't happen on parenthood.
    12:49 - she likes eating in the background in family scenes.
    13:13 - calling all the kids on the show buddy - She started it...she has no idea...it just comes out.
    13:54 - evolution of Kristina - Kristina bugged her the first two seasons and she wanted to slap her. She gave Kristina a back-story because we have never seen her family . Last season chipped away at Kristina's type A personality. "Who the hell goes to Bob Little and Amber's hotel room?" She didn't want to do it. She hopes the next season is more of a celebration for Kristina.
    16:19 - smoking pot - she is not a big pot smoker even though her last name is Potter. "Some jackass" wrote an article called Smoking Potter....he didn't like her very much.
    17:42 - origin of the breast cancer story line - Trips to the boob manager, story we have all heard before about emailing Jason, she was worried about losing her job. Jason's wife going through cancer.
    20:63 - playing a real sickness vs fake sickness - James Lipton jokes. She made a point to not know anything. She learnt about cancer as Kristina learnt. Her real life husband is a cancer doctor.
    22:38 - preparing - Peter and Dax make fun of her and her way of learning lines. She has all sorts of highlighters and notes. Her pages look like rainbow brite. This year she only used one highlighter and it still had ink in it, she was really proud of herself.
    24:24 - crying - Her sons give her hell for crying...swearing is involved. Her son thinks her crying is BS. She is not a big cryer in real life, she tells him to relax because it pays the bills. It takes a toll and she gets headaches at times. She got depressed at the end of the season and went to see a doctor. She was really down and weird and found it hard to turn it off.
    27:16 - crying process - She used to get amped up to cry, but she felt the more she did that more crappy her acting was. She has learnt to be relaxed about it and accept when she doesn't get there. The therapist she saw at the end of last season taught her a crying technique which requires her to breath in the shape of a box...(I don't get it - op)
    28:34 - is life after parenthood difficult? - She is anxious about working on word perfect shows like Newsroom.  She is not sure she can act in shows like Newsroom and Boston Legal (again).
    30:07 - she wants to do parenthood forever and when it ends she will do it on hollywood Boulevard with Elmo and cookie monster.
    30:40 - what roles is she attracted to? - She prays about it. Every thing in her career happens and it should. She feels like she is starting all over again after taking a 4 year break due to her father's death. If she says no to a role it means there is something in it unless it is a lawyer or a cop.
    32:07 - film or tv? - Can't remember if her last movie was Saw or Last House On The Left, says they are the same thing (lol - op).  Whatever the medium is she is happy to do it, but it is slim pickings for movies and no one is knocking on her door.
    33:40 - advice for women - maintain your sense of self. It's hard and she doesn't have anything uplifting to say.


    She is funny, and a bit spacey the 35 minutes will fly by. I know some people consider cancer storylines  to be awards show bait, but I think voters and viewers can see through it by now. The buzz is well deserved for her and the show. Just wish the same had happened for Erica, she was amazing in season 3.

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    One of 3 TV attachments on Fiddy's slate, the hour-long drama series for the Starz network titled Power, has been given a series order by the network, for a 2014 debut.

    Power will center on a New York nightclub owner "who skirts the line between legitimacy and criminality."

    "Power" tells the story of James "Ghost" St. Patrick, a wealthy New York City nightclub owner who caters to the city's elite. He wants to build an empire, turn the club into a Fortune 500 business, but there's just one problem: Ghost is living a double life. When he is not in the club, he is the kingpin of the most lucrative drug network in New York for a very high-level clientele. His marriage, family and business all become unknowingly threatened as he is tempted to leave his criminal life behind and become the rags-to-riches businessman he wants to be most of all.

    Randall Emmett of Emmett/Furla is exec producing the project, alongside Jackson and Mark Canton (300).

    Courtney Kemp Agboh (writer and producer of The Good Wife) is writing the script for Power, and will also serve as exec producer.

    "This is a passion project for me and I couldn't be more thrilled to have found a home with STARZ. I look forward to working with this incredibly talented team on making 'Power' a hit show," says Curtis "50 Cent" Jackson.

    The first season will be eight, hour-long episodes and will begin filming in late 2013.

    The collab is all part on an ongoing relationship between Fiddy and Emmet/Furla that has seen feature films like Freelancers, and the upcoming thriller The Tomb, among others, produced.


    Before everyone writes this off,  Courtney Kemp Agboh (writer and producer of The Good Wife) is involved in it. 50 is only "producing" ,as long as he doesn't attempt to star in it and lets her work some Good Wife Magic, this might actually be good.

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    Kanye West unveiled his American Pyscho-inspired short film during his listening session in Los Angeles on Friday night. Just like “New Slaves,” the graphic visuals were projected against a wall outside Milk Studios, where hundreds of celebrities, journalists, and tastemakers gathered to hear his new album Yeezus in a warehouse with flashing lights.

    The two-minute clip was shot earlier this month in Brooklyn and stars Kim Kardashian’s BFF Jonathan Cheban and her sister Kourtney’s boyfriend Scott Disick. In the horror film, a dapper Disick ends up attacking Cheban with an axe, leaving his bloody body on the floor.

    Rap-Up was on the scene and captured some footage. However, it was difficult to hear the dialogue as Yeezus was blasting in the background. The police eventually asked ‘Ye’s camp to turn off the sound.

    The event brought out Justin Bieber, Tyler, the Creator, Evan Ross, and Disick, who were also seen jamming to Yeezus. However, Yeezus himself never blessed the crowd with his presence.



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