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Oh No They Didn't! - LiveJournal.com

older | 1 | .... | 64 | 65 | (Page 66) | 67 | 68 | .... | 4830 | newer

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    Michael C. Hall shocked fans back in January of 2010 when he revealed he was undergoing treatment for Hodgkin’s lymphoma. Three years later, Showtime’s Dexter star, with the support of his costar-turned-wife, turned ex-wife, Jennifer Carpenter, remains cancer free.
    “There is a lot of cancer in my family, people who’ve gone through it, survived it, died from it,” Hall told reporters at a press conference in Beverly Hills recently. “Going through that experience maybe helped me to feel closer to some of them.”
    For Hall, Dexter is a career-defining role, ironic that it should coincide with his life-threatening illness. According to him, the key to getting through it was time off for treatment.
    “I had the luxury to really commit to my treatment,” revealed Hall. “I have good health insurance. Truly that makes things a lot easier.”
    The 42-year-old actor began his career on the HBO series, Six Feet Under, before landing the Showtime hit, about a blood-splatter expert who moonlights as a vindictive serial killer.

    Carpenter, 32, plays his sister, Deb, a cop who for a long while was unaware of her brother’s bloody proclivity. After months of dating, Carpenter and Hall were married in December of 2008 and were divorced two years later, after his cancer went into remission. They continue to play opposite each other on the show and earlier this year there were rumors of a reconciliation between the two.
    “I think it’s a testament to our individual and collective commitment to the show,” said Hall about their evolving relationship. “We’ve been through quite a journey in our personal life, but thankfully that remains a fundamental friendship and respectful.”
    Hall and Carpenter are thrilled about the seventh season, because Deb finally realizes her brother is a murderer.
    “That’s the big challenging situation that Dexter has to be vigilant about,” said Hall about the reveal. “He is ready to lay it out there, ‘This is who I am, this is what I do and I suspect if you really challenge yourself, you agree with that.”


    Deb Appreciation Post?!

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    Leah Carroll: Why Does Ke$ha Exist?

    She may be the perfect pop-culture koan.


    "A palimpsest written in glitter pen, she evokes Janis Joplin, early Madonna—and Liberace. A pop star who could only exist in the post-pop-star era, Ke$ha is what comes after Fergie’s lady lumps and Britney’s breakdown."

    "Kesha’s book is [...] beautiful and indulgent, more a record of fame than an analysis of it."

    "Why is there all this hate for Ke$ha, anyway? What is it about, as the New York Times recently put it, Ke$ha’s challenging of “double standards by seizing male rock’s license to misbehave” that makes her such a "lightning rod"?"

    "The best stuff of her songs, that winking, self congratulatory and trashy candor, informs the substance of the book."

    "All this speaks to the mystery of Ke$ha’s existence as a pop star, and a truly great one at that. She is sparkly and pretty but she posts pictures of herself peeing in the street. She is sexy but never kittenish. She is likely, at this point, very rich, but her most flashy possesion is a vintage car. Is she a third-wave feminist or some kind of terrible digital chimera created by the music industry?"

    "Most importantly, is it okay for me to like Ke$ha so much?"

    Read the full review at the beautifulsource!

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    Britney comes in at Number 7 on Forbes' annual Highest-Paid musicians list this year, earning $58 million, ahead of the rest of the ladies in the game. The pop diva returns to the ranks of music's elite earners with millions from endorsements and a fragrance line with Elizabeth Arden. Her latest album, Femme Fatale, earned platinum certification in the U.S. And X Factor, obv

    #25. SADE, $33 million
    The reclusive Nigerian-born, Britain-bred singer-songwriter squeaks onto our list thanks to a lucrative tour that included nearly 100 show dates in our scoring period.

    #24. MICHAEL BUBLE, $34 million
    The top-earning Canadian musician not named Bieber pulled in millions from a long but efficient tour, as well as a multiplatinum Christmas album titled—what else—Christmas.

    #23. KANYE WEST, $35 million (tie)
    The mercurial rapper-producer had a big hit with his Jay-Z collaboration Watch the Throne and the ensuing tour; he also designs shoes for Nike and a line of women's clothing.

    #22. ADELE, $35 million (tie)
    The big-voiced Brit has sold over 23 million copies of her smash album 21, even more amazing in an era when selling 500,000 copies is a strong showing.

    #21. COLDPLAY, $37 million
    The British pop-rockers returned to the spotlight with last year's Mylo Xyloto, cashing in from over 50 concerts on the tour that followed.

    #20. JAY-Z, $38 million
    Though he doesn't earn quite as much as his wife, Jay-Z continues to pull in proceeds from music (touring in support of his album with Kanye West) and business (deals with Duracell, Budweiser and others). For more on his financial dealings, check out Empire State of Mind: How Jay-Z Went From Street Corner to Corner Office.

    #19. RED HOT CHILI PEPPERS, $39 million
    Opening week sales of the group's new album I'm with You were just half that of 2006's Stadium Arcadium, but the Chili Peppers still managed a massive year financially on the strength of a big tour and continued interest in their extensive back catalogue.

    #18. BEYONCE, $40 million
    After giving birth to baby Blue Ivy in January, Beyoncé took a break from her hectic touring schedule. But she still earns big from old hits, new album 4 and non-musical ventures like her House of Dereon clothing line and endorsement deals with companies like L'Oreal and DirecTV.

    #17. KENNY CHESNEY, $44 million
    Though he didn't get paid for his Thanksgiving gig in Dallas, Chesney nearly doubled his touring take over last year, making 48 stops in the U.S. and Canada on his Corona- and Hooters-sponsored tour during our scoring period.

    #16. KATY PERRY, $45 million (tie)
    The only musician besides Michael Jackson to have five No. 1 singles from the same album, Perry continues to garner considerable airplay—and dollars. Her California Dreams Tour grossed nearly $60 million.

    #15. DIDDY, $45 million (tie)
    The artist formerly known as Puff Daddy still continues to earn from a variety of non-musical deals—namely a share of profits from Diageo's Ciroc vodka—as well as acting gigs, marketing firm Blue Flame and clothing line Sean John. (jfc no wonder he never makes music anymore)

    #14. FOO FIGHTERS, $47 million
    Fifteen years after their debut smash The Colour and the Shape, the Foos are still rocking, most recently with last year's Wasting Light and the ensuing tour.

    #13. LADY GAGA, $52 million
    The singer-songwriter still makes plenty of money off of music sales, padding her coffers with a new tour and new fragrance Fame.

    #12. RIHANNA, $53 million
    The Barbados-born diva has parlayed the success of her music into lucrative sidelines: endorsements with the likes of Vita Coco and Nivea, a fragrance called Reb'l Fleur and a heavy touring schedule, to name a few.

    #11. TOBY KEITH, $55 million (tie)
    With his Ford sponsorship entering its second decade and his I Love This Bar And Grill restaurant chain booming, Keith tops country earners for the second consecutive year. New album Clancy's Tavern helped him sell out shows across the country.

    #10. JUSTIN BIEBER, $55 million (tie)
    The 18-year-old is the youngest name on our list, thanks to sales of music and merchandise—and, more recently, stakes in startups including Tinychat, Stamped and Spotify.

    #9. TAYLOR SWIFT, $57 million (tie)
    Swift grossed over $1 million per night on the road this year, and also earns big as one of the faces of CoverGirl. Her latest album, Red, moved 1.2 million units its opening week this fall, the best debut since 2002.

    #8. PAUL MCCARTNEY, $57 million (tie)
    Sir Paul continues to rock, playing three dozen shows during our scoring period, including a rollicking Grammy performance that included a finale with Dave Grohl and Bruce Springsteen. Royalty checks from his Beatles days don’t hurt, either.

    #7. BRITNEY SPEARS, $58 million
    See above.

    #6. BON JOVI, $60 million
    The veteran New Jersey rock act wrapped a world tour last summer but still managed to out-earn relative whippersnappers Kim Kardashian, Lil Wayne and Kate Moss combined. Could a breakup be on the horizon? Frontman Jon Bon Jovi has been spotted duetting with Warren Buffett in the Forbes building.

    #5. TAKE THAT, $69 million
    The British boy band's reunion tour grossed a record $61 million for eight dates at London's Wembley Stadium alone, the highest-grossing single-stadium stand recorded to that point, while dozens of dates around Europe provided even more.

    #4. U2, $78 million
    The legendary Irish rockers wrapped up their record-breaking 360 tour—which grossed $736 million over three years—in August of 2011, just late enough to count a summer of touring in our scoring period.

    #3. ELTON JOHN, $80 million
    The Rocketman is still going strong with over 100 shows in our scoring period, including a lengthy Las Vegas stint. His animated film Gnomeo and Juliet brought in $200 million at the box office. He's also got his 30th solo album on the way.

    #2. ROGER WATERS, $88 million
    A founding member of Pink Floyd, Waters continues to rake in cash from his The Wall Live tour, in which he plays the aforementioned album straight through. According to Billboard Boxscore, he grossed $131 million from November 2011 to May 2012 alone.

    #1. DR. DRE, $110 million
    His long-awaited album, Detox, is still on the shelf, but Dre still rakes in cash from old albums, production and the occasional concert. And then there's that headphone line. The superproducer collected $100 million pretax when handset maker HTC paid $300 million for a 51% stake in the company last year, at the beginning of our scoring period (earlier this year, he and his partners bought back half of what they sold).


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    It looks like congratulations are in order for Fred Savage and his wife Jennifer!

    Surprising his Instagram fans on Monday, the Wonder Years alum shared a sweet snapshot of his newborn’s hand. “He’s here,” Savage, 36, wrote in his telling caption.


    Baby boy joins big siblings, brother Oliver Philip, 6, and sister Lily Aerin, 4½ and as it turns out, baby Savage is yet to be named.

    “We started this really tough thing for ourselves where we just left the hospital with no names and wanted to live with the baby for a little while,” Savage, 36, admitted to Us Weekly at Details magazine’s Hollywood Mavericks event Nov. 29.

    But Savage and wife Jennifer will be deciding soon as their son’s birth certificate paperwork is due Friday afternoon.

    “We had some names in mind so . . . we’re narrowing it down,” the proud papa shared.

    In related news, Savage’s younger brother Ben also made headlines this week — there will be a sequel to his popular ’90s series Boy Meets World.

    “Ben’s thrilled! He’s very excited,” Savage confirmed of the 32-year-old, who will reprise his role as Cory Matthews in Girl Meets World.



    ONTD - Any suggestions? I'm torn between Kevin & Arnold.

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    Trace Adkins wore an earpiece decorated like the Confederate flag when he performed for the Rockefeller Center Christmas Tree Lighting but says he meant no offense by it.

    Adkins appeared with the earpiece on a nationally televised special for the lighting on Wednesday. Some regard the flag as a racist symbol and criticized Adkins in Twitter postings.

    But in a statement released Thursday, the Louisiana native called himself a proud American who objects to any oppression and says the flag represents his Southern heritage.

    He noted he's a descendant of Confederate soldiers and says he did not intend offense by wearing it.

    Adkins – on a USO tour in Japan – also called for the preservation of America's battlefields and an "honest conversation about the country's history."

    To those who view the flag as a symbol of racism, that was not my message and I did not intend offense.”

    Source  His Site  (Don't read the comments on his site, unless you want a rage stoke)

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    A former "Sons of Anarchy" actor who was the lone suspect in the killing of his landlady did not have drugs in his system when he died, according to an autopsy report released Thursday.

    Authorities had been interested in whether Johnny Lewis was on drugs or medication when he apparently killed Catherine Davis in her home and then fell to his death in her driveway.

    Lewis had recently been released from jail and had a string of drug-related arrests before the killing. His attorney had speculated he might have been in a drug-induced psychosis when he killed Davis.

    Toxicology results on Johnny Lewis found no traces of cocaine, alcohol, marijuana or any other types of drugs in the actor's system. Officials checked for anti-psychotic drugs as well as psychedelic drugs.

    An autopsy report noted that Lewis had nail marks on both sides of his neck when he died and had suffered partial strangulation. His death was ruled accidental because there was no evidence he attempted to kill himself or had been pushed.

    Police believe Lewis fell while trying to flee the home after killing Davis, 81, who operated a retreat for writers and actors out of her home.

    Lewis had played Kip "Half-Sack" Epps on the TV drama "Sons of Anarchy" in 2008 and 2009 before his character was killed off.

    He had been arrested three times during the past year. Probation officials earlier this year expressed concern about Lewis' mental health and his danger to others.

    A probation officer who evaluated Lewis' case after he attempted to break into the home of a woman wrote that he was being "very concerned for the well-being of not only the community but that of the defendant."

    The report added Lewis suffered from some form of chemical dependency and mental health issue, and was a transient.

    "Given this, (Lewis) will continue to be a threat to any community he may reside," it said

    The break-in attempt came about six weeks after the actor hit two men over the head with a bottle during a fight.

    Lewis' attorney, Jonathan Mandel, said after his client's death that drugs may have been a factor in the deaths. He said he recommended treatment for Lewis but he declined it.


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    Amy Poehler and her parents took Archie shopping for Christmas tree ornaments at CVS Pharmacy in West Hollywood, Calif. on Thursday (November 29).

    The 4-year-old stayed close to mom but he was also interested in playing with the stockings. Little brother Abel, 2, wasn’t with them.

    In September it was announced Amy and Will Arnett were divorcing after nine years of marriage.

    A source told Radaronline.com, “Will and Amy started to feel more like best friends than a married couple – and sadly they lost their spark. They drifted apart, like a lot of couples do, but there’s no malice in the split, nor was anyone else involved.

    “The two still love each other very dearly – and everything is completely amicable – but the romance died and neither one of them was happy, so something had to be done. Everyone used to think that because Amy and Will are both comedians their relationship was all fun. However, the laughter stopped a long time ago and now they just want to move on with their lives. Archie and Abel will still be well cared for, and Amy and Will will make sure they are still their number one priority.”






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    They might have only been in Australia in spirit, but One Direction seemed pretty blinking chuffed to be awarded Best International Artist at the 2012 ARIAs.

    Piping massive international artists including Coldplay, Florence + The Machine, Adele and Ed Sheeran to the post, the lads seemed over the moon.

    Rehearsing for their whopper of a Madison Square Garden show in New York, they were unable to hop over the ocean to pick up their trophies, but recorded a nice little message for fans instead.

    Just in case any Aussies had forgotten what their own flag looks like, the boys even held one up as a reminder. We'd like to assume it may have also been to cover up the fact that in their excitement, Louis, Liam and Zayn forgot to put on any trousers before they left the house.

    Tweeting fans to thank them, Harry said: "Thank you to our fans in Australia and everyone at the ARIA awards for voting us 'Best International Artist' We can't wait to see you!"

    Check out what they had to say...

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    Marcus Dunstan and Patrick Melton are two twisted guys. If you don’t believe me, just check out the red band clip from their new horror film The Collection. In just six short minutes, there’s enough blood, guts, and gore for three horror movies.

    Consider yourself warned. Red band clip. R-Rated horror movie... it's messy folks.

    Fortunately, Dunstan and Melton are also friendly, funny, and have a terrific knowledge of horror movie history. Recently, I had the opportunity to meet the pair, as well as The Collection stars Josh Stewart and Emma Fitzpatrick, to discuss the film and how it’s different from 2009′s The Collector.

    With The Collection, you were able to come back to revisit the characters and revisit the story with a little bit more budget. How has that changed the scope of the story? What are you able to do in terms of effects, big set pieces, and how have the characters evolved in the second film?

    Marcus Dunstan:I’d like to throw the character question straight to these two [Stewart and Fitzpatrick], because there was no movie with ‘The Collector’ if there wasn’t Josh Stewart and Arkin. Because that movie was allotted something that you don’t see anywhere in horror, which was 15 minutes to devote to the character. We had two seven minute scenes and one minute of peppering throughout the farm house. Normally, in a horror movie, you get enough to go, “Oh what’s his name…? Oh, he’s dead anyway.”

    So in this one, the sequel took advantage of knowing some things about Arkin, but, as writers, we were like, “No, no, no. We’ve got to play ball like this guy has never existed before.” So it’s once again a fulfilling experience and he has to have a full arc again.

    Far too often, sequels feel like an endless middle because the character has already been set up and they just keep going in the same state of mind – “Well, I’m scared of him. But then in the third act, I finally figure out how to use a gun and maybe shoot him, but he’s still alive.”

    Josh Stewart: Character-wise, it does completely stand separate. If you watch the first one, the character has a complete arc there. Into the second, there’s a complete arc there. You could use the first to -

    Patrick Melton: [interrupting] Arc-in?

    [Everyone laughs]

    Emma Fitzpatrick: [Sarcastic] Oh, see what he did?

    In terms of set pieces and upping the ante for the actual production, just looking at the opening scene [the above clip], you did some pretty messed up stuff.

    MS: Well, thank you!

    PM: The first one was really hard. We just never had enough money, never had enough time. We were giving back salary just so we could shoot on film as opposed to video and for simple things like finishing the day, or getting certain songs that we wanted. We had probably four or five additional photography sessions after the first film was done because we had about 75% of the movie done and we had to do more back in L.A. And it wasn’t like a glamorous reshoot. It was like, “Hey Josh, can you come out to Apple Valley?”

    MS:“Drive yourself.”

    PM:“Bring some food, do some craft service.” And it was like someone shoots a hose in the air and says, “Josh, run!” then we chase him with a camera.

    So you have to go back and do reshoots on The Collector

    PM: Not reshoots, like there were literally scenes that were missing chunks.

    MS: That precious 15 minutes of character development? There was a moment where Josh and I were in the trailer looking at the schedule going, “Really? In a 19-day shoot, you’ve allotted two hours, and we have to shoot in a doorway, the entire backstory.”

    We were like, “How much?” “How much what?” “How much to buy the scene?”

    We figured out the dollar amount to buy the scene from the company to do it on our own. Josh drove himself out to Apple Valley and over two days, in a big set that we took over, that’s what it took to do seven pages and develop a character. And it was great. Then, all of a sudden, what do you know? The ripple effect of that is that you care.

    And you have a better movie and are able to make a sequel.

    PM:...the truth of that is that suddenly your eyes are bigger and you’re able to have more toys, but we still had the same problems. There’s inevitably not enough time, not enough days. It seems pretty big in scope, but $10 million isn’t that much money. That’s like craft services on ‘Jurassic Park,’ you know. And they eat a lot on that movie.

    EF: [Laughs] Yeah, the dinosaurs eat so much.

    Emma, you had a role in The Social Network. Was it a big change of pace to go from a sort of prestige picture to having blood and body parts dumped on you?

    EF: It was a huge change of pace, but this was also my first chance to carry a film. And what a gift to get to do it with these guys, and I mean that with no sarcasm at all.

    MD: Well, she defined herself as a character that wouldn’t be the under dressed lady, where you’re waiting for her top to get wet and all that crap. She was like, “I’m going to be somebody that can save her own ass and not wait for the boys.”


    You can read the full interview at the source. 'The Collector' was definitely not for the squeamish but it really was such a great movie. I've never rooted so hard for a protagonist ever. I was lucky enough to catch a screening of 'The Collection' last week and the comparison people make saying that it's the 'Aliens' to 'The Collector's 'Alien' are pretty spot on in terms of tone and that it could act as a stand alone. The reviews aren't that great (but they weren't for the first one either, a lot of critics dislike the genre) but I like what they did with it. I'm probably seeing it again tonight.

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    “Buckwild” begins on MTV in January, taking the prized Thursday time slot previously occupied by Snooki and the gang, and featuring what the network calls “a whole new hell-raising group of friends for you to fall in love with.”

    The new reality series trades the beach for the woods, following nine pals in Sissonville, West Virginia as they have fun and hook up.

    MTV explains, “The longtime friends have a knack for creating their own unique brand of good times, from turning a giant dump truck into a makeshift swimming pool, to rigging up a human slingshot, rolling down hills in giant truck tires and partying until the neighbors can’t stand it anymore.”

    Trailer at source, prepare to feel better about yourself

    Well at least they'll save money on wardrobe.

    Katie...She looks like a bitch

    Anna...Wearing her grandma's tablebloth

    Tyler...Supercuts does have some nice arms, ngl

    Shae...Already spreading her legs

    Shain...Walking stereotype

    Cara...Christina Ricci's slutty cousin

    Salwa...I went to school with this one. Clearly she ain't country

    Ashley...Where to begin...

    Joey...I guess this is our eye candy. Cut the hair and we'll talk.

    My cousin almost made it on this show, and I went to high school with Salwa. Gotta say though, as a West Virginian, I'm kind of annoyed by this...as if we're not painted in a bad enough light already, ugh.

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  • 11/30/12--12:25: S&S Sucks
  • Britney Spears and will.i.am 'Scream & Shout' about nothing


    No one will ever accuse Britney Spears or will.i.am of being lyrical geniuses, but as their new single went to No. 1 on iTunes this week and the video for "Scream & Shout" goes viral, we had to ask: Is this really all fans want from their pop stars?
    The nearly 5-minute dance track plays like a forgotten sample from a Black Eyed Peas song, with Britney doing the Fergie talkie parts in what some are hearing as a pseudo-British accent. That's British, as in England. Not Britnish, as in Louisiana.
    The whole thing comes off so visually lazy. More than 3 million people have watched Britney stand still, lie down and half-heartedly vogue. For his part, will.i.am puts his hands to his mouth. Oh! He's shouting. The 853 million people who have made "Gangnam Style" the most watched YouTube video ever are shouting, too. Because it's fun to watch!

    It's 2012, so we gave up the why-does-everything-have-to-be-AutoTuned fight years ago. And we're still young enough to know about da club and the music played there, even if we can't stay awake long enough to go dance. But Britney and will are saying NOTHING, and this "Get off my lawn!" rant is for all those who still prefer a song that says SOMETHING.
    The princess of pop -- who turns 31 on Sunday -- has had six No. 1 albums over her career. She ranks seventh on Forbes' list of 2012's highest-paid musicians -- $58 million in record sales, touring, endorsements and more. In the '90s, songs like "... Baby One More Time" and "Oops! ... I Did It Again" may not have said anything earth-shattering on their way to No. 1, but compared to "Scream & Shout" ...

    Granted, it's a will.i.am song and Britney is apparently along for a lyrical ride that only includes telling you to turn this [expletive] up because it's her, [expletive]. But we're such a long way from choreography that brought us the pigtailed schoolgirl here, or the Martian in red leather over here. Why does Britney make dance music if she doesn't even dance anymore?
    In a time when 13-year-old Rebecca Black gets a major Internet beat-down for singing about a day of the week, international superstars will.i.am and Britney Spears are screaming and shouting about much less.


    i love britney but i do think this is accurate tbh

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    Those with a taste for historical drama will have to shift loyalties this week. Boardwalk Empire's third season is coming to its no doubt grisly conclusion this Sunday, while Downton Abbey, the British import, is starting up again. The latter has now become so crazy-popular that NBC is going to try to rip it off. I'm just not sure an American Downton Abbey will work, however. We've been hearing for decades about how the world is getting flatter and smaller and more interconnected. But some fundamental differences remain. Nowhere is the chasm between Europe and America more clearly visible than in the differences between Downton Abbey and Boardwalk Empire.

    Even though the shows are superficially similar — glamorous costume dramas set in the early part of the twentieth century — they contain diametrically opposed visions of labor, which is always where the heart of any big narrative resides. In Jane Austen's entire body of novels, for example, servants are mentioned exactly once. She artfully removed the immense labor required to support the romantic dramas of her characters so that the reader could focus entirely on the little love affairs of the rich and noble. The wonderful dancing parties at which Elizabeth Bennet seethes over her desire for Darcy actually involved huge amounts of physical effort from men and women whose existences are never mentioned. These sinister absences are barely ever noticed, even by the most careful readers. We want to forget the grind and the horror and the oppression that underlies the beauty. I remember going on a tour of a former plantation in Louisiana, and the tour guide described how an enormous oak table served different functions during the day, being in the dining room for breakfast and the main hall for the evening. "The table moved during the day" is how she put it. No mention was made of the fact that the huge, hulking piece of furniture needed to be lugged around the property by slaves. To mention that would have been impolite, crude.

    The idea of American exceptionalism is, thankfully, dying.

    The German philosopher Walter Benjamin defined historical materialism as the awareness that everything beautiful comes at the cost of something ugly. Both Downton Abbey and Boardwalk Empire are materialistic in this sense. Dinners are not magically prepared. People make them. But in Downton Abbey, owning property is principally a matter of luck. The show follows a middle-class lawyer who is thrust into owning a magnificent English estate. The love story was interesting in the first season, but has fallen apart because Matthew and Mary resist the fact that they should get married to preserve the property. The action had to be worked out so that they really fell in love, and then fell into a marriage of convenience, which is inherently preposterous. Julian Fellowes is a wonderful writer usually — his book Snobs should be purchased by everybody who even vaguely enjoys his television show — but that can't hide the fact that Downton Abbey right now is one of the worst-written shows on television. I think the reason is a structural flaw. The basic conceit that property is a matter of fluke rather than struggle means there's not much tension to drive the story forward. The characters are the toys of fate. What they do has little effect on how they end up. So who really cares? The new season is basically an antique fashion show where the models happen to speak.

    The new season of Boardwalk Empire runs in exactly the opposite direction. The first two seasons focused on the main character's basic contradiction. Nucky Thompson was both a gangster and a fine, upstanding member of society. He made a living through crime and yet represented the system fully, even in its most expensive forms of sentimentality. His comfort with his double life was the core of the show's appeal, a variation of Balzac's famous statement that behind every great fortune is a great crime. This season has seen the contradiction unravel. From the beginning, its motto has been "You can't be half a gangster." The world of Nucky and his relatively mild cronies is going. The world of the Commission is arriving. In Boardwalk Empire, money is made. The achievement of property may be brutal and corrupt and nasty, but it is the result of effort. In Boardwalk Empire, the characters struggle, with a complete lack of grace, to carve a bit of the world out for themselves. In Downton Abbey, money happens to people. The question for its bewildering array of characters is not how to improve themselves or their lives, but how to live gracefully with the lot they've been given. This is the fundamental situation that underlies all the great British shows of recent years — a class system that imprisons the identities of its inhabitants. My favorite British comedy of the moment is Peep Show, an odd-couple pairing about the uptight Mark, who follows all the rules, and his anarchic, lazy, drug-addled roommate Jeremy, who does little more than loaf and masturbate. One of the show's most insidious and vicious commentaries on British life is that they don't end up in all that different situations. They can't fall that far or rise that much. They're both miserable.

    Fatalism versus a belief in personal agency remains the major difference in spiritual outlook between the United States and Europe. I wrote in a recent column that America has every bit the same class structure as the major European democracies, but as recent political events have shown, America also has the good sense to hate the fact, and to fight against it. One of the most interesting and unexpected geopolitical turns is happening right in front of our eyes: America is becoming one of the world's most progressive countries. For thirty years, the United States has been the bellwether for conservatism. And yet today America, not Europe, is expanding its social safety net dramatically. Democrats and Republicans seem to be close to agreeing on a massive tax increase on the wealthy. The young conservatives who are going to shape the future of the Republican Party have begun to speak of "pro-market" rather than "pro-business" policies. Inequality of outcomes is once again a legitimate subject of political discussion. Meanwhile, the austerity programs in Europe, which have proven totally ineffective over four years of implementation, are morphing into a different, broader project. European governments are ending the social contract between workers and owners established after the Second World War. It should come as no surprise that fascism is on the rise in Europe again. Real fascism. The kind that burns books and then people. Before the last election, independent economists predicted that whoever won, the United States economy would add twelve million jobs over the next four years. As Europe tries to stop itself from crumbling, America will become both more socialist and wealthier.

    The idea of American exceptionalism is rapidly dying, and I think we can all be grateful for the passing of this inherently silly idea. Mitt Romney is the author of No Apology: The Case for American Greatness and he got beat; he also barely brought up the subject on the campaign trail. Americans apparently don't need to hear about how great they are anymore. Which is welcome news. But it shouldn't obscure another fact: America was made by the people who worked so that the Lords and Ladies in Jane Austen novels could have their lovely parties, and the national memory has not forgotten the crumminess of that deal. Atlantic City was a place with a lot of hypocrisy, but at least everybody knew the score. It helps to know the dark and ugly cost of beauty if you're trying to build a shining city on a hill.

    -Stephen Marche

    walk of shame imo

    Season 4 will include George Pelecanos (YEAH) and Dennis Lehane (alright) as executive producer and writer respectively!

    Sources: Esquire

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    At Thursday's grand opening, Biden met with Costco CEO Craig Jelinek and co-founder Jim Sinegal, who spoke at this year's Democratic Nation Convention. The Vice President reportedly flashed his Costco card to get in and shopped alongside Costco employee Ivey Stewart, who handled his cart.

    Biden also spoke briefly about fiscal cliff negotiations, telling customers "folks don't need to see their taxes go up," according to a pool report. His purchases included children's books, fire logs, a 32 inch Panasonic TV and an apple pie. He apparently needed help deciding whether to buy a watch.

    Unknown if he bought a watch, though he spent considerable time at the counter looking at them, including a $1,200 one, and put in a call to his daughter, Ashley, saying he needed to "get some guidance."

    Before leaving, he placed a call on Ivey Stewart's phone. Couldn't hear what he said, but she broke into tears and got a vice presidential hand on the shoulder and a hug.

    Biden also availed himself of several Costco food samples, and looked like he enjoyed them ...

    He did a loop of nearly the entire store, including bakery and frozen foods.

    But Biden turned down the employees who were trying to lure him to the tire department.

    "Hey man I don't need tires," he said "I don't drive anymore."

    If we can have celebrity walking posts we can have a VP shopping post, right?

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    thinking bout you (i'm biased but i think it was pretty good. nick's face after was so smug haha)

    Kevin Jonas answers a phone call while out and about with wife Danielle in Los Angeles on Wednesday afternoon (November 28).The 24-year-old musician was joined by younger brothers JoeNick and Frankie while heading into a studio for an appearance on Ellen before heading out to the Pantages Theatre for their concert.

    Joe‘s new artist girlfriend, Blanda Eggenschwiler, is also pictured.

    @JohnStamos what a thrill to finally see the bee gees live!!
    Screen shot 2012-11-30 at 12.31.53 PM

    source 1 2 3 4

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    When executives of CBS Records went about the business of preparing for the November 30 release of Michael Jackson's "Thriller" in the fall of 1982, they knew they had on their hands a terrific album by one of the biggest superstars in the music industry.

    But they were also a bit concerned, since the timing of Jackson's follow-up to his mega-selling 1979 album "Off The Wall" could not have seemed worse.

    For starters, the record industry as a whole was in a bad slump, with shipments industry-wide down by 50 million units between 1980 and 1982. CBS Records' own profits were down 50% and sales were down over 15% for the year. As a result, major company-wide layoffs occurred in mid-August, on a day the company would remember as "Black Friday."

    CBS desperately needed Jackson's album to be a hit, but market conditions appeared daunting.

    Stories circulated in the press about how the slump in the business stemmed from kids feeding their money into the coin slots of video game arcades instead of spending it on music. But that trendy theory was, to say the least, inadequate in explaining the industry's malaise. What really had happened over the previous three years was a seismic technological shift that had torn apart the very idea of the mass audience upon which pop hits depended: By the end of the 70s, 50.1% of radio listeners were tuned to FM, ending AM's historical prevalence and hastening the demise of the mass-audience Top 40 stations that had dominated the radio ratings since the 1950s. By 1982, FM commanded 70% of the audience-and among the 12-24 year old demographic, it was 84%. Consequently, a mass pop music audience that crossed demographic lines could not be sustained. Instead of listening to stations which offered "the best of everything" as they had on the old AM Top 40's, the abundance of choice on FM afforded listeners the luxury of hearing only the musical sub-genre they liked on more narrowly formatted stations, without having to wade through everything else. The result of this shift was that each audience segment had only limited exposure to the music played on the formats targeted to other audience groups.

    Billboard columnist Mike Harrison noted in 1981 that "no longer is there an exclusive Top 40 anything, but rather an ever-changing multitude of Top 40's, depending upon the genre one wants to research or focus on. He added: "Those who enjoy a-little-bit-of-this-and-a-little-bit-of-that...constitute a minority." In fact, by 1982 many markets, including major ones like New York City, didn't even have a mass appeal Top 40 station anymore. Precision targeting of audiences meant that radio stations needed to avoid playing anything that fell outside their target listeners' most narrowly-defined tastes. Failure to do this would lead to listener "tune-out," the fatal turning of the dial.

    This situation led Newsweek, in an April, 1982 article titled "Is Rock on The Rocks?" to assert that increased fragmentation had drained most of the excitement from the pop scene, as there was no longer much cross-fertilization between musical styles. Newsweek concluded their article on what they called "rock's doldrums" by reminiscing about the "good old days" when Elvis Presley and the Beatles created excitement by providing an identifiable center to the pop music world, recording music that the various segments of the pop music audience could all share.

    According to Newsweek, Elvis and the Beatles were "phenomena produced by a nation responding in unison to the sounds on every Top 40 radio station." The magazine went on to predict that "in today's fragmented music marketplace, no rock star can hope to have that kind of impact."

    If that prognosis wasn't enough to give CBS Records executives sleepless nights, one aspect of radio's fragmentation was particularly scary: Since the start of the decade, black music had been increasingly banished from most white-targeted radio stations. This was partially due the virulent, reactionary anti-disco backlash that resulted in the implosion of that genre at the end of 1979. As the 80's dawned, programmers increasingly stayed clear of rhythm-driven black music out of fear of being branded "disco," even when the black music in question bore little resemblance to disco. This backlash was greatly magnified by the demise of AM mass appeal Top 40 radio at the hands of FM, which led to black artists being ghettoized on urban contemporary radio, while disappearing from pop radio, which focused on a more narrow white audience.

    How dramatic was the decline of black music on the pop charts in that period? In 1979, nearly half of the songs on the weekly Billboard Hot 100 pop chart could also be found on the urban contemporary chart. By 1982, the amount of black music on the Hot 100 was down by almost 80%. The fall of that year represented the nadir of black music's presence on the pop chart: Not one record by a black artist could be found in the Top 20 on the Top 200 album chart or the Hot 100 singles chart for three consecutive weeks that October -- a phenomenon unseen since before the creation of Top 40 radio in the mid 1950s.

    In this environment, numerous No. 1 urban contemporary hits, like Roger Troutman's "Heard It Through the Grapevine" or "Burn Rubber" by the Gap Band, failed to make the pop Top 40, and one, Zapp's "Dance Floor," failed to even crack the Hot 100. Prince's "1999," which would later emerge as a pop culture anthem, flopped at Top 40 radio even as it soared up the urban chart. A black superstar like Rick James could sell over 4 million albums while remaining unknown at the time to most listeners of white-oriented radio. His "Super Freak," which like "1999" would eventually come to be considered iconic, peaked at No. 16 on the Hot 100 in 1981, and was not played at all on many pop stations, whose programmers shied away because it had "that disco feel."

    In all of 1982, only two No. 1 records on the Billboard Hot 100 were by black artists: Lionel Richie's "Truly" and "Ebony and Ivory" by Stevie Wonder in tandem with Paul McCartney (In fact, they were the only two records by black artists to even make the Top 3). And those two records veered so far into easy-listening territory that neither of them even made it to No. 1 on the black chart (Billboard rechristened the R&B chart as the Top Black Singles chart in June of 1982). In fact, the only record to hit No. 1 on both the pop and black charts during all of 1982 was by a white act: "I Can't Go For That" by Hall & Oates.

    A seemingly impenetrable wall had been erected between the black listening audience and its white counterpart; for the most part, neither black kids nor white kids had any idea what the other was listening to. And just as it seemed things couldn't get more difficult for a black artist hoping for across the board appeal, something new and scary appeared on the scene: MTV. MTV's playlist was just as fragmented as that of white radio, and it was taking the music world by storm.

    History has been unkind to early MTV's exclusion of black music from its format, but this is somewhat unfair. Launched at the height of radio playlist segregation, the channel at first could not fathom the idea that its target audience -- teens in the overwhelmingly white suburbs and small towns who were the first to receive MTV on their cable television systems in late 1981 -- would want to hear black records, with which they were unfamiliar. In a world without mass appeal Top 40 radio, the idea of mass appeal Top 40 video was far from obvious. But at least on the radio dial, there were choices for those who wanted to seek out black music. On television, MTV was the only game in town. And its power to steer pop tastes was quickly becoming apparent, as hits began to gather steam in the hinterlands simply due to MTV exposure, without any radio play.

    MTV's true impact was not fully felt until the channel made its debut on cable systems in the New York and Los Angeles areas in September of 1982. Suddenly, that which had been a rumor wafting in from the heartland became a loud thunderclap waking up the cultural agenda setters in the nation's twin media capitals, who accurately hyped MTV as the Next Big Thing. It is no coincidence that the aforementioned nadir of black music's presence on the pop charts occurred in October, 1982 -- a moment when all of pop radio and the only music channel on television excluded it from the mix.

    Enter Michael Jackson.

    By the time he delivered "Thriller" to CBS's Epic label in 1982, Jackson had been one of the top recording stars in the world for over a dozen years, both with and without his brothers.

    However, his most recent album, the mega-hit "Off The Wall," which spawned four Top 10 singles, had been released in 1979, a year when 40% of the songs that reached the Top 3 on the Hot 100 were by black artists, before the wall separating black and white music on the radio arose.

    CBS Records was well aware that there were no black records at all in the pop Top 20 the week they sent the debut single from "Thriller" to radio in October of 1982. Faced with the very real possibility that Jackson's record would fail to become exposed to a crossover radio audience, the record company took no chances.

    That first single, "The Girl Is Mine," was a gentle, easy-listening leaning duet with the ex-Beatle Paul McCartney, most recently Stevie Wonder's duet partner. The presence of McCartney, still very much a pop radio mainstay in the early 80's, virtually insured the song's acceptance at white radio.

    And, aware that MTV didn't play videos by black artists, CBS simply didn't make one for Jackson's first single from "Thriller."

    "The Girl Is Mine" debuted on the Billboard Hot 100 on November 6th, 1982, the date on which, not coincidentally, the rebound of black music's presence on that chart began, after a three-year steady decline. The fluffy single was not well received by critics. "Michael's worst idea since 'Ben,'" was how Robert Christgau, writing in the Village Voice, judged it.(Not here for this 'Ben' shade, tbh~)

    For an album that not long after would be viewed as a masterpiece, this was an inauspicious beginning, although it did get on white radio as intended.

    The "Thriller" album itself was released three weeks later, November 30th, and on the chart dated December 25th it debuted at No. 11. This was a highly respectable chart debut in those pre-Soundscan days, although unexceptional, as even back then it was not unheard of for albums to debut inside the Top 10 or even at No. 1. In January, the album inched into the Top 10, moving to No. 9 for two weeks, then No. 8, before stalling for three weeks at No. 5, which was as far as the momentum generated by "The Girl Is Mine" would take it. While the album could already be considered a hit, "Thriller's" chart performance in those early weeks gave no hint of the juggernaut it would turn out to be.

    On the strength of the No. 2 pop chart peak of "The Girl Is Mine" just after Christmas, CBS Records knew their strategy to lead at radio with the McCartney "Trojan Horse" was a success. As 1983 began, the label prepared its campaign for the album's second single, the more "urban" sounding "Billie Jean." With the table already set, pop radio immediately started to play this follow-up single, and skeptics were indeed happy to find that "Thriller" had more thrilling things to offer than the McCartney duet.

    "Billie Jean" was nothing short of breathtaking, the kind of single that makes you stop in your tracks and always remember where you were when you first heard it. But with MTV the rage of the music world that winter, there was no way Jackson could occupy the central spot in pop culture without its support.

    And MTV didn't play black records.

    CBS gambled and filmed expensive videos for both "Billie Jean" and the next single, "Beat It" -- videos that were a joy to behold. Jackson was a natural video star, his era's premiere song and dance man. The two videos introduced a standard of choreography previously unseen in music videos, arguably surpassing even James Brown's 1960s live work, until then the gold standard against whom all R&B dancers were judged.

    As a visual art form, music video is naturally suited to choreography. Yet with the exception of Toni Basil's "Mickey" clip from the previous fall, there really hadn't been any accomplished dancing featured in videos shown on MTV. This was largely due to the fact that the music business hadn't in recent years nurtured artists who could dance -- even the stars of disco music weren't consummate dancers themselves. All that would eventually change after "Thriller," with the coming of Madonna, Michael's sister Janet, and Paula Abdul, among others. But in the meantime, Michael Jackson had the MTV dance-floor to himself.

    Despite the obvious quality of the Jackson videos, MTV initially resisted playing them, claiming it was a rock station and Jackson didn't fit the format. There is to this day some disagreement as to what led the channel to change its policy and add "Billie Jean." At the time, a story was widely circulated that CBS chief Walter Yetnikoff resorted to threatening to pull all of his label's videos off the channel if MTV didn't play "Billie Jean," but this claim has been refuted over the years by original MTV honchos Bob Pittman and Les Garland. (It should be noted that Yetnikoff and co. still maintain that they threatened to pull CBS Records' white artists from MTV if they didn't play MJ and other black artists.)They concede that the channel initially assumed it would not play the video, as its thumping beat and urban production did not fit the channel's "rock" image. They contend however that in mid-February, after seeing the clip -- which was possibly the best that had ever come across their desks -- they began to re-think things. Coupled with the fact that even without MTV, the song had just leaped in one week from No. 23 to No. 6 on the Hot 100, the MTV execs concluded they should give it a shot.

    MTV's -- and Jackson's -- timing was perfect. MTV debuted "Billie Jean," on March 1st, just four days before the song hit No. 1 on the Hot 100, making it the first uptempo urban song to accomplish that feat in over two years. Simultaneously, "Billie Jean's" momentum was the thing that finally pulled the "Thriller" album all the way up to No. 1 on the album chart in its 10th chart week.

    But a number one single and album turned out to be only the beginning-for both Jackson and MTV.

    Featuring Jackson's videos for "Billie Jean" and two weeks later for "Beat It" widened the video-clip channel's appeal as much as airplay on MTV widened the appeal of Michael Jackson. MTV was already at the white-hot center of the pop universe, but it was only when they added Michael Jackson that they found their real star. The idea of the hottest pop star in the world being shown on TV throughout the day -- between the two clips, you didn't need to sit in front of your TV for very long to catch Michael on MTV -- made the network even more talked-about than before. New viewers watched MTV because they'd heard how great the Michael Jackson videos were; at the same time, MTVs core audience was blown away by videos featuring a type of music they weren't supposed to like -- except it turned out they did.

    To use a modern term to describe what was happening back then, MTV and Michael Jackson made each other go viral.

    Jackson's second MTV video, for "Beat It," was yet another master stroke, incorporating live sound effects, real L.A. street gang members and the mass choreographed dancing which would become a signature part of Jackson's videos. The "Billie Jean" video had been a revelation because it showcased the brilliance of Jackson's performance. "Beat It" did that too, but it also set a new standard of production for music video itself, and in fact it became the more popular and acclaimed video of the two, despite the fact that "Billie Jean" was a bigger hit song.

    "Beat It" also represented another step in Jackson's master plan to appeal across all musical boundaries, with its rock feel and Eddie van Halen guitar solo. It achieved that goal, being played on rock radio stations and earning Jackson yet another category of fans that would not otherwise have gravitated to his music.

    Then, just when it didn't seem possible that Jackson could get any bigger, he did.

    On May 16th, with "Beat It" at No. 1 and "Billie Jean" still in the Top 10, Michael debuted the moonwalk on the Motown 25th Anniversary TV special on NBC. Drawn by a desire to see Michael Jackson's first performance on a stage since the release of "Thriller," 47 million Americans tuned in, many of whom did not yet have cable television and thus could not see Jackson's videos on MTV. The performance Jackson gave that night hurled his career even further into the stratosphere.

    A full year after "Thriller's" release, after the record-setting seven Top 10 singles and countless weeks at No. 1 on the album chart, making it the best-selling album of all time, Jackson still had one more trick up his "Thriller" sleeve: On December 2nd, he debuted his nearly 14-minute John Landis-directed video for the album's title track. It was immediately acclaimed as perhaps the greatest music video ever made and it reignited Michael-mania. A commercial videocassette featuring the short film shot to the top of the video chart and went on to become the biggest selling music video of all time.

    Meanwhile, the "Thriller" album, which had fallen out of the No. 1 position nearly six months earlier, now jumped back into the top spot just in time for Christmas and stayed there well into the new year. The Grammy telecast two months later, during which Jackson won eight Grammys, served as the formal coronation of Jackson as King of Pop, although now by that point the fact was obvious.

    But "Thriller's" legacy goes far beyond its own sales and awards accomplishments. Once MTV found success with Michael Jackson, videos by other black performers quickly appeared on the playlist. This development single-handedly forced pop radio to reintroduce black music into its mix: After all, pop fans, now accustomed to seeing black artists and white artists on the same video channel, came to expect the same mix of music on pop radio. It was impossible to keep the various fragments of the audience isolated from one another any longer. Mass-appeal Top 40 radio itself made a big comeback due to this seismic shift. Beginning in early 1983 in Philadelphia, and rapidly spreading through the country, one or more FM stations in every city switched to Top 40 and many rose to the top of the ratings playing the mix of music made popular by MTV -- young rock and urban hits.

    In the age of "Thriller," black music made a resounding comeback on the pop charts. If 1982 was the genre's low point in terms of pop success, by 1985 more than one third of all the hits on the Billboard Hot 100 were of urban radio origin. Even Prince's "1999" single, shut out of pop radio upon its initial release in 1982, was re-launched in mid-1983 and off the back of its belated MTV exposure became a huge pop radio success the second time around. Thus, in a way few historians appreciate, the Michael Jackson/MTV team proved itself a remarkably progressive force, helping to reintegrate a fragmented popular culture at the dawn of the Reagan era.

    Black music was back at the center at the mainstream, and to this day it has never again been pushed from the spotlight.

    As an aside, the rise of MTV conversely spelled doom for country music's fortunes in the pop world. Prior to MTV, country music had, since the early 70's, become increasingly strong at pop radio, with its popularity culminating in the summer of 1981, during the "Urban Cowboy" craze, just as MTV was being launched. That summer, there were an average of 11 country records on the Billboard Hot 100 in any given week. But MTV decided from day-one that country music would not be part of its programming and country's performance at pop radio steadily nosedived from that point onward. Soon, country records were completely shut out of the Hot 100, something that had never happened before.

    For all its record-setting accomplishments, the thing which never ceases to amaze me is that Michael Jackson pulled off what is perhaps the rarest trick in any field: After more than a decade of being an absolutely huge superstar, top of his field, sure-thing Hall of Famer, etc., he somehow found an extra gear and suddenly transcended mere superstardom, redefining the very notion of how big someone in his field could be.

    Try imagining J.K. Rowling suddenly coming out with a series of books that were so much better and more popular than the Harry Potter books that they rendered them a mere footnote to her career and you'll get the idea of what Michael Jackson accomplished with "Thriller."

    Newsweek's prediction just six month earlier that no new mass-appeal superstar would ever again emerge had proven spectacularly wrong, and for the time being, rock's doldrums had been cured. Robert Christgau proclaimed that 1984 was the greatest year for pop singles since the height of Beatlemania, crediting the revival of Top 40 radio and the integration of MTV for this development. And lest there be any doubt that "Thriller" truly did unify all corners of the pop audience, it's worth noting that it won the hipper-than-thou Village Voice critics' poll for album of the year in addition to all those Grammys.

    Predictably, the death of Michael Jackson caused a lamentation about the impossibility of anyone ever doing it again.

    Shortly after Jackson's death The New York Times editorialized: "Fame on the the level Mr. Jackson has achieved is all but impossible for pop culture heroes today, and quite likely it will never be possible again." The similarity of these remarks to Newsweek's 1982 incorrect prediction is uncanny. The notion that never again will the conditions be right for a truly mass, sustainable musical moment is myopic, to say the least.

    Despite a succession of on-line platforms that assume ever more fragmented audience niches, one would be foolish to bet against the potential for one to arise that encourages audience behavior which favors a vast coalition of sub-groups uniting behind something new and fantastic.

    Besides, pop music has always thrived on mass excitement; the yearning for shared cultural touchpoints seems to be hardwired into us. What "Thriller" taught us was that the right star, with the right product and the right technological environment, always has the ability to move us and to unite us all.

    Happy 30th anniversary, "Thriller." No doubt the next big thing is just around the corner.

    Steve Greenberg is the founder of S-Curve Records and a Grammy winning record producer who had an integral role in developing the careers of Hanson, Joss Stone and the Jonas Brothers, among many others. Find more of his writing here.

    Source - Billboard.com

    This is a bit of a read . . . but the similarities between the state of the music industry in the early '80s and the state of it today are pretty interesting, in my opinion. Anyway, happy b-day to one of my fav albums of all time. :)

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    Aired Thursday:

    Beauty And The Beast
    The Big Bang Theory
    The X Factor
    Vampire Diaries
    30 Rock
    Last Resort
    Two and a Half Men
    Up All Night
    Grey's Anatomy
    Person Of Interest
    The Office
    Parks and Recreation
    Rock Center

    Last night’s Thursday Night Football game (Saints/Falcons) was simulcast on the FOX affiliate in New Orleans and the CW affiliate in Atlanta. The CW was also preempted in Baltimore for high school football. As a result, the FOX and CW numbers may be inflated and subject to more than typical adjustments in the finals.

    CBS won the night in adults 18-49 and in Total Viewers.

    On CBS, The Big Bang Theory earned a 5.4 adults 18-49 rating, down 5% from a season-high 5.7 on November 15. Most of your predictions were too optimistic. Two and a Half Men garnered a 4.1 among adults 18-49 even with its most recent episode’s performance. Person Of Interest scored a 2.9 adults 18-49 rating down 6% from a 3.1 on November 15. Elementary notched a 2.2 adults 18-49 rating, down4% from a 2.3 on November 15 and tying its series low.

    On FOX, The X Factor earned a 2.7 adults 18-49 rating down 4% from last week’s 2.8. Glee scored a 2.2 adults 18-49 rating up 47% from a 1.5 on Thanksgiving. However, football preemptions may have impacted these numbers.

    On ABC, the first episode of Last Resort to air since its cancellation was announced garnered a series-low 1.0 adults 18-49 rating down 17% from a 1.2 on November 15. Grey’s Anatomy tied its season low with a 3.0 adults 18-49 rating down 6% from November 15’s 3.2. Scandal earned a season high 2.2 adults 18-49 rating up 10% from a 2.0 on November 15.

    On NBC, 30 Rock scored a 1.3 adults 18-49 rating up 8% from a 1.2 on November 15. Up All Night garnered a 1.2 adults 18-49 rating down 8% from a 1.3 for its November 15 episode. The Office notched a series low 1.9 among adults 18-49 down 10% from a 2.1 on November 15. Parks & Recreation earned a series low 1.4 adults 18-49 rating down 18% from a 1.7 on November 15. Rock Center garnered a 0.9 adults 18-49 rating, down 18% from two weeks ago.

    On the CW, Vampire Diaries scored a 1.5 adults 18-49 rating up 15% from a 1.3 on November 15. Beauty And The Beast garnered a 0.8 adults 18-49 rating up 33% from a 0.6 on November 15. However, these numbers may be inflated due to being preempted for NFL football in Atlanta and high school football in Baltimore.


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    Little Mix want 'Spice World'-style movie

    Little Mix have revealed that they would rather act in their own film than be documented. The girl group said it would be amazing if they could star in their own feature-length cut in a similar vein to the Spice Girls' movie Spice World.

    "We'd have to be really original with it," Leigh-Anne Pinnock told Capital FM. "We could have our own film but instead of doing a documentary we could actually have a film and be actors."

    Jade Thirlwall continued: "Like the Spice World movie!" Jesy Nelson added: "Something like that. That would be amazing."

    Little Mix reached number three on the UK chart with their debut album DNA last weekend. The group have previously admitted that they would love to follow in One Direction's footsteps and crack America next year.


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    It’s just sad; it had so much potential,” Pia Rizza commented. “I guess I have to go back to work,” Pia lamented. “Where that’s going to go I have no idea because I don’t have the show.”

    Pia blames the network's decision to air the show during the Olympics. “It was a terrible time to be aired at Sunday nights in the summer.”

    Leah believes the network didn't promote the show enough. “Season two would have brought a lot more ratings,". "We didn’t film a reunion, but I can assure you it would have been very juicy.”

    Leah says “I know I’m an asset to TV. I didn’t know that about myself prior to the show … I will be back in the industry. I will be on bigger screens.”

    Pia says she still wants to share her story with the world. “I have so much to tell and there’s no season two to continue my story.”

    VH1 isn't giving up on expanding the franchise. Jennifer Graziano is currently in the process of working on either a Philadelphia or Miami version!

    bye :(


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    Carrie Underwood will play Maria von Trapp in NBC's remake of the classic musical The Sound of Music that NBC will broadcast live next year. To shepherd the live three-hour event, which will air during next year's holiday season, NBC is reteaming with Smash producers Craig Zadan and Neil Meron (Chicago, Hairspray), who also have been tapped to produce the 85th Annual Academy Awards in February.

    “Speaking for everyone at NBC, we couldn't be happier to have the gifted Carrie Underwood take up the mantle of the great Maria von Trapp,” said NBC Entertainment chairman Robert Greenblatt. “She was an iconic woman who will now be played by an iconic artist.”

    In 2007, Underwood performed a song from the musical in a CBS special celebrating classic movies. (Watch the performance below.)

    Based on the original Broadway musical that was inspired by the true story of von Trapp, The Sound of Music follows the aspiring nun who leaves the abbey to become a governess for the widower Captain von Trapp's seven children and finds herself falling in love with her boss and questioning her religious calling.

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  • 11/30/12--14:01: ugh
  • Report: Miley Cyrus NOT replacing Angus T. Jones on 2 and a Half Men

    On Friday, a report surfaced that Miley Cyrus could be tapped as a replacement for Angus T. Jones on CBS’ “Two and a Half Men,” but according to a source close to the show, that’s not the case. The info comes despite a report to the contrary by Celebuzz on Friday, which claimed Miley was being “eyed as a potential replacement” for the 19-year-old actor.

    As previously reported on AccessHollywood.com, Angus issued a statement earlier this week after he called the show “filth” and urged fans to stop watching in a YouTube confessional. “I apologize if my remarks reflect me showing indifference to and disrespect of my colleagues and a lack of appreciation of the extraordinary opportunity of which I have been blessed. I never intended that,” the actor said in a statement.

    Miley guest-starred on the sitcom this season as Missi, a love interest for Angus’ character, Jake.

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