Madonna's Boy Toy Gets Splashed In The Grill & Cries.

Jesus Luz had a bad night in Rio on Sunday. Madonna’s boy toy was deejaying at a party for the best samba schools that participated in Carnival when a guest came up and threw beer in his face, saying, “Get out of here, I don’t wanna see your face here anymore!” As reported by iG Gente magazine, Luz “went to a corner and started to cry.” He only finished the gig when four bodyguards were assigned to flank him. But Luz might have the last laugh — he just signed with Warner Music, Madge’s label, and will release his first record in April. smh.

-”The BklynBandette.” Mr. Hollywood’s Co-Defendant.

[Via http://heavenhollywood.wordpress.com]

Idol Thoughts -- 02.23.10 -- Live Blog

Trying this out…live blogging.

Paige Miles – “All Right Now” by Free – Surprising song choice. Simon Cowell is right. This is one of those Wedding Singer-type of songs that can be hard to distinguish yourself singing. Wanted to like it more than I did. She’s got pipes. Pick a better song next time.

Ashley Rodriguez — “Happy” by Leona Lewis. Ashley’s a great looking woman. The singing got a little pitchy at times. I’ve been a big fan…up to now. This was a step backwards.

Janell Wheeler – “What About Love” by Heart – Hmmm. This is not very good. The singing’s flat and the performance feels nervous–awkward and too “mannered.” I’d suggest going back to chalkboard and rethinking song choice for next week. More like the Estelle song she did at Hollywood Week.

Lilly Scott – “Fixing A Hole” by The Beatles – One of the most unexpected song choices on Idol ever. This is a classic, to be certain. But it’s far from the Beatles best known song. Jazzy take on it. She’s doing her own thing. And it’s good! Nice job.

Katelyn Epperly – “Oh Darling” by The Beatles – Hard not to love a girl sportin’ Madonna’s hair from the Like A Virgin album cover. This girl can sing. At moments, her voice reminds me (just a little) of Kelly Clarkson. My fave so far.

Haeley Vaughn – “I Want To Hold Your Hand” by The Beatles – Looks like those CD reissues and their Rock Band edition has this group of singers all over the Beatles catalog tonight. I like Haeley’s re-arrangement. In theory. Some notes were quite nice. But some others not so much. She’s got much potential. She just needs to be more consistent and pull it all together. Ellen nut-shelled this performance: “If it was a mess, it was a hot mess.”

Lacey Brown – “Landslide” by Fleetwood Mac – I wonder if sitting down on a stool for your song on the first live show is a good idea. I say get up and let people see you. But maybe she’ll stick out by being different. First note wasn’t good. Thought maybe she’d turn it around. But she kept going back to some odd notes. Not my fave tonight. My guess is Lacey could be in trouble.

Michelle Delamor – “Fallen” by Alicia Keys – Wow. Sounds great and looks very comfortable on stage. She’s operating on a higher level than the others we’ve seen so far. I agree with Kara DioGuardi. She needs to develop more uniqueness and believability. Take risks, as Randy Jackson told her.

Didi Benami – “The Way I Am” by Ingrid Michaelson – Wondering how this will go. Didi’s known for the waterworks. Hope she’s ready for the judges comments, either way they go. She’s got some skills. But Simon’s got a point. There’s several singers in the competition going for the same sound. Simon and Randy riffing about tonight’s show, basically saying, “Where’s the star power?” Agreed. Some of these performances have been pretty sleepy tonight.

Siobhan Magnus – “Wicked Game” by Chris Issak – Great Song. When Chris Issak sings it. Siobhan’s version is not working for me. A little too “formal” sounding for my taste. My friend Phil Stacey (yes, Idol’s Phil Stacey) is making a good point on Facebook. The band is mixed very, very low behind her voice. He says that means they “are NOT helping her.” I hope he doesn’t mean that they’re doing that intentionally. I hope she sticks around. I’d like to hear more from her. She feels genuine.

Crystal Bowersox – “Hand In My Pocket” by Alanis Morissette – She gets a cheer for playing the harmonica. That might be an Idol first. Good stuff–but I was expecting to be blown away a little more. Like Randy and Ellen, I’m a fan. I suspect Crystal could make some music I’d want to listen to. Agree with Simon. She needs to expand beyond her “coffee house” sound.

[Via http://gregvalentine.wordpress.com]

VARIATIONS ON A THEME: 1986/2010

Here are two pictures playing with over-accessorizing 25 years apart.  ELISA took the first picture around 1986 when I was completely in the thrall of Madonna and Cyndi Lauper and the mania for a full sleeves of accessories (I remember reading that Quincy Jones made Cyndi remove her sleeve of bracelets and bangles during the “We Are The World” recording session because the mics were picking up the noise!).  In the 80s, more was more, it seems.  ELISA took the second picture a few weeks ago – I still get the occasional nostalgic urge to over-accessorize, and when I do, I go to my stash of arm trash which is basically filled with the same old pieces.  As you can see, the bubble watch is the same in both pictures, as is the stainless “Maripolitan” bracelet with the magnetic chips, which I blogged about a few weeks ago.  Somehow, I lost the beautiful leather bracelets we bought in the summer of 1984 when we were smoking hash, I mean, studying in London. – DAVID

[Via http://blog.chelsea-girl.com]

Poptelefoner og videotelefoner

Den siste tiden har jeg skrevet blogginnlegg knyttet til både Grammy Awards og Brit Awards (her og her). Opptredener ved disse anledningene er viktige, og det er mange framføringer som har satt spor etter seg. Det kan udmerket også bli resultatet av Lady Gagas performance under årets Brit Awards tirsdag. Med en hyllest til Alexander McQueen og i et antrekk av en annen verden framfører hun “Telephone” og “Dance in the Dark”:

Åpenbart er dette mer enn en konsertframføring. Dette er – i en eller annen forstand – musikkteater; det er performance, det er Gesamtkunstwerk. Faktisk synes jeg på mange måter den wagnerske termen passer best.

Samtidig, og i tråd med en av de andre besettelsene mine, så er låten “Telephone” interessant (for mer om telefoner og pop se her). Lady Gaga skrev låten med tanke på at Britney Spears skulle gjøre den. Det ble det intet av, men istedet gjorde hun den selv, på albumet The Fame Monster, sammen med Beyoncé. Og telefonen finnes ikke bare i tittelen; lyden av en telefon kan høres, teksten anvender telefonene som en metafor i forhold til kommunikasjo og særlig kommunikasjonssammenbrudd. Bilder fra den kommende videoen viser også Lady Gagas hår satt opp som en telefon.

Stillbilder viser også Lady Gaga og Beyoncé kjørende i en bil vi kjenner igjen fra Quentin Tarantinos Kill Bill:

Tarantino-referansen bringer oss også til den forrige gangen Lady Gaga og Beyoncé samarbeidet. Også her er det telefoniske i sentrum. Her er videoen til “Video Phone” (regisert av Hype Williams):

Låten var først med på andre halvdel av I Am … Sasha Fierce, men det er en remiks-utgave, der Lady Gaga også er med, som er grunnlaget for videoen.

Åpningen har både en tarantinosk klang og stemming (med mer enn hint av Reservoir Dogs). Underveis er det også rikelig anledning til diverse våpen, og dermed også hint av noen av de samme dimensjonene som Rihannas senestre videoer (se her). Men i en slags dialog med Lady Gagas låt er det også her det telefoniske som framheves. Samtidig er dette en annen form for telefon; billedtelefonen åpner for det visuelle som en like viktig – eller viktigere – dimensjon enn det auditive. Og dette kommer fram ved den mannlige karakteren (ved 0:48) som slett ikke er all ears, men all eye. Hodet har blitt “erstattet” av en kameralinse. Og foran kameraet er Beyoncé – eller skal vi heller si Sasha Fierce? – åpenbart et objekt, og snarere enn telefonens nivelering av subjekt/objekt-forholdet iscenesettes kameraets fokus på et slikt forhold. Samtidig kan man hevde at objektiveringen problematiseres, både siden Beyoncé i videoen er artisten og hovedpersonen men også, og ikke minst, siden det såkalte objektet her tar kontrollen over blikket. Dog, en eventuell radikalitet her bør også utfordres; selv om Beyoncé framstår som å være i kontroll er det en kontroll på rimelig heteronormative premisser, noe som gjør en feministisk kritikk av det mannlige blikk mer vansklig å lese inn i videoen (jeg har tidligere kommentert hvordan det er vanskelig å argumentere for et feministisk alternativ i forhold til Beyoncés seneste produksjon). Men ved 3:21 ses en av kameramennene truffet av piler, så det er en slags fare forbundet med blikket like vel. Samtidig kobles dette med referanser til Betty Page, og igjen er det det kvinnelige blikkfang som står i sentrum. Skytevåpnene som anvendes synes også å ha en forbindelse til kameraene – som kjent skyter både kameraer og våpen (photo shot) – samtidig som en fallisk dimensjon åpnes. Selv om det er kvinnene som håndterer skytevåpnene her synes dermed forbindelsen mellom pin-up og våpen å framheve et konservativt kvinnebilde.

Referansen til Reservoir Dogs gjør også at jeg igjen kan poste åpningssekvensens diskusjon om Madonna (se også her):

På en måte minner Tarantino oss om at populærkultur også er show og underholdning. Og kanskje vil jeg endre mening om denne konteksten når jeg får sett videoen til “Telephone.” Referansen til Kill Bill, og Uma Thurmans karakter, åpner i det minste for et noe annet kvinnebilde enn det som kommer fram i “Video Phone.” I det minste vil nok den telefoniske logikken bli tydeligere der – slik den er det i Lady Gagas tekst.

[Via http://steinskog.wordpress.com]

Glee Preview!

Excited?

[Via http://theclearblog.wordpress.com]

MADONNA IS LOVING RIO CARNIVAL WITH JESUS LUZ

There’s an old saying back in New Zealand, that “you’re only as young as the person you’re feeling.” In Madonna’s case, that appears to be true.

Madonna looks absolutely radiant as she enjoys the Rio Carnival in Brazil with her beau Jesus Luz. Good for her!

And don’t you love the Kiwi sense of humor. Too funny!

[Image courtesy of The Huffington Post and as Ariana Huff N Blow never lists her image sources because she's so singularly solely solo fabulous on her website, I don't know who took this photo!]

~Posted by Horiwood.Com, Hollywood California USA. 2.14.2010~

[Via http://horiwood.com]

Los Razzies: 10 años de trabajo resumidos en una frambuesa

Por Clara Jiménez Cruz

Estamos ya en febrero e inevitablemente ha llegado la temporada de hablar de premios, pero yo este año he decidido prescindir de las candidaturas a los Goya, que ya comentamos en su día en el programa, y de los Oscars,  ya que estoy segura que mis compañeros hablarán de ellos en el programa de este fin de semana y harán la habitual porra que luego nunca nadie gana y hace que todos nos quedemos sin la prometida cena. Yo, este año, voy a hablaros de los Razzies.

Los Razzies son los premios que entrega la  Golden Raspberry Award Foundation (que viene a ser algo así como la Fundación de Premios de la Frambuesa Dorada) a las peores películas, actuaciones, guiones y direcciones del año; lo cual los convierte en unos premios muchas veces más interesantes que los Oscars, porque al menos nos arrancan una carcajada recordando algunos de los estrenos. Además, este año vienen por partida doble, ya que al ser la trigésima edión de los mismos no sólo van a premiar lo pero del año, ¡sino también lo peor de la década! Pero vamos por partes…
En el año 2009 se hicieron muchas buenas películas, como se puede apreciar en las 10 nominaciones a mejor película de los Oscars de este año (si es que eso puede ser un parámetro de calidad), pero también se invirtió mucho dinero en hacer películas malas y que por tanto han sido nominadas a peor película del año por los académicos de la frambuesa, a destacar títulos como G.I. Joe o Transformers 2. Entre los peores actores del año cuantan por descontado con el puesto los tres Jonas Brothers así como John Travolta por su actuación estelar en Dos Canguros muy Maduros; aunque la categoría femenina no tiene desperdicio con nombres como Sandra Bullock en su supuesto intento de hacer un papel serio en una comedia…debió de confundir el género, Sarah Jessica Parker de testigo protegido o Beyoncé en su lucha contra una maniaca sexual rubia. En fin, todo tesoros.

Pero para tesoros lo que descubrimos al echarle un ojo a las categorías de lo peor de la década: es empezar y no parar. ¿Recuerdan aquella horrible película del año 2000 llamada Campo de Batalla: La Tierra en la que John Travolta interpreta a un extraterreste que invade la Tierra (ya lo dice el títutlo)? Pues aunque en su día ya gano 8 Razzies, esta década se enfrenta al de peor película y su protagonista al de peor actor. Es tan mala, que ni siquiera he encontrado un video en internet para poder enseñárselo… Pero bueno, no se crean que el resto se van de rositas: Ben Affleck, Eddie Murphy, Rob Schneider también están en la lista. Y entre las féminas reinan las cantantes y las celebrities: Madonna, Jennifer López, Mariah Carey, Paris Hilton y Lindsay Lohan se disputan el único premio que nadie quiere recibir. Parece que lo que lo que quieren dejar claro es que las cantantes, que canten, y las celebrities, que hagan lo que se supone que ‘hacen’ y que dejen actuar a los profesionales. Pero si por algo se caracterizan los Razzies es por ser los premios que nadie va nunca a recoger, aunque igual este año María Carey se toma un par de copas y se anima a presentarse…

Bromas aparte, los Razzies son unos premios que en mi opinión no le vienen nada mal al cine, y tampoco a los espectadores, porque además, para poder votar no hace falta haber ganada uno como en los Oscars, si no que basta con pagar una cuota anual para poder organizarlos y nos da derecho a elegir la peor película del año. ¿Se animan?

Para ver la lista completa de los nominados a los Razzies, aquí.

[Via http://nochedecine.wordpress.com]

Taylor Swift Wins Album of the Year; Grammys Are Now Irrelevant

I really don’t have much to say other than if the Grammys are going to award a mediocre 20-year-old singer (did you hear her sing off pitch with Stevie Nix?)  who warbles about high school bull poo, then the American music industry really does have a problem. Actually, what am I talking about? Our music industry has glorified mediocre singers going back to Madonna (lady puts on a damn good show and is a master at reinventing herself, but her actual singing voice is meh, at best) and further back–I just can’t think beyond Madge at the moment. Brittany Spears is another modern-day example of a singer who is all packaging, no voice. The music industry just seems to be getting worse and worse.

Anyway, I can’t stand listening to FM radio anymore because I just get bombarded with mediocre music and advertisements. Basically, satellite radio is the way to go.

[Via http://indepunditontheweb.wordpress.com]

Who can fill Samantha Harris's 'Dancing with the Stars' shoes?

When I heard that Samantha Harris is leaving ‘Dancing with the Stars’ I thought, “Aw, that’s too bad. Who’s the celebrity she’s dancing with again? Oh. She’s the co-host? Oh.”

While I’m sure tens, if not twenties of fans might be devastated with the news, it’s also a perfect chance for me to bring out my “IF I WERE A NETWORK EXEC” game and tell you who I think should take over her model behind the mic duties. Here are my picks. Vote at the bottom of the page or add your own nominee.

1. The Big get: Paula Abdul.

Zap2it.com

As my column colleague, Elizabeth Snead at Zap2it.com, mentioned last week, the rumor mill has had her in talks since last year to sign on to the show. Yeah, I get it, she’s a dancer, and hosting/judging is on her resume. But have these suit monkeys bothered to tune in and watch her circling the drugged out drain towards Ozzy’s world? If they want to bring in a walking episode of ‘Intervention’(and who doesn’t love watching live trainwrecks?), then Paula’s the right choice.

2. The Impressive Get: Jennifer Lopez

Zap2it.com

She’s a trained dancer with a new cd and movie to promote. It’s a show that would love a boost in ratings and clout. What could be a better combo? Although J-Lo might see the move as slumming it, a hosting gig with DWTS would give her a chance to show her non-diva, I-was-a-fly-girl-once side that might just get her (and the show) more fans. And let’s face it. That girl can work a dress. (It’s sort of a DWTS job requirement.)

3. The Graduate Get: Marie Osmond

ABC

As one of DWTS’s most talked about contestants, her faint-felt-around-the world might be the ticket to a steady prime-time gig. She’s got the chops, the gams and enough time behind a mic to get camera ready tout suite. Now if only she can get time off from playing pitchman for NutriSystem and her Vegas act with brother Donny.

4. The Safe Get: Drew Lachey

Zap2it.com

He’s already filled in for Harris during her pregnancy, so this interview should be relatively easy. And as a another DWTS graduate and winner, Lachey has an edge on which deeply probing questions to ask in the ever-important backstage interview. Unfortunately for Lachey, the balance of gender powers would tilt heavily towards the testosterone side, even if some of those guys tilt the other way…

5. The Impossible Get: Madonna

Zap2it.com

We can dream can’t we? Who wouldn’t love watching Madge tell off Hasselhoff for not keeping his line straight? And if anyone gets remotely more popular than the Dancing Queen herself, we all get treated to a Madonna v. Celebrity dance off. Suh-Weet!

View This Poll
polls

[Via http://nathalienation.wordpress.com]