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Oh No They Didn't! - LiveJournal.com

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  • 11/27/13--13:01: Tabloid Cover Wednesday
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    Josh Duhamel shows off his biceps in a muscle tank while riding his bicycle around town on Tuesday (November 26) in Brentwood, Calif.

    The 41-year-old actor got in a good workout by riding his bike two miles from his current home to check on the construction of his new home.

    Josh was spotted out the day before in a white t-shirt and light green pants while stopping by a friend’s home in Los Angeles.













    Source: http://www.justjared.com/photo-gallery/3001000/josh-duhamel-bares-his-biceps-in-muscle-tank-on-bike-ride-04/

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    Justin Bieber takes of his shirt displaying his shirtless torso while performing for fans at the Brisbane Entertainment Centre on Wednesday evening (November 27) in Brisbane, Australia.

    The 19-year-old entertainer sang and danced fully clothed before stripping off his shirt and showing off his muscled bod.

    “Thank you to the Gold Coast. Sydney is next.” Justin tweeted out to his fans. Justin is scheduled to perform in Sydney on November 29 and 30 before heading to Melbourne, Adelaide, and Perth.







    Source: http://www.justjared.com/photo-gallery/3001213/justin-bieber-strips-down-shirtless-for-brisnane-concert-03/


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    Brooke Mueller has just declared nuclear war in her child custody dispute with Charlie Sheen -- she's accused Denise Richards of abusing her twins and the 2 other daughters Denise had with Charlie ... sources tell TMZ.

    Law enforcement sources tell TMZ ... cops came to Denise's door Tuesday night and told her they were there to question her about a child abuse claim lodged by Brooke. Denise did not let them inside because her daughters were there.

    We're told Denise walked outside and told cops the claim was "ridiculous" and "vindictive" -- that the L.A. County Dept. of Children and Family Services was already handling the dispute .. a dispute that started after Brooke was stripped of custody after a raging drug problem flared up yet again.

    Sources say Brooke's latest claim will have dire consequences, especially if it's false, because Denise's daughters and the twins will be grilled about the allegations -- something that is ALWAYS emotionally traumatizing.

    We're told Richards made it clear -- she hasn't even seen the twins for 2 weeks, so if Brooke really had a gripe why didn't she lodge it earlier. Also, Brooke has had not contact with Denises' daughters, so the claim is suspicious.

    http://www.tmz.com/2013/11/27/charlie-sheen-denise-richards-brooke-mueller-child-abuse-cops-twins/#ixzz2lsmjAYzB


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    John Legend celebrated the birthday of his wife Chrissy Teigen with a "Super Mario Bros." themed bash in West Hollywood last night. See the super cute party pics inside and find out what else John did while in Los Angeles.









    Source: http://theybf.com/2013/11/27/john-legend-throws-chrissy-teigen-a-super-mario-bros-themed-28th-birthday-party

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    The toy company GoldieBlox has pulled its version of the Beastie Boys song “Girls” from an an online video that became a viral hit, and has said it also may drop a lawsuit that sought a judgment that the parody of the music was fair use.

    GoldieBlox posted an open letter to surviving Beastie Boys Michael Diamond and Adam Horovitz on its website, saying, “when we posted the video, we were completely unaware that the late great Adam Yauch [who died in 2012] had requested in his will that the Beastie Boys songs never be used in advertising. Although we believe our parody video falls under fair use, we would like to respect his wishes and yours.”

    The toy company makes several products and the video focuses on the ones intended to encourage young girls’ interests in engineering. GoldieBlox said it had created the “Girls” parody as a comment on the song itself; where the original lyrics focused on outdated female roles, the GoldieBlox lyrics celebrated “the many capabilities of girls.”

    GoldieBlox filed its suit on Nov. 21, claiming that it was a response to legal threats from Beastie Boys’ attorneys. But the surviving members of the group pointed out that they decided “long ago” not to license their music for advertisements.

    “Since actions speak louder than words, we have already removed the song from our video,” GoldieBlox said in the open letter. “In addition, we are ready to stop the lawsuit as long as this means we will no longer be under legal threat from your legal team.”

    source

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    src
    i'm excited! <3

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    Ashley Benson is not happy with the latest Pretty Little Liars poster.

    The 23-year-old starlet voiced her frustration with the "ridiculous" campaign image being used for the hit ABC Family mystery-thriller series on Wednesday, Dec. 11. "Saw this floating around....hope it's not the poster," the actress captioned on her Instagram account, which promotes the upcoming second half of the show's fourth season. "Our faces in this were from 4 years ago.....and we all look ridiculous," she added. "Way too much photo shop. We all have flaws. No one looks like this. It's not attractive."

    The poster features Benson, along with her costars Lucy Hale, Troian Bellisario and Shay Mitchell posing in red dresses against a gray cloudy backdrop. The ladies all look beautiful with their perfect complexion, smoky eyes, glossy lips and wavy hairstyles.

    A rep for ABC Family had no comment.

    Benson received an outpouring of support from her fans on her social media sites and added a snapshot of this message: "On another note. Super sick in bed. Reading all of your tweets. Love you guys so much. The constant support and love I get from all of you makes me so happy. Hope you all are having an amazing week. Remember, you are ALL beautiful," she continued. "Please don't ever try and look like the people you see in the magazines or posters because it's fake. It only causes an unhealthy mind about how you see yourself. You are perfect the way you are."

    source

    Troian apparently showed her support as well but there was nothing about it @ the source.

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    In a present day idyllic kingdom, the benevolent teenaged son of the King and Queen (Beast and Belle from Disney’s iconic Beauty and the Beast) is poised to take the throne. His first proclamation: offer a chance at redemption to the trouble-making offspring of Cruella De Vil, Maleficent, the Evil Queen and Jafar who have been imprisoned on a forbidden island with all the other villains, sidekicks, evil step-mothers and step-sisters. These villainous descendants (Carlos, Mal, Evvie and Jay, respectively) are allowed into the kingdom to attend prep school alongside the offspring of iconic Disney heroes including Fairy Godmother, Sleeping Beauty, Rapunzel and Mulan. However, the evil teens face a dilemma. Should they follow in their nefarious parents’ footsteps and help all the villains regain power or embrace their innate goodness and save the kingdom?

    Kenny Ortega, the Emmy Award-winning director and choreographer of Disney’s record-setting High School Musical TV movies and feature film, returns to Disney Channel to direct Descendants.

    The script was written by Josann McGibbon and Sara Parriott (creators and Emmy Award and WGA Award nominees for their writing on The Starter Wife, also writers of Runaway Bride and on Desperate Housewives). The production design will be by Mark Hofeling (Teen Beach Movie, High School Musical). The wardrobe design will be by Kara Saun (Project Runway, America’s Best Dance Crew).

    Casting is underway for Disney’s Descendants, a contemporary live-action adventure-comedy that taps into Disney’s heritage characters—notably its most evil villains–to introduce their progeny, a modern day generation of teenagers who ultimately question the evil that’s always been in their hearts. Disney’s Descendants is scheduled to begin production next spring for a 2015 premiere on Disney Channel. The casting directors are Natalie Hart and Jason La Padura, C.S.A. (High School Musical TV movies and film, Camp Rock).

    Gary Marsh, president and chief creative officer, Disney Channels Worldwide, said, “We mined Disney’s treasure trove of stories and developed a new, comedic approach to the fabled characters everyone knows and loves. The result is a modern and unexpected re-interpretation of classic heritage characters utilizing contemporary, relatable settings and themes.”

    Source
    So it makes absolutely no sense that all of these characters would be living in Belle and Beast's kingdom and this is probably going to be some messy tween version of a Once Upon a Time and Mean Girls mashup but more than likely I'm going to watch it anyway.

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    One of the ongoing storylines of this transitionary season of Saturday Night Live has been the lack of diversity amongst the new cast members. After losing Bill Hader, Fred Armisen, and Jason Sudekis, the show brought six new faces on board as featured players—except all six are white, and only one is female. But the show has been trying to respond to the criticisms both on air and behind-the-scenes: it seems SNL held a secret audition last week specifically for female black comedians.

    Actress Bresha Webb told the Jasmine BRAND about the showcase, which was held at LA’s Groundlings Theater: "The audition came about from an inside source from SNL. I don’t think any of us had a clue about the showcase until two days prior. It was an awesome opportunity even though it was such a short notice but, if you stay ready you ain’t gotta get ready and we were READY! Lol But we were all honored to be selected."

    "I found out that I was on a list of funny women in the industry and there was an opportunity for me to audition for SNL last summer," Webb added, "but, I was filming “Love that Girl” and now the opportunity has represented itself." Other comedians trying out included Tiffany Haddish, Simonne Shepherd, and Darmirra Brunson.

    With Seth Meyers leaving the show for Late Night soon, it's entirely plausible the show could bring one more featured player on for the second half of the season in 2014. And then maybe we won't have sketches like this anymore.

    source

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    The CW's new brand identity as TV's home for hot teenage freaks will continue into the midseason with the addition of the alien romance Star-Crossed and the futuristic, Lord of the Flies-esque The 100. For too long, we've stared at those two shows' undefined premiere dates, the letters T-B-D haunting us. No longer! The CW has announced its midseason plans, and that means details for both of those shows plus a return for Whose Line is it Anyway? and new nights for The Tomorrow People and Hart of Dixie.



    Star-Crossed kicks off the changes when it debuts on Monday, February 17 at 8pm, where it will pair up with Beauty and the Beast for an epic night of hot human ladies hooking up with handsome weirdos. Aimee Teegarden stars as a brunette (!) in the near future who finds love after a bunch of aliens (you can tell they're aliens because they all shop at Hot Topic and have face tattoos) immigrate to Earth and eventually integrate into the school system. I watched the pilot at Comic-Con and found it to be slightly better than staring at a blank piece of paper for an hour.

    With Star-Crossed moving into Monday nights, Hart of Dixie will take a break. But don't worry, Dixie Chix (is that what you call yourselves?), Zoe and the gang will be back on March 21 at 9pm. However, if you believe that Friday night is a time slot of death, then maybe you should worry because March 21 is a Friday.

    Beauty and the Beast will eventually take a break as well, going off the air after its March 10 episode. Taking its place will be The Tomorrow People, which moves to Monday nights starting on March 17 at 9pm, where it will follow Star-Crossed. That's a huge downgrade from being paired with Arrow, but apparently The CW thinks The Tomorrow People is grown up enough to handle itself. The big travesty of the move? No more Amell Wednesdays.



    With The Tomorrow People bouncing to Mondays, that opens up a Wednesday spot for The 100. The new sci-fi series about teens sent to the nuclear wasteland formerly known as Earth will make its debut on March 19 at 9pm, right after Arrow. I don't know if y'all care about my opinion, but I really enjoyed the pilot of The 100 and thought it was easily the best of The CW's new shows. Set in the future after humans have nuked each other to smithereens, The 100 plays an upstairs-downstairs game by placing the surviving humans in a space station orbiting Earth and sending 100 juvenile delinquent teens down to the planet to see if it's inhabitable again. While the adults have their own power struggles in the space station, the teens are all Blue Lagoon and Lord of the Flies on the possibly radioactive planet below.

    And for those of you who watch The CW for its old men, Whose Line is it Anyway? returns for more improv on March 21 with back-to-back episodes in the 8pm hour.

    The CW'S 2014 MIDSEASON SCHEDULE
    (New shows in ALL CAPS)

    Monday, February 17
    8:00-9:00pm STAR-CROSSED (Series premiere)
    9:00-10:00pm Beauty and the Beast

    Monday, March 17
    8:00-9:00pm STAR-CROSSED
    9:00-10:00pm The Tomorrow People (New night)

    Wednesday, March 19
    8:00-9:00pm Arrow
    9:00-10:0pm THE 100 (Series premiere)

    Friday, March 21
    8:00-8:30pm Whose Line Is It Anyway? (Cycle 2 premiere)
    8:30-9:00pm Whose Line Is It Anyway?
    9:00-10:00pm Hart of Dixie (New night)


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    Charli XCX has had a big 2013. All the way up to eleven big. In January she’d still yet to release a debut album proper, despite demos for it having been around since late 2011. Then hot on the heels of ‘True Romance’ came that smash hit with Icona Pop, a string of UK arena dates supporting Paramore, European ones with Ellie Goulding and a first headline tour in North America. But the Hertfordshire singer-songwriter’s ultimate highlight of the year?

    “The Backstreet Boys tweeted me!”

    It was her cover of the US boy band’s ‘I Want It That Way’ that “blew up” online that they responded to. “The next thing I knew,” she giggles, “they were like ‘Hey! We like your version better than ours!”



    2013 has been pretty huge for you. There was that Number One single...
    Yeah, that was weird. On that day, I completely hid from the world, I went to the cinema with my Mum and saw World War Z, and I could feel my phone vibrating, and I was like ‘Oh god, that’s either people telling me it’s gone to Number One, or it’s people being like ahhhh, bad luck’. I got out of the cinema and checked my phone and was like ‘Ahhhh! It went to Number One!’, like, crazy.

    The tour with Paramore was also pretty massive.
    That was good. It was cool because I’d never really toured in the UK, I mean I did a support tour with Sleigh Bells ages ago, but that was my first ‘big’ tour.

    I played at Wembley. I fell over at Wembley, on stage, which was epic. I feel like, if you’re gonna fall on stage, do it at Wembley! It was really funny, I jumped off the stage on to a sub, and that was fine, but when I went to get back on the stage, I fell down the gap between the stage and the sub, and my shoe - I was wearing big platforms - my shoe got stuck and it was just a bit of a drama. And then I fell over and thought ‘maybe I’ll try and make it punk’, but I was rolling around on the floor! Luckily the screens weren’t on. If the screens would’ve been on then I would not be telling this story.

    And I just came off my US tour, which was my first proper headline tour in the States, and that was next-level, because I never expected it to have that kind of reaction out there. So many of the shows were sold-out, fans were so cool, I got given loads of presents. So much Justin Bieber perfume, a singing Justin Bieber doll, loads of weird stuff. Our tour bus got attacked - in a really sweet way, not a terrible way! I got thrown loads of weed on stage, which had never really happened to me before.

    And then after all of that, coming back to London and doing a show at Islington Academy was awesome. I had this fear of London, I don’t know why, I just always had it, but it was the best show ever. I wanted to cry. It was so cool, playing in my home town, people wanted to be there and really loved it.



    You’ve recently said you’re working on a new record.
    Yeah, it’s nearly done, actually.

    How have you found time?!
    I wanted to do it really quickly, the nature of the album I’m making is a very fast-paced, spontaneous kind of record. The sound is much more live, it’s much more raw, there are some really punk elements to it. It’s very ripped and rushed and sexy and strong and bold, and I personally feel like all the best songs are written in half an hour anyway. I feel like if you need to take a day to write a song, it’s probably not that good. I like things that just... fall out, and it’s like ‘BOOM!’, they’re there. You know?

    I was in Sweden for a month in total, and we did almost everything there. Just me and Patrik Berger, who I worked on ‘I Love It’ with, we were just banging songs out, starting every day at twelve, and just went on until five in the morning, falling asleep on the studio floor, then just starting again.

    I like it. I think this music is definitely the best music I’ve ever made.

    Do you think this speed is a reaction to it taking so long last time?
    Definitely. I think partially, even if I’m not 100% conscious of that, which I can’t say I am, but I think that’s definitely part of it. And I’ve also kind of grown up doing this, growing up in this music industry world, but not really as someone who’s been at the forefront the whole time, I’ve grown up slowly learning about things behind the scenes and I feel like I can really control all aspects of that now.

    Do you think you’ve taken much from the people you’ve toured with?
    Not so much Paramore, but I have actually been listening to a lot of Sleigh Bells recently, I love ‘Bitter Rivals’ and the video as well. The record is mainly inspired by a lot of 60s French pop, the Yé-yé girls, Sylvie Vartan, France Gall, Brigitte Bardot, Johnny Hallyday, people like that, and also a lot of New Wave bands, like Bow Wow Wow, The Waitresses, and The Flying Lizards.

    The vocal hooks are strong, shouty, with some really blunt lyrics. I feel like that’s what I’m good at, like, blunt, straight to the point lyrics. It feels really Girl Power, I suppose. A very feminine record in the sense that it’s sexy but also very angry and punk, and I think that those are all very feminine. And I’m seeing all the songs as being the colour red, which I think embodies it as well.

    For me, I feel like this record is about not giving a fuck, and it’s about embracing who you are, and I don’t mean that in a cheesy way like ‘be who you wanna be’, although I do mean that as well, but in this industry... it’s like fuck it. If you want to fucking take your clothes off and dance around naked and do your fucking thing, do it. "I feel like I can control all aspects now." As long as you’re in control and it’s what you want, and not what three men in suits want at your record label, it’s fine. That’s fucking punk and you’re in control, you’re owning your body. If you want to shave all your hair off and fully cover up, come dressed as a punk, that’s also cool, and that’s also really sexy, if you’re in control of it. I feel like that’s what this record’s about, it’s about not obeying stupid rules, there are so many stupid rules in the music industry like ‘Oh, she’s not wearing many clothes, she’s selling sex, she’s a slut’, that’s not the case, Vivienne Westwood made amazing clothes for punk bands that had no breast coverage! Sex was the name of the shop. Sometimes I feel like the music industry, even though the lyrics in all these pop songs that are huge right now on the radio are so sexualised, as soon as anything real, like really sexy happens, everyone’s like ‘Oh my god! We’re nuns’.

    Like Janet Jackson’s nipple...
    Yeah! It’s like SO WHAT! We’ve been singing about nipples for years, and as soon as one pops out everyone’s freaking out about it!

    Are you at home for Christmas?
    Yeah, I’m at home. I go to Dubai for New Year, which is quite cool. And I’m in New York next week, which is the ultimate Christmas destination...



    Do you have any particular traditions?
    My Mum hates Christmas. Well, actually, she’s one of those people who says she hates Christmas, but then I think she secretly loves it. It’s very much the standard affair, we just get the family round, we open presents, play board games.

    We have this bomb one, there’s a bomb that ticks and you pass it, and that’s just the gimmick in the game, I can’t actually remember what the game is, but it’s got a bomb in it. Pictionary, that’s always a really angry ‘Argh, he doesn’t know what I’m fucking drawing!’ type thing, it becomes quite heated.

    Last year my Aunt did the whole dance - well, I don’t know if there’s even an official dance for it - but she basically danced to Shaggy’s ‘Boombastic’ in front of the whole family. It was very explicit. And, I mean, it’s a long song, so it went on forever. Then my Mum joined in. It was very odd.

    Charli XCX’s new single ‘SuperLove’ is out now via Asylum / Atlantic.

    Source

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  • 12/12/13--13:40: "Rio 2" trailer
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    Through all Fleetwood Mac's years of druggy excess and bitter breakups, the friendship between Christine McVie and Stevie Nicks never faltered. They talk about addiction, sexism – and how they can't wait to play together again.

    September 2013, and Stevie Nicks is about to perform Landslide at the O2 in London, where Fleetwood Mac are playing three nights. Before she does, though, she has a dedication to make. "This is for my mentor. Big sister. Best friend," she says, and there are precious few people in the venue who don't know she's talking about Christine McVie, her fellow female bandmate and the Mac's keyboard player, as well as one of its singers and songwriters from 1970 until she quit in 1998.

    It is not the first time Nicks has talked about McVie. In 2009, she told the audience at Wembley Arena that she thought about her "every day". Earlier this year she admitted to the Observer: "I'd beg, borrow and scrape together $5m and give it to her in cash if she would come back. That's how much I miss her!"

    This time, though, was different. When it came to the end of the band's set, McVie stepped onstage with them for the first time in 15 years to run through Don't Stop, her enduring anthem about staying positive in the aftermath of a breakup.

    "It was like falling off a bike," McVie says when I meet her in her south London apartment, a beautiful space situated so close to the banks of the Thames that it feels as if we're floating above it. "I climbed back on there again and there they all were, the same old faces!"

    Was she nervous?

    "Not as much as I thought, because none of the band drink any more and I've seldom done a gig without a spritzer, you know?" She smiles, acknowledging the Mac's status as doyens of debauchery. "But it wasn't anywhere near as bad as I thought. In fact, it felt great!"

    Performing Don't Stop took on added poignancy for two reasons. First, it was discovered shortly after McVie's former husband John McVie, the Mac of the band's name and its bassist – about whom the song was written – had been diagnosed with cancer, although McVie says the "prognosis looks good" and the band expect him to be "up and running again in a couple of months" (they cancelled several Australian and New Zealand dates while he underwent treatment). Second, it seemed to trigger a realisation within McVie herself: she had previously seemed adamant that leaving the band had been the right thing to do because she was sick of the music industry, panic attacks had made travelling impossible and she longed for the quiet life she had made for herself in a 17th-century mansion in Kent.

    In fact, so settled and reclusive had she seemed – the odd rare interview found her talking about cooking for friends, tending to her garden and looking after dogs – that when I ask if she would ever consider rejoining permanently, I'm taken aback by her answer: "If they were to ask me, I would probably be very delighted," she says, before explaining why she originally quit. "I think I was just musiced out at the time. I suffered from some delusion that I wanted to be an English country girl, a Sloane Ranger donning the old Hunter boots and Barbour jacket to slosh around in mud with the Range Rover. It's quite isolated down there [in Kent]. It's beautiful, but it's miles from where my friends are. And it's taken me 14 or 15 years to realise that it's not really what I want at all."

    So what does she want?

    "Well, I like being with the band, the whole idea of playing music with them."


    A couple of weeks before the O2 show, I meet Nicks at the apartment she rents while staying in Paris. It's suitably opulent – chandeliers, charcoal grey decor, huge bags of shopping everywhere – and also looks out over the capital's river. Nicks settles down on the huge sofa – she's less than 5ft 2in, and her legs barely reach the edge, let alone the floor – and tells me about her friendship with McVie.

    "We felt like, together, we were a force of nature," she says. "And we made a pact, probably in our first rehearsal, that we would never accept being treated as second-class citizens in the music business. That when we walked into a room we would be so fantastic and so strong and so smart that none of the uber-rockstar group of men would look through us. And they never did."

    What Nicks didn't know until years later was that she would never have even joined the band were it not for McVie. In the mid-70s, Fleetwood Mac were struggling for an identity: their 60s incarnation as a blues band had been derailed by Peter Green's LSD use andrepeated lineup changes, and founder Mick Fleetwood was desperate to recruit the American Lindsey Buckingham as a guitarist. Buckingham, however, said he would only join if Nicks – his girlfriend at the time, as well as his musical partner in the up-and-coming Buckingham Nicks – was allowed to join too. The band arranged a meet-up, with Fleetwood, letting Christine have the decisive vote.

    "We went for Mexican food with them," Nicks recalls, "and we laughed and laughed, because you English people have a very strange sense of humour. Even Lindsey had fun – he didn't want to, but he couldn't help it."

    "It was critical that I got on with her," McVie says, "because I'd never played with another girl. But I liked her instantly. She was funny and nice but also there was no competition. We were completely different on the stage to each other and we wrote differently too."

    The next day, Buckingham and Nicks received the call telling them that they were in the band and the lineup that would record the classic Rumours and Tusk albums (and later, Mirage and Tango In The Night) was complete. It was a lineup that remained more or less intact until the point McVie left in 1998.

    When it comes to telling the Fleetwood Mac story, we hear much about the relationships that went wrong – especially Nicks and Buckingham's tumultuous relationship – but not as much about the most stable and enduring of all, that between Nicks and McVie. Two women together in a band during the wildly decadent 70s, they supported each other through the madness that was Fleetwood Mac: the broken relationships and ill-advised affairs (in particular, Nicks's doomed fling with Fleetwood) that played out over mountains of cocaine, gallons of alcohol and so much marijuana that McVie says she didn't even need to smoke it: "You would just get high on the air," she recalls. "Those guys would blow it in your face and you'd go: 'Wow, that's strong!'"

    At first, it was a simple friendship. As McVie puts it: "We shared rooms, did each other's makeup and lived on Dunkin' Donuts."

    "We really were quite tame people back then," Nicks confirms."The band had two couples in it, plus Mick was married with two little girls – so we had to behave. We'd play a gig, get on an aeroplane right after the show and leave to the next place. And we were watched like hawks. We had security outside each of our rooms so Chris and I were almost like travelling rock'n'roll nuns."

    She registers my suspicion at this. Fleetwood Mac, I suggest, are known for many things, but their dedication for living under vows of poverty, chastity and obedience is not one of them. "Well, it's true," she replies, laughing.

    "I wouldn't say 'nuns'," McVie says, also laughing, when I put it to her, "but it was like the army." She motions a jabbing finger at her watch:"It was regimented. The rock'n'roll lifestyle did have its perks but it wasn't all limos and parties in the early days."

    Yet when the lineup's self-titled first album became a hit, it brought with it money, a jetset lifestyle and ever- increasing tensions in the band. As the group came to record its follow-up, Rumours, both couples in the band found their relationships unravelling.

    "We were cool onstage," Nicks says. "But offstage everybody was pretty angry. Most nights Chris and I would just go for dinner on our own, downstairs in the hotel, with security at the door."

    As McVie explains: "John and I used to be civil – 'What key is this in? What do you want me to do on this song?' – but Stevie and Lindsey were fighting all the time. Very volatile. Their relationship still is an ongoing battle."

    The band had various ways of dealing with the tensions, one of which was through the nostrils. "It wasn't like we woke up one day and everybody had bowls of coke on the tables," Nicks says. "It was a gradual thing."

    It was also a glamour thing. In Sausalito, California, where the two women were based during the recording of Rumours, McVie recalls the paraphernalia on offer fondly: "You could go to these shops and buy these little beautiful coke bottles that you wore around your neck – gold, turquoise, all sorts of colours with diamonds and a little spoon. So Stevie and I wore those – it was very aesthetic."

    There was another, more productive method of escape. People often talk of Rumours in miraculous terms: how did the group make such a perfect album amid such turmoil? But of course it was the turmoil that forced the band to focus on the music.

    "I became really interested in the recording process," McVie says. "I used to watch everything simply because it was more interesting than having a fight."

    Perhaps the truly miraculous thing about Rumours is not that the music was so good but that McVie's songs ended up sounding so positive. Aside from Don't Stop, her Rumours hits include You Make Loving Fun – inspired by her new relationship with the band's lighting director – and the beautiful piano ballad Songbird. Was she trying to escape the reality of the situation?

    "Yes, I suppose I was," she says, as if the thought had never struck her before.

    McVie was trained classically before discovering the blues through the sheet music for a Fats Domino song her older brother had left at the piano. "My writing ability all stems from the blues," she says. "Don't Stop, Say You Love Me … they all have that boogie bass, lefthand thing. Even the more recent things, like Little Lies and Everywhere, they're all blues based."

    Before Fleetwood Mac, she got used to being the "only girl, side stage with the piano" with the blues band Chicken Shack, but never gave too much thought to the notion that she was a pioneer. "There was Julie Driscoll and Sandy Denny," she muses, "but not playing instruments I suppose." Mick Fleetwood encouraged her to write songs ("I loved the stuff we did with Bob Welch [in the early 70s]: Mystery To Me, Bare Trees, Future Games") but it wasn't really until Buckingham and Nicks joined that her true talent as a hitmaker was set free.

    "I think I'm just good with hooks," she says, looking to win some kind of award for understatement, although this does speak of the songwriting balance in the band that gives Fleetwood Mac their depth: Buckingham provided the darkness, Nicks the poetry and McVie the optimism. Buckingham added another dimension with his studio expertise, shaping the band's sound and daring them to venture into brave new territory. It was his idea to follow Rumours with Tusk, a double album influenced by the emerging punk and new wave bands whose very existence had made Fleetwood Mac seem somewhat unfashionable.

    "We didn't really like [Tusk]," McVie admits. "We just kind of went" – she rolls her eyes – "okaaay. Because it was so different from Rumours. Deliberately so. In hindsight, I do like that record, but at the time me and Stevie would be like: 'What the hell is he doing in the toilet playing an empty Kleenex box for a drum?'"

    Of course, recording percussion while sitting on the loo makes a certain kind of sense when you consider the escalation of the band's drug use by this point.

    "My habit didn't really start until 1977," Nicks says. "During 1975 and 76 we were too busy making the band work – everyone was aware that we had found the golden goose. But the drug use wasn't as romantic as people like to think. I'd just get up and go to the bathroom and do a little bit of cocaine, stop and get a coffee and come back. We were tired and jetlagged, we'd sometimes play four shows in a row, and in those days management were just writing those gigs in: you'd start out with a certain amount of gigs and every day there'd be a new one. It gets scribbled in and you start to think it's never going to end."

    Where music was once an escape from the turmoil in the band, now the drugs were acting as an escape from the demands of the music. McVie is adamant they never helped the band creatively: "That's a fallacy. It kept you going, but half the stuff we did when we stayed up late was rubbish." She adopts a comedic, stern teacher voice: "So I do say – 'Kids: Don't do it!'"

    The fallout was different for each of them. McVie never succumbed to addiction: "I stopped around 1984, when I went over to Switzerland to make my first solo album. I was just sick of it." Nicks, however, ended up in the Betty Ford Centre in 1986, and followed that by turning to the prescription sedative Klonopin, which led to far worse addiction troubles.

    Hers was a downfall leaped on by critics in a way that highlights a common double standard in rock: the Dionysian male is celebrated for bravely abusing his body in the pursuit of enlightenment, whereas women are seen as damaged and out-of-control. "The guys in the business were 'supposed' to do drugs, they were 'supposed' to sleep with a different chick every night, that was the romantic idea," Nicks observes.

    The more you talk about life on the road with Fleetwood Mac, in fact, the more such double standards emerge. "We almost always had boyfriends, but they weren't on the road because they'd just get stomped on," Nicks says. "For me to have a guy out on the road with us, and have Lindsey glaring at him the whole time? Or for Christine to have a guy out and John just walk past and flip him off? No, we both learned very early on that we would never bring boyfriends on the road because it created arguments."

    McVie recalls her bandmates' reaction when they discovered her relationship with their lighting director: "When they found out I was seeing him he got fired shortly after – because of it! I didn't really bring fellas on the road with me after that."

    But the reverse was all right for the men?

    McVie laughs: "Oh, it was all right for them, yeah. But whatever keeps the lads happy, I suppose."

    Pragmatism, and a sense that they really were above such petty things, seems to have kept the two women sane, and quite probably the band together. As Nicks says: "The boys brought girlfriends on the road but the thing about that was we didn't care they had new girlfriends! Because we didn't want to be with them! We were happy they had new girlfriends! Thrilled! Oh my God, they're happy! The pressure is off!"

    Despite the men's behaviour, it was Nicks who ended up with the diva reputation: tales circulated of her demanding that hotels repaint rooms pink. Almost all untrue, she says: "I never had to have a pink room! I'm not even a pink person. And I obviously never threw a television outside of the window in my life. Why would I do that? All I wanted, and this is what I got, was the presidential suite at hotels. We were elegant people and we wanted a place to sleep after the show that was beautiful. And the boys did not get those. We would each have a presidential suite, and if there was only one available, me and Christine would flip a coin."

    While there's something comical about someone denying their diva reputation by saying they only wanted a presidential suite, it's hard to disagree that Nicks was the victim of music industry sexism. When she told a crowd one night her song Rhiannon was "about a Welsh witch", rumour spread that it was she who practised witchcraft – again a tired cliche that the talented woman must be channelling evil powers. "Rhiannon was the only song I ever wrote about a sort of celestial being," [OP NOTE: LIES, STEVIE, LIES! WE HAVE YOUR DEMOS] she says, "but that song and the fact I wore black, floaty clothes somehow became this, this … this witch thing."

    She still sounds hurt by it all."About three years into it, it actually started to scare me. People were writing me really weird letters that were scaring me. So I had Margi [Kent, still her personal designer] make me up a bunch of outfits that were just horrible – I call them the Easter Egg outfits because they were peach, mint green and blue … not colours for me. And I wore them and so did my girl singers. I thought: 'I'm going to put the top on the box of this one.'"

    So what happened next?

    "Oh, after a while I said: 'Screw that, I'm going back to black!'" She laughs: "And if they think I'm a witch I don't care because I'm not a witch!"

    When I ask McVie if she has any regrets from her time with the band, her candid answers speak of the dichotomy between how men and women are treated in rock: "There were never any children [for me]," she says. "There was always a career in the way. It was a case of one or the other, and Stevie would say the same. The lads went off and had children but for Stevie and I it was a bit difficult to do that. So that was never able to happen. And I never found the right man. Not through want of trying."

    Nicks once said that no man could accept her lifestyle and McVie agrees with the sentiment: "It would certainly be difficult for a chap to swallow if his wife or girlfriend is dashing off without being at home to cook his supper for him."

    Given all of this, you wonder why – at 70, and having escaped the madness of the Mac so succesfully – McVie would want to rejoin one of the world's biggest rock bands.

    There are no doubt several factors. For one thing she's overcome her fear of flying, thanks to therapy. She's also noticed the growing critical reappraisal of the band, to the extent that their once-derided music is now a vital touchstone for new bands ("I have friends with grandchildren in their teens and they've got Rumours, Tusk, all the live stuff – and they dig it, man, they really like it!"). And, of course, she's watched the band playing live and seen what she's missing out on. "You see Mick from the side of the stage, and it's contagious," she says. "He puts so much energy and joy into playing the drums. He looks like a big Santa Claus up there with his beard and belly – oh God, don't tell him I said that. But he's so incredibly strong for someone who is 67, 68, or whatever he is. He puts everything into it. He comes off stage and puts ice packs all over himself, then puts on a coat that's three times too big for him, fastens it up and walks around so his muscles don't get seized up. He even wears that on the plane until he gets to his hotel room, and it's the same thing every night for him."

    There's also the fact that the band never wanted her to leave.

    "At the time, they tried to persuade me to stay so hard," she says, "but back then I'd made my mind up that I'd done enough touring. I just couldn't live out of a suitcase any more. Whereas now I would really rather like to again."

    As she says this she averts her gaze, staring out of that huge window of hers with such a look of longing that it would seem almost too cruel if she never got to fulfill this desire. And it suddenly becomes completely obvious why she wants to play with them again. After all, it was she who sang Don't Stop all those years ago.

    source

    flawless ladies tbh
    if fleetwood mac manages to screw up christine rejoining the band i will never forgive them

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    EW has revealed these first two official images from Oscar-winning cinematographer Wally Pfister’s directorial debut, ‘Transcendence.’ The sci-fi thriller has a cracking cast in Johnny Depp, Paul Bettany, Morgan Freeman, Rebecca Hall, Cole Hauser, Kate Mara, Clifton Collins Jr, Cory Hardrict and Cillian Murphy. The film follows “three scientists, attempting work on stem cell and advanced computer technology, which will change the fundamentals of human life. Tension comes into play when they are met by protest and resistance.” Warner Bros. Pictures will release ‘Transcendence’ on April 18th, 2014 via its output deal with Alcon.

    Dr. Will Caster (Johnny Depp) is the foremost researcher in the field of Artificial Intelligence, working to create a sentient machine that combines the collective intelligence of everything ever known with the full range of human emotions. His highly controversial experiments have made him famous, but they have also made him the prime target of anti-technology extremists who will do whatever it takes to stop him. However, in their attempt to destroy Will, they inadvertently become the catalyst for him to succeed—to be a participant in his own transcendence. For his wife Evelyn (Rebecca Hall) and best friend Max Waters (Paul Bettany), both fellow researchers, the question is not if they can…but if they should. Their worst fears are realized as Will’s thirst for knowledge evolves into a seemingly omnipresent quest for power, to what end is unknown. The only thing that is becoming terrifyingly clear is there may be no way to stop him.



    Source

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    Justin Bieber has visited the Philippines to help victims of Typhoon Haiyan. The teen hearthrob arrived from Australia and flew to Tacloban, the devastated capital of central Leyte province. The 19-year-old pop star visited a school being used as an evacuation centre and played basketball with fans. He also performed an acoustic set to the delight of a crowd of residents. Bieber has used his worldwide profile to help raise $639,000 so far, with a goal of reaching $1 million to support Unicef's efforts to help those affected.
    "Justin brought a lot of joy, hope and cheer to the hundreds of children who were there," Angela Kearney, UNICEF's emergency coordinator for Haiyan response, said in a statement.
    Kearney said the money Bieber raises "will give some of the children who were caught in the path of Haiyan access to education, vaccinations, better nutrition, clean water and sanitation."







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    Watch out, Michael Fassbender! There’s a new sexy Irish actor baring it all in town. Jamie Dornan will go full-frontal for his role as the kinky billionaire Christian Grey, in an effort to make the ‘Fifty Shades of Grey’ movie as steamy as the book that inspired it.

    Jamie Dornan, 31, is definitely not afraid to flaunt everything he’s got. The sexy Irish actor will go full-frontal for his starring role in Fifty Shades of Grey, which is gearing up to be the naughtiest film you’ve ever been forced to awkwardly discuss with your mom. Read below for more details!

    Jamie Dornan Will Bare It All In ‘Fifty Shades’
    Christian Grey spends a lot of time naked, so it’s no surprise that Jamie will strip down during his time in the Red Room of Pain — after all, his co-star Dakota Johnson is set to show off her goodies. And why should the guys have all the fun? According to Star, the film’s producers decided to show off Jamie’s, ahem, assets once they realized that fans wanted the movie to be just as X-rated as the book that inspired it.

    “Fifty Shades of Grey producers know they have to make the screen version just as steamy as the novel to make it a success,” a source told the mag. “They can’t turn it into a Disney movie.”

    Not if they want to sell any tickets, at least.

    ‘Fifty Shades of Grey’ Will Release Two Version
    If the thought of Jamie Dornan’s member makes you uncomfortable, you can breathe a sigh of relief — Fifty producer Dana Brunetti says that the studio will release two versions of the film to satiate a wider range of fans.

    “We could release the R-rated version, which everyone will enjoy, and then for those fans who want to get a little gritty we could release an NC-17 version a few weeks later,” Dana explained. FYI, we’re guessing Jamie’s goodies will be making their appearance in the latter.

    Source

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    The Hundred Trailer :



    Star-Crossed Trailer :


    Source 1 and 2

    So what do you think of the trailers ONTD? Will you be tuning in?

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    MTV.com can confirm that Jenelle Evans of “Teen Mom 2” is expecting a child with boyfriend Nathan Griffith this summer. The 21-year-old spoke with us exclusively about the big news, saying she’s “feeling good about it” despite a ’round-the-clock case of morning sickness.“I’ve been exhausted this whole first trimester,” she shared.

    Evans is also mother to 4-year-old Jace, who’s currently under the custody of his grandmother, Barbara. She and Griffith met in June on a dating app and bonded immediately over their similar parenting struggles (Griffith has a 2-year-old daughter named Emery).

    “His ex-wife’s parents have guardianship [of Emery], kind of like the situation I’m in,” Jenelle explained. “He was like, ‘No one understands the situation I’m in and that I deal with,’ and I said that I could relate to him. We both have to deal with our parents to deal with our children.”


    Jenelle recalled that the father of her future child almost didn’t give her a chance because of her recognizable name. “He thought that I was Catfishing him, and he wouldn’t meet me in person,” she revealed. “Eventually he came around, though, and the two had an instant connection. So much so that they began to seriously discuss trying for a baby a few months into their relationship.

    “We just want a child of our own that we can raise together as a family, and we want a stable relationship for Jace and his daughter,”
    she said. “We just want to settle down.”

    Evans, who’s struggled with drug abuse for years, seems confident that she and Nathan have a shot at going the distance, especially since, according to her, he doesn’t party like her exes.“It works because he doesn’t like drugs, barely drinks, nothing like that,” she proudly declared. They plan to tie the knot sometime next summer, after the baby is born. “I have to get divorced first, of course,” she said of her short-lived marriage to Courtland Rogers, who’s serving jail time until January.“I haven’t spoken to him since he got arrested last April, actually.”

    Things seem to be looking up for Jenelle, and she assured us she’s ready for the huge turn her life is about to take. “I think it would scare me more if I was in the situation I was when I had Jace,” she reasoned. “Now I’m in a stable relationship and I have my own place, my own car, a job…I can pay my bills. I’m just happy with my life right now.”

    Of course, Jenelle’s no stranger to public criticism, and she’s fully prepared for any backlash about the pregnancy that may fill her Twitter feed. Much has changed since people watched her succumb to the grips of heroin addiction on Season 4 of “Teen Mom 2,” which was filmed over one year ago, and she’s eager for others to take notice of how far she’s come.

    “I’ve got my life together now, and I’m a different person from what they’ve seen,” she said. “I just can’t wait for them to see how much I’ve bettered my life. I understand if they judge me now, but they won’t judge me soon.”

    SOURCE

    ONTD:
    Did we ever find out if she was really pregnant earlier this year?

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    should've been the cover ^








    more pics at the source

    -

    First televised performance!









    SOLD OUT
    source


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