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YUNG RAPUNXEL IS RELEASING AN EP

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Rap upstart Azealia Banks has announced the release date of her 1991 EP on Twitter!



A tracklisting has yet to be announced, but it's believed that her breakthrough single "212" will be included, as well as her next cut "Liquorice" and two other new songs, "Grand Prix" and the title track "1991."

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kunt w8!!!

SEXY STEVE JONES IS BACK ON US SOIL

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Former 'X Factor' Host Steve Jones to Co-Anchor 'Entertainment Tonight' With Nancy O'Dell
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The Simon Cowell castoff lands a temporary new gig on the show this Wednesday and Thursday.

After getting fired by Simon Cowell, the erstwhile X Factor host Steve Jones has landed a new gig on Entertainment Tonight.

Jones will anchor the CBS entertainment news program with Nancy O'Dell on Wednesday and Thursday. He announced the news via Twitter on Tuesday, writing, "This is going to be fun!"

Earlier this year, Jones was offed from the Fox reality competition along with judges Paula Abdul and Nicole Scherzinger while Cowell looked toward revamping the format with new talent.

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Im So happy he's back in the US even if it's for a couple of days but still he's back on my TW
hopefully ET will love him and let him stay.

is your gaydar pinging

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Tim Tebow visits 'Wicked' on Broadway



Looks like Tim Tebow has a Wicked side after all.

The Jets choirboy spent his first weekend in the city on the Great White Way, taking in the hit Broadway show “Wicked.”

“It was really good,” Tebow gushed as he scrambled out a Gershwin Theatre back door after Saturday night’s show, holding a bottle of Nestle Pure Life water.





Asked why he chose “Wicked,” the Jets new QB suggested he did his Broadway homework.

“I heard good things about it,” said Tebow, wearing a white, form-fitting, V-neck top with three buttons and blue jeans.





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UNF. FRANKLY I WOULD'VE RIPPED HIS CLOTHES OFF AND PRAISED JESUS FOR THE GLORIOUSNESS THAT IS HE!



Game of Thrones Interview Post

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IAIN GLEN INTERVIEW



Q: How does it feel to be part of something where you know what’ll be happening to your character?

“The structure is very much taken from the books, which I feel the series is very faithful to. So if you want to, you can read right ahead and get a sense of what you’re doing—”

Q: Have you done that?

“No. No. You can get a hunch by, when you do the series, when you’re contracted. So, Sean Bean was contracted for a year, because [makes chopping sound], but I was contracted for five or six years, so you know its a long-running storyline. It doesn’t feel useful to read ahead too much, and you’re busy doing other things. It’s the writer’s job to contract these big novels and turn it into a filmic format, and I think they do it very, very well. Once I get the new series, I read the book because it has useful background material to it. But until that “You’re going to get the go” button, I sort of hold off from that.”

Q: Did you know the books before hand?

“No, not at all. It’s one of the interesting things about it is that it’s a milieu that a lot of people thought it wasn’t necessarily for them. For others it is for them, but I think we’ve attracted people who wouldn’t necessary be drawn to it. I think that’s because it’s very adult in its flavor, its the mature side of the genre, and I think the world that is portrayed is very plausible if you look back in man’s history. Of course, it’s a totally invented landscape, invented peoples, invented everything, but it feels plausible, it feels like you can imagine that people really lived like that, that the politics were really that way, the warring peoples, the structure of the family, the role of women… I think everything feels like it’s true, bizzarely. It gives it very good muscle, and makes it maybe more substantial than other things of that ilk.”

Q: Have you kissed Daenerys this series?

“I can’t tell you! No, you’re going to have to watch it.”

Q: How did you find filming in Dubrovnik?

“It was great! It’s ridiculous that my filming is all in the really gorgeous, lovely warm place with the nomadic tribe. The vast majority of the actors have to work in really cold, horrible places—ice walls and wet and so on—and I always go to the really nice bit that the crew was looking forward to. Dubrovnik was particularly lovely, and I think very popular with the producers because it offers such a vast array of landscapes, very good production facilities and crews, with a very friendly working environment. A very beautiful city.”

Q: How long did it take to shoot the second series?

“It ran about three and a half months, something like that. They run two units at the same time. You may have one unit working in Ireland while a different unit is working in Croatia. I don’t think it’s all the time that there are two units, but a lot of the time we have two units.”

Q: When did you start filming this series, compared to the end of filming last series?

“It’s been the same for the first year and second year. We start filming about the end of June, July, and it runs through till maybe three and a half months or something. I’m not entirely sure about the whole show, because I’m just around for that lovely bit.”

Q: How many days did you spend on the set?

“For this series, I’d say twenty five days. something like that.”

Q: You seem to spend the series covered in grime.

“Yeah. Most of us do! That’s the world you’re portraying, they weren’t generally going back and having a nice shower and getting all cleaned up. That just comes with the territory.”

Q: Was it fake dirt or real dirt?

“Oh, it was fake dirt. Sometimes they’ll do all the makeup and stuff, but sometimes you roll around in the sand or what have you to dirty up the costumes a bit. But mostly its makeup.”

Q: What was it like working with Emilia Clarke, and do you think that she makes a good dragon queen?

“I think she’s wonderful. You hold your breath when you go into a long series like this, because you’re hoping the central actors you’re working with will be good and you get along with them, and right from the word “Go”, Emilia has been completely lovely. I think she’s a very, very good actor. In the first series, she starts as this innocent in a very alien world and during the course of the series she becomes this warrior queen. I think she’s doing that very well and very plausibly. And we always have a laugh, which is important when you’re filming.”

Q: Any examples?

“No, no, just going out and having fun. We had Harry Lloyd with us during the first series. This time we had Peter Dinklage and Jerome Flynn, because they were filming in Croatia at the same time as us. It was lovely to having someone to go out with to drink, and we had lovely times going out on boats during day trips and stuff. You feel pretty lucky.”

Q: Did you have any big scenes with the CGI dragons this series?

“There are. They feature, they’re ever-present. So they don’t overpower the story, the writers have been very choice about when they’re featured. Sometimes you’ll see them being put in their cage at the top of a scene so that you can continue on clean of them. Because it takes a lot of work to set up the CGI within the scenes and stuff. Again, the series is very good at whether it’s the wolves or the dragons, they do them very, very well.”

Q: Do you think Jorah’s feelings for Daenerys can be compared to modern views on men having feeling towards girls?

“I suppose there’s an element of truth to that. I think youthful beauty—youthful, feminine beauty—is very attractive to most men, and sexually attractive… without being disturbingly young, of course! There’s a truth about that. The reason I have a big beard is that I’m about to play Uncle Vanya, the Chekov play. One of the central things in that play is that it’s about this man who idolizes this beautiful, youthful woman who arrives on the scene, who’s married to a much older man. And so it’ a mixture of feelings—if I could just have some of that youth, I could rejuvenate myself—and I think that’s quite often an element of relationships between older men and younger women. But it’s also something tinged with a sort of sadness, because you’re in the second half of your life and you meet someone who’s in the first half of their life.

“So, it’s slightly different—it’s not different actually, because in Uncle Vanya I never get her, but there’s something true about that in Game of Thrones as well. You have to be very careful because you asked if I had kissed her or not, but the longer you deny it, the more exciting it is as storytelling. The moment you allow something too much to happen, something dies I think. So it’s something you want to keep in the air. You get very much the story that he would love to possess her and make her his wife, but so far that feeling hasn’t been reciprocated, which keeps it potent.”

Q: What does Jorah think about the strange powers that Daenerys has?

“Initially he was very suspicious as everyone else was, but he witnessed at the end of the first series her extraordinary powers when she survived the pyre and gave birth to the dragons, so he’s entirely persuaded of her powers.”

Q: Season one was more of an introduction to the characters and setting. Do you feel this series starts up in a higher gear?

“When you try to set up a story that contains such a wide variety of characters, you can’t be anything but introductory, getting everyone up and running in terms of the relationships between the characters. It doesn’t matter if it’s an hour and a half film or even writing a book, you’ll have a sense of that, that you can very rarely just come right into the middle of the story. There was a degree of setting up in the first series, and hopefully that wasn’t done with too much exposition. Now, it always rejuvenates and new characters will come in—and the writers are quite brutal about removing characters, so there’ll always be change—but everyone trusts the material and we can just tell the stories now without thinking too much about setting up storylines.”

Q: Can we expect more war scenes?

“Yeah, yeah. I think so.”

Q: How did you find the Dothraki lines?

“They’re a nightmare. It’s this gobledy-gook language that’s very, very hard to learn, but it’s very much worth the effort because when you try and just make up your own, it always sounds very foolish. This very bright linguist [David J. Peterson] developed this entire language, and so whenever a line is needed he’s referred to. He comes up with it, and it’s always very consistent. But it’s really hard. One line is okay. But if you have a speech… man, it’s hard, it’s really hard.”

Q: How do you practice the lines, so you can get the right emphasis for emotions?

“You really just need to learn it by rote. It’s this series of nonsense syllables. David says the line for you, so you learn the pattern but he doesn’t really do the intonation and he’s also American, so it sounds different. But he gives you the right sound. And then you think very clearly about the line in English and how you’d say it as you say the Dothraki line. So if it’s a line in Dothraki where you’re angry, you’ll learn it again and again to get it right.”

Q: So is Peterson there?

“No, no, he’s in L.A. But he’s always on the line, so if they need something they call him up.”

Q: Does Jorah show regrets this series?

“Uhm…. yes. You’re desperate to find out what happens this series, aren’t you? You’re going to have watch it! But yes, there’s a little bit of that this series.”

Q: You’ve managed in the middle of two of the biggest TV phenomenas in the last two year, with Game of Thrones and Downton Abbey. How do you have time for it, and what are the differences between them?

“As an actor, you’re at the mercy of the work that comes your way. With Downton, it was very different because I was coming into the second series when it was already popular, whereas with Game of Thrones I was there from the very beginning. You really have to relish when it’s there, because goodness knows it isn’t always, because you do so much for film and TV that never gets the audience that you’d hope for. It’s a real treat, and certainly I feel it when I’ve shopped in Sainsbury’s more than in the last few years. People always want to know what’s going to happen. “Do you end up with Lady Mary?” And actually, they don’t really want to know.”

Q: Good time for English actors, isn’t it?

“Yeah, really good time. It’s that funny thing that when you go back in history a certain distance, people think English accents, which is good for us lot. Somehow a too strong American accent, rightly or wrongly, would jar and certainly in Game of Thrones. But that’s just a conceit that we’re used to in film. The fact is no one really knows how people sounded then. Having done Shakespeare, great debate exists about just how people sounded. It’s just a preconcieved notion, it doesn’t raise any eyebrows or questions if you stay to a neutral-ish English accent.

“But you know, in terms of the two series, they’re both lovely. One is terribly English, very single-location based, all about these all very well arranged costumes, and a sort of delicate, fine story with things being understated or unstated. And the other is incredibly visercal and outside and colorful and exotic. Everything is stated, hearts are worn on the sleeves.”
http://www.westeros.org/GoT/Features/Entry/Interview_with_Iain_Glen





JACK GLEESON INTERVIEW

“Blew my mind [but] made me really angry,” EW’s Sandra Gonzalez emailed yesterday morning after catching up on the first season of HBO’s Game of Thrones. “Joffrey must die!”

Yup, it’s hard to watch Thrones’ debut season without wanting to snuff its most despicable villain — the teenage King Joffrey (Jack Gleeson), who executed a popular character in the show’s ninth episode. But just wait until season 2 debuts Sunday. The premiere includes a new execution scene that’s likely to elicit gasps from viewers (don’t worry, we won’t spoil it). And a few episodes later, we find out what the young king might be like in the bedroom.

“With his coronation, his malicious deeds amplify tenfold,” Gleeson promises. “He thinks everyone should say yes to him ’cause he has the right to be where he is, so he doesn’t take no for an answer. There are scenes where I just do malicious things for no reason.”

Gleeson was taking questions from EW between filming Thrones last fall in Croatia. In fact, the actor was shooting the scene that opens Sunday’s premiere, set during the young king’s “nameday” party (Thrones-speak for birthday), where he naturally takes every opportunity to torment his subjects.

Joffrey’s upcoming reign of terror worries his mother, the Queen Regent Cersei, who begins to realize what a monster she’s created. “I kind of rebel against her,” Gleeson says. “I’m changing up the design of the Throne Room and kind of throw my toys all over the floor.”

The actor says his favorite Thrones scene to shoot so far was in the show’s second episode where he bullies the butcher’s boy with his sword. “I really liked that scene just because that’s the first time the audience sees Joffrey for who he is.”

Jack’s the nicest person on earth probably and is so thoughtful; he’s funny, he’s decent to people,” says Thrones executive producer Dan Weiss. “And yet he has this unfailing sense of what the most horrible person in the world would be like and how he would say a line — because he always gets it right.”

Fans, Gleeson says, have been very polite when recognizing him in public, despite wanting to trounce his TV character. “They’ve always been nothing but lovely,” he says. “I haven’t gotten anybody coming up to slap or yell at me.”

http://insidetv.ew.com/2012/03/27/game-of-thrones-joffrey/





TV GUIDE

It's late October and rain is pelting the windows of a small Belfast bar. Peter Dinklage is sharing a drink with his Game of Thrones costars Nikolaj Coster-Waldau and Kit Harington. Dinklage could use the drink. He's just come from shooting an emotional scene for Episode 8 in which his character, clever imp Tyrion Lannister, bursts into his chamber calling out for the sequestered prostitute and love-of-his-life, Shae. He doesn't see her and the thought of her possible fate shakes him to the core. His eyes search the room. His voice quavers.

It's easy to see why Dinklage won an Emmy — one of many awards snagged by the HBO drama during its freshman year. And he's also at the center of Season 2, which draws largely from George R.R. Martin's second best seller, A Clash of Kings. In it, civil war rages as various factions vie for the throne, now occupied by teen tyrant Joffrey (Jack Gleeson), crowned after his father Robert's death last season. Word has begun to spread that Joff might be the result of incest between his mother, Cersei (Lena Headey), and her twin brother, Jaime Lannister (Coster-Waldau). Using that to their advantage, a slew of would-be rulers makes a play for his seat. Along the way, lives are lost, hearts are broken, and alliances are betrayed.  

"It's a battle atmosphere where everyone's fighting for power," says executive producer David Benioff. "The stakes have gotten much higher." The same can be said for the series. With sprawling special effects (fire-breathing dragons!), epic war sequences (the legendary Battle of Blackwater) and a host of new characters (hello, Melisandre!), it's a good thing the show's budget is what executive producer Dan Weiss calls one of the most generous in television.

"There's a different kind of pressure this year," explains Weiss. "We know people are watching it and that's a huge relief, but we really want people to enjoy it. And we want new people to come and enjoy it." If the 9.3 million who tuned in per episode last season, coupled with the growing book sales (8.4 million copies sold in 2011 alone), is any indication, then it's safe to say this Game has officially permeated the zeitgeist.

Though that popularity has made the actors virtual rock stars to fanboys — and, in particular, to fangirls — the tight-knit cast is almost never in one place at the same time. Harington, who plays Ned Stark's illegitimate son, Jon Snow, will soon head to Iceland to film his scenes at the icy Wall. But before he goes, we joined the imp, the knight and the "bastard" for a rare get-together to talk about love, politics and who should win the war. (And lest you think they've become so famous they've forgotten where they came from, Harington had to whisper into his cell, "I'll call you back, Mum," before we got started.)

TV Guide Magazine: Why do you think Game of Thrones is such a big hit?
Kit: The books are page-turners, and Dan and David have adapted them really well. Plus, it's so huge in scale that I don't think there's anything to compete with it size-wise on television at the moment.
Peter: I love that they kill the heroes, and that the villains survive. The narrative is very unexpected. 

TV Guide Magazine: What is at your characters' cores? What makes them tick?
Nikolaj: Jaime shows no fear. He knows that he's hated by many people, but he's not going to give them the satisfaction of not being that way. He's not going to apologize.
Peter: Tyrion's similar to Jaime: unapologetic. I am what I am. I'm going to make the joke before you get a chance to. I'm going to beat you at your own game.
Kit: Jon's very strong on standing up for people who he thinks are being mistreated. He's like his dad. He's noble.

TV Guide Magazine: What's the coolest thing about your character in Season 2?
Nikolaj: For me, it's [what he does in] Episode 7. Jaime has a very cool way he relates to a family member.
Peter: You can't say! That's an amazing bit. Everything's cool about Tyrion. His clothes are a lot less muddy. I'm sort of running the country because Joffrey's crazy. It's been fun doing that. How it turns out, how he does as Hand of the King, remains to be seen.
Kit: Jon goes through such a change. He finally gets to go on that noble journey he's always wanted. 

TV Guide Magazine: The producers have said that "war and love go hand in hand," and that relationships factor greatly into this season. For instance, as a member of the Night's Watch, Jon Snow is sworn to celibacy, but he meets someone...
Kit: Finally! [Laughs] He's wound so tight!
Peter: Decaf. They don't have decaf at the Wall.
Kit: He meets a wildling girl. But Jon has told himself he's never going to sleep with a woman. He wants to stay pure until he dies. So he's in a conflict. This girl breaks through.  
Peter: [For Tyrion] there's this prostitute, and what should be one thing becomes another. It starts to run deep.
Nikolaj: Jaime's a prisoner. He misses his sister, his love.

TV Guide Magazine: It's a very sexy show. Are those scenes tough to film?
Nikolaj: I think you should ask Lena [laughs]. To be honest, I don't really mind it. It's awkward, but it's not that bad. There's something ridiculous about it.
Peter: It's the farthest thing from sex in the world. Sex scenes on camera are about as sexual as watching TV with your grandma. It's absurd. 
Nikolaj: I mean, if you're full-frontal, that's horrible.

TV Guide Magazine: So you won't be doing that, like Alfie Allen did last season?
Nikolaj: No. God, no.
Peter: You have a no-front-junk clause? [laughs] Not all the actors have that clause. They didn't read the fine print.
Kit: I'm a TV-sex virgin. I've never shot a sex scene.
Nikolaj: You'll find out when you go to Iceland.

TV Guide Magazine: Do you two have any advice for Kit?
Peter: You're going to get really cold.
Nikolaj: And you're going to be really surprised.

TV Guide Magazine: Do you feel pressure to look fit for these scenes? How do you stay in shape?
Nikolaj: I have a team of people [laughs]. My chef, my...
Peter: We drink Guinness. And smoke.
Kit: [Last year] I got a personal trainer, cut carbs, got a bit obsessed.
Nikolaj: Until you shot one shirtless scene, and be honest now, you said, "This is silly — let's have a pint!"
Kit: You're right. [Laughs]
http://www.tvguide.com/News/Game-Thrones-Set-Visit-1045318.aspx






COSTUME INFO
Michele Clapton is the Emmy-nominated costume designer for HBO’s “Game of Thrones,” which on April 1 returns for a second season. She talks about the challenges of outfitting a sprawling cast in garb that hints at a fantastical history while remaining fresh.

What is your research process for “Game of Thrones”?

We’ve all read the books and we look at it to a point, but sometimes a written description of a costume doesn’t necessarily translate well to the screen. Since it’s such a complicated story, the looks had to enable the viewer to know where they are, who these people are and who they represent.

We made all the costumes for [characters from] the North from skins. For research, we looked at the Inuits and at Tibetan tribes — we try and look at peoples in different times in history to see how they would have dressed in that environment. ...

I also looked at Lascaux cave paintings in France — they have these wonderful animal paintings. We decided that every time they killed an animal, the hunters would have to paint an animal onto their costume. The better the hunter, the more covered in these drawings he would be, which I think visually is really strong. We’re always looking for ways to show who the leader is.

It’s so exciting because we can almost go anywhere as long as it makes sense. If they live on a windy, rocky island, like the Greyjoys do, then they dress accordingly: They have costumes made of heavy, densely woven cloth that are waxed and painted with fish oil to help keep out the wind. Everything has a reason for being there.

“Game of Thrones” tells such an intricate story with so many characters. How do you use the costumes to help guide the viewer?

Where a character comes from is indicated through the color and cut of the costume. When we first see Sansa [Sophie Turner], she wears things in a Stark way — very well, but they are slightly clumsy and the cloth is rather homespun. As she comes to King’s Landing, her progression is influenced by Cersei [Lena Headey] and her costumes shift. After Cersei does the awful thing of sanctioning the death of Ned Stark [Sansa’s father], Sansa is stuck — you can see her frozen in time. She’s looking like someone who has just killed her father. And then we will see her progression as she slowly withdraws from the look.

It’s also interesting to look at Littlefinger’s [Aidan Gillen] journey — he started off very much as a courtier, he was always very organized with his little chain and his notebook, and then suddenly he actually stopped wearing the mantle. He had just little glimpses of turquoise beneath his costume and the slit was cut slightly higher. ... Slowly you realize he ran brothels. His costumes, just slowly, became a little richer.

What is the process of creating the costumes?

Ninety-nine percent of the costumes are made in-house, in Belfast. We have everything on site: our armorers, our weavers and our embroiderers. We weave our own fabric with our loom — many of the fabrics are literally made from scratch.

How do the clothes change in Season 2?

In the second season, as society is changing in King’s Landing and as the war is coming, everything just tends to get a little bit more extreme. People dress up more, people armor more — it’s that false security. I think we’ve all developed quite a lot and I think it looks a lot better — I’m much more pleased with it this season, in all ways.

I loved dressing the Greyjoys [in Season 2]. Those costumes were so organic and so crunchy. We wanted them to look like the rocks on the island — they have no ambition for anything, everything is completely practical.

I loved doing Stannis (Stephen Dillane) and Melisandre (Carice van Houten) as well; that was quite a magical combination, again looking at their characteristics, what they had and where they were.

What are some of the challenges you’ve faced?

One big thing is: the children keep growing! I mean, in all ways: outwards and upwards!

But that aside, sometimes you don’t get to see the actor until quite close to shooting and, at that point, we are already quite a long way with the armor. With Brienne (Gwendoline Christie), for instance, she is a woman but we want to mistake her for a man; however, no matter what you do, women have hips. We just started making the lines on the armor go away from her waist and slowly she began to look more masculine — at the same time, the armor also had to be functional.

Helmut Lang’s Fall 2012 line was inspired by the costumes seen on “Game of Thrones.” How do you feel knowing your pieces have had a major influence on the fashion world?

I didn’t know anything about it! I’m really flattered because Helmut Lang’s a great label and I admire their work. I come from a fashion background myself and I remember in the past saying, “You know, we could really make a great collection from these costumes.” In fact, some of the padded skirts we’ve made for men, I’ve made into dresses for myself!
http://latimesblogs.latimes.com/showtracker/2012/03/creative-minds-game-of-thrones-costume-designer-michele-clapton.html



Michelle Obama to present Taylor with The Big Help Award + some pics of Meredith

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First Lady Michelle Obama will make her first-ever appearance at Nickelodeon's Kids' Choice Awards to present Grammy Award-winning singer/songwriter Taylor Swift with this year's The Big Help Award in recognition of her extensive philanthropic endeavors, including her work with tornado and flood survivors in the United States. This year's Kids' Choice Awards, to be hosted by Will Smith, will be telecast live on Nickelodeon Saturday, March 31, at 8 pm (ET/Tape delayed for West Coast) from USC's Galen Center in Los Angeles, Ca. The Big Help Award recognizes individuals who take actions to better the world and whose significant impact on their community has inspired kids to do the same.

"Taylor's dedication to helping others has encouraged her fan base to do the same, and this is the very core of what The Big Help is, inspiring others through action," said Marva Smalls, Executive Vice President, Public Affairs and Chief of Staff, Nickelodeon Group. "We are honored that First Lady Michelle Obama, a past recipient of The Big Help Award will be presenting this formidable and inspiring artist with this much deserved honor."

First Lady Michelle Obama received The Big Help Award at the 2010 Kids' Choice Awards in recognition of her leadership in championing healthier lifestyles for kids through her Let's Move! campaign. Earlier this year, Mrs. Obama appeared in a special episode of Nickelodeon's hit series iCarly in support of her Joining Forces initiative to support military families.

Among her many charitable works, Swift is dedicated to raising funds and awareness to benefit those affected by natural disasters. Most recently, Swift took the unprecedented step of opening the last dress rehearsal of her Speak Now Tour to fans as a fundraiser for victims of the deadly tornadoes that tore through the Southeastern region of the U.S. The event raised more than $750,000, with 100% of ticket sales going directly to help tornado victims via the "Speak Now … Help Now" Fund established through the Community Foundation of Middle Tennessee.

Swift's ongoing charitable work includes partnerships with Make-A-Wish Foundation, St. Jude Medical Center, Habitat for Humanity, TJ Martell Foundation, The Red Cross and its international and regional affiliates, The Salvation Army, Nick's Kids, and the Victory Junction Gang Camp, as well as libraries, schools and educational initiatives around the country.

Nickelodeon's The Big Help is a prosocial initiative that empowers kids to take positive actions on issues that are important to them. The goal of the campaign is to launch a kid-led movement, focusing on key issues like health and wellness, education, community service, and the environment. This is the fourth consecutive year The Big Help Award has been awarded to a celebrity who embodies the spirit of the Nickelodeon Big Help initiative. Previous winners include last year's recipient Justin Timberlake; this year's presenter of the award, First Lady Michelle Obama in 2010; and Leonardo DiCaprio in 2009.
Kids can pledge to make a difference in their community by going to www.nick.com/thebighelp/. The Big Help site will show them how to take positive actions that will directly affect their communities.

No stranger to Nickelodeon's Kids' Choice Awards, Swift has been nominated four times and is the recipient of two blimp awards, for Favorite Female Singer (2010) and Favorite Song, "You Belong With Me" (2010). Swift also appeared in the 2011 HALO Awards as one of the celebrities paired with an extraordinary teen who shared his passion for community service and giving back.
A six-time Grammy award winner, Swift was also named Billboard's 2011 Woman of the Year, and is the reigning American Music Awards Artist of the Year, as well as both the Country Music Association and the Academy of Country Music's Entertainer of the Year. Her Speak Now album has sold more than 5 million copies worldwide and she is Billboard's current Top 200 Albums Artist (all genres).With the release of her (now 5x-Platinum) Speak Now album in 2010, Taylor sold more albums that year than any other artist in any genre of music. She made history on the Billboard Hot 100, charting a record-breaking 11 songs from one album in a single week.

also Taylor's website's twitter page has been posting these pics of Meredith every day to remind people to vote for the ACM's











reposting. hi mods I double checked the taylor swift and barack/michelle tag to see if this was posted and this has not been posted yet. thank you :)

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Piers Morgan is a joke

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Madonna's manager shows proof Piers Morgan didn't ban her from his show







source 

"The only way she can come back is to literally get on bended knee in somewhere like Times Square on national television and beg me for forgiveness," - Piers Morgan

And here we go! Who was the first to get eliminated from DWTS?

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MARTINA & TONY


Source: My TV

Spike Lee Under Fire for Tweeting Wrong Address in Trayvon Martin Controversy

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The director is accused of inciting racial violence with his retweet of the alleged whereabouts of George Zimmerman.

Spike Lee has been earning mostly positive accolades in Hollywood and the mainstream media for taking up the cause of Trayvon Martin, the Florida teenager killed by neighborhood watch captain George Zimmerman. A hasty retweet, though, has landed the activist-director in hot water, at least in some circles.



During the weekend, Lee retweeted Zimmerman’s address to his 248,000 followers, a move some denounced for its potential to incite violence against the Hispanic man who shot the black teenager in Sanford, Fla. On Tuesday, reporter Kerry Picket of The Washington Times wrote that the address Lee retweeted and is now floating all over the Internet was incorrect.

“I took a drive to that Edgewater Circle address that so many on Twitter retweeted and cursed, and I discovered through a neighbor named Tim, who lives across the street from the address, that not only does George Zimmerman not live at the lakeside house but a woman by the name of Elaine does,” Picket wrote Tuesday.

“While it was not wise to incite the masses to go to an address he thought was Mr. Zimmerman’s to begin with, Mr. Lee should still ‘do the right thing’ and give the actual resident at the address some peace and apologize for disrupting her life,” Picket wrote.

Conservative bloggers and columnists in general have seized on what they perceive as Lee’s attempt to stoke rage by supplying the address -- correct or not -- of a man some are characterizing as a reckless killer inspired by racial animus.

Twitchy, a site founded by conservative commentator Michelle Malkin, has been leading the charge against Lee’s actions by posting photos of his retweet alongside several tweets from others who advise that a visit to Zimmerman’s alleged address is in order.

“Get this mutha fucka!!” says one tweet with the address. “Dies,” says another that also includes the address. “Ima get a group of niggas to KILL George Zimmerman (the fat ass racist ass white man who killed Trayvon Martin)! He deserves to DIE!!!!” says another.

Malkin’s site also comes with commentary, of course, much of it focused on Lee’s response to a kind of see-how-you-like-it tweet from a man who threatened to tweet out Lee’s address. “Tweet it Big Guy,” Lee tweeted back.

“Yes, Lee has a son,” Twitchy reports. “And if he really dares someone to post his home address in the public sphere, he is either bluffing and therefore a liar, or he is being sincere and doesn’t give a crap about his son’s safety. So which is it, Spike? And when can Elaine expect your apology.”

A representative at Lee's offices in New York said he was unavailable for comment.


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Hated in the Nation: The 30 Biggest Punching Bags in Pop History

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Now that Osama bin Laden is dead, America needs new enemies upon whom we can dump our never-ending supply of scorn and bile. We decided to look at the most dissed and dismissed artists in pop history, exploring both the causes (racism, sexism, wicked clownism) and the effects. Some artists caught a raw deal, and some got off easy (though no attempt at objectivity could overcome the fact that Kenny G made Namaste India last year). Regardless, all of these artists were, at one time or another, guilty in the court of public opinion. You mad, doggie?


30. THE MONKEES

CHARGE AGAINST: Talentless central-casting featherweights conceived in a boardroom for a cut-rate sitcom version of A Hard Day's Night.

CASE FILES: Legendary cinema mavericks Bob Rafelson and the late Bert Schneider were still a couple years away from Five Easy Pieces and Easy Rider when they tried to channel the Beatles' goofy charm into a sitcom, hiring Micky Dolenz, Mike Nesmith, Peter Tork, and lone Brit Davy Jones, despite the fact that none of the four were particularly accomplished musicians, much less in a band together. By the time The Monkees debuted in September 1966, the real Beatles were sprinting madly, not from shrieking fans, but from the mop-top image the show was aping; they'd stopped playing live, had an album cover banned due to severed baby heads, and had begun work on Sgt. Pepper's. This made the Monkees' pop trifles — and their inability to play instruments — seem all the more trifling by comparison. The opinion still persists, as they've been denied their rightful place in the Rock and Roll Hall of Fame for 26 years running.

THE DEFENSE: You know who had no issue with the Prefab Four? The Fab Four. Nesmith, who parlayed his experience into a career as a music-video pioneer, befriended the Beatles, and according to the 1986 book Monkeemania, John Lennon called the Monkees "the greatest comic talent since the Marx Brothers." Rafelson directed the 1968 pitch-black Monkees cult classic Head, as self-aware and acerbic as the show was frothy and oblivious. Over time, the Monkees' insistence on remaining a band long after they were contractually obligated (and after joyless hippies wished them gone) made them unlikely punk icons: "(I'm Not Your) Steppin' Stone" was covered by both the Sex Pistols and Minor Threat, without irony. Maybe. STEVE KANDELL

29. PHIL COLLINS

CHARGE AGAINST: The embodiment of ersatz, a man who unerringly — and ad nauseam — knew how to tie an annoyingly catchy melody to a cliché-ridden lyric. And what the fuck is a Sussudio?

CASE FILES: With his slick pop singles and aggressively inoffensive persona, Collins became the personification of wimpy '80s MOR radio. Jimmy Page blamed Collins' drumming for Led Zeppelin's lackluster Live Aid reunion gig in 1985. (To be fair, the guy did take the Concord from London to Philly to play both shows.) In American Psycho, novelist Bret Easton Ellis' great icon of "Me Decade" greed, Patrick Bateman, even praised Collins' single-minded pursuit of the almighty dollar: "Phil Collins' solo efforts seem to be more commercial, and therefore more narrower, in a satisfying way." He was last seen on South Park with his Oscar shoved up his ass.

THE DEFENSE: Phil has hip-hop cred! In addition to having his work sampled by Tupac, DMX, and Nas, folks like Lil' Kim and ODB contributed to 2003's hip-hop/R&B Collins tribute album Urban Renewal. His Bone Thugs collabo "Home" is just plain dope. And for all the rockist snobs out there: Collins was the go-to drummer for some of the best solo efforts of artistically unassailable Brian Eno. And don't think Mike Tyson is the only one compelled to air-drum along with "In the Air Tonight."

28. NEW KIDS ON THE BLOCK

CHARGE AGAINST: Laboratory-assembled, faux-R&B pin-ups co-opting the cutest parts of B-boy culture, opening the door for everyone from Color Me Badd to 98 Degrees.

CASE FILES: From 1986 to 1991, nobody could turn on a radio, watch Saturday-morning cartoons, or even drink from a damn McDonald's cup without stumbling upon a piece of New Kids propaganda. Their ubiquity became their defining characteristic, well beyond their admittedly infectious tunes. "Blockheads," as devotees were known, were shoved into school lockers while the rest of the culture kicked in some larger-scale hate: New York's biggest Top 40 radio station whipped up a Christmas parody, "New Kids Got Run Over by a Reindeer"; The Fall of the New Kids comic book imagined their demise; and a producer who worked on one of the New Kids' albums accused them of lip-synching (which they rushed to disprove on the Arsenio Hall Show). Donnie Wahlberg, continuing to believe he was a viable rapper, led the band through a reinvention as the grittier, lamer NKOTB.

THE DEFENSE: "You Got It (the Right Stuff)" is pretty great, made even better by the fact that Jordan Knight was wearing a Bauhaus T-shirt in the video. The deep bonds forged with their fans in the '80s paid off in 2008 when the original members reunited for a series of tours that brought in a boatload of cash. Literally: Their annual cruise has sold out three years straight. CARYN GANZ

27. JOHN MAYER

CHARGE AGAINST: Huge d-bag.

CASE FILES: He joked that his dick was racist, but his mouth used the N-word in Playboy. He broke Taylor Swift's heart. He equated the words "Jessica Simpson" and "sexual napalm." He wrote a song called "Your Body Is a Wonderland." He tried his hand at stand-up comedy. He has a Stevie Ray Vaughan tattoo. He makes dumb faces when he plays guitar. He broke Jennifer Aniston's heart.

THE DEFENSE: The guy is no stranger to poor judgment, but at least he's a legit guitarist who isn't afraid to speak his mind (or give his publicist a heart attack). He dresses up in a bear suit and messes with fans in the parking lot before his shows. He wore a very revealing, Borat-style thong to get a laugh. If his songwriting ever catches up to his quick tongue, he could become a viable voice for good rather than evil. C.G.

26. CANDLEBOX

CHARGE AGAINST: Trend-hopping Johnny-come-latelies; the first of the second-wave grungies to stretch the definition of "alternative"

CASE FILES: At a moment when even the credentials of seasoned Seattle punk scenesters were up for close inspection, Candlebox didn't stand much of a chance in the authenticity race. Their sound was grunge-lite — a safe, wrinkle-free, artificially sweetened classic-rock stand-in that scrubbed away all the feedback-flecked grime. It also didn't help that after a massive bidding war — typical of the early '90s — they were the first alt-rock signing to Maverick, Madonna's fledgling major-label imprint. The tight-knit Seattle scene made much ado about not knowing who they were: local journos sniped and Courtney Love perpetuated a rumor that the band was from Los Angeles. Said bassist Bardi Martin: "Musicians are some of the shittiest, most insecure people on the planet. It seemed a lot like high school." The attitude spiraled out nationally, and in the span of three issues in the mid-'90s, SPIN called them "predictable, compromising grunge metal" and "as likely to endure as Queensryche."

THE DEFENSE: Though Candlebox clearly were influenced by pioneering, older-brother-like Seattle bands (see Mark Yarm's recent oral history of grunge, Everybody Loves Our Town, for an account of lead singer Kevin Martin warming up his vocal cords to Pearl Jam), they were very simply a bunch of guys whose timing was good for business but bad for credibility. DAVID BEVAN

25. LANA DEL REY

CHARGE AGAINST: Vapid, prefabricated glamourpuss pretends to be indie rock, reimagines Nancy Sinatra as a preening, Lynchian style zombie.

CASE FILES: Despite absorbing indie rock's love of decaying footage and swampy reverb, the former Lizzy Grant flaunted a pop personality guaranteed to irritate punk purists. The Internet embraced her and then immediately cried that everything was "fake": the name change; the major-label funding; the (allegedly) augmented lips; the fact that her dad, Rob Grant, had scored millions as a domain-name prospector, debunking the singer's claims to simply being the product of a Jersey trailer park. A year of online LDR-bashing climaxed with the most roundly mocked Saturday Night Live musical performance in recent memory; it wasn't clear whether Del Rey was petrified or hypnotized. Twitterers complained that she seemed like a third-tier Kristen Wiig character, and the following week she became one.

THE DEFENSE: Says our own Jessica Hopper: "The issue with Lana Del Rey is not whether she is some corporate test-tubed ingénue, but why we are unwilling to believe that she is animated by her own passion and ambition — and why that makes a hot girl so unattractive." And the album's not that bad, honestly.

24. THE BLACK EYED PEAS

CHARGE AGAINST: The dumbest pop act in America.

CASE FILES: There was a time when the BEP were conscious rappers riding the major-label backpack bubble. But after releasing two albums of benign feel-good rap, the group added Fergie to the mix and started chasing a mainstream audience with increasingly mindless pop-hop. How mindless? Their song titles could double as a fourth grader's dis list: "Let's Get Retarded," "My Humps," "Boom Boom Pow." They started dressing like actual clowns and dancing awkwardly practically everywhere — every awards show, every sporting event, every commercial on TV — fueling their reputation as the ultimate sell-outs. Will.i.am seemed to relish being annoying: appearing as a hologram on CNN, painting himself black for a VMAs performance, wearing a tiny slice of metal as a hat, and spewing a ridiculous theory about music only being successful when it's "put out on circles."

THE DEFENSE: Will.i.am actually has a master plan: engineering music to appeal to the most people on the planet. The Peas have extraordinary international appeal, largely because their nonsensical lyrics mean nothing not just in English, but in every language. Plus, Will was hip to dance music way before it permeated every song on Top 40 radio. This is music for the masses. Turn it up. C.G.

23. SMASH MOUTH

CHARGE AGAINST: Kindergarten frat party.

CASE FILES: In October of last year, Smash Mouth lead singer Steve Harwell attempted to eat 24 eggs, prepared by his good pal Guy Fieri, at a Johnny Garlic's restaurant in a Dublin, California strip mall: And thus concludes the Smash-Mouthiest sentence ever typed. Yes, the stunt in question was for a pediatric cancer charity, but this is as succinct a summation of the band's frosted-tips, wallet-chain appeal as anything a sniveling critic could conjure. Smash Mouth's breakthrough was 1997's ska-punk butt-nugget Fush Yu Mang — say it slowly, man — and its ubiquitous, organ-driven lunkhead anthem "Walkin' on the Sun." But the success of 1999's "All Star" as a movie-trailer and arena mainstay has kept the band on the shelves long past their expiration date, as they discovered the formula for coughing up wheezy, breezy covers ("I'm a Believer," "Why Can't We Be Friends?") less for fun than for profit. Comedian Neil Hamburger asks, "What do you get when you put a penny in the asshole of each of the members of Smash Mouth?" Answer: Nickelback.

THE DEFENSE: AOR covers for kids: Better than ska punk.

22. CHRISTOPHER CROSS

CHARGE AGAINST: The Marianas Trench of yacht rock, a beacon of flaccid sentimentality borne by a gentle cushion of hackneyed studio fluff sinking what was left of the '70s singer-songwriter model into the quicksand of 1980s radio schlock.

CASE FILES: Is there a more cloying, nut-tickling hit single than "Arthur's Theme (Best That You Can Do)"? (Answer: Yes. James Blunt's "You're Beautiful." But it's close.) Christopher Cross' biggest hit, four minutes of high-pitched sap, was ubiquitous in the early '80s. On the back of his debut album's unavoidable singles "Ride Like the Wind" and "Sailing," he won five of what are widely regarded as the most indefensible Grammys ever, while "Arthur" hoisted an Oscar onto his mantel too. All of which stranded a mediocre talent on a peak where he didn't belong, wildly overvalued for his modest gifts.

THE DEFENSE: Rather than turn into a bitter jerk unable to regain his fame, Cross remained pretty grounded, freely admitting that his "early songs were possibly a little bit simplistic. The ones that did real well…they're not timeless." IRA ROBBINS

21. DURAN DURAN

CHARGE AGAINST: British neo-colonialist fops whose clunky dance pop kept funk off '80s radio.

CASE FILES: In the early 1980s, Duran-bashing was the favorite pastime of insecure, jealous high school dudes (and insecure, jealous dads) policing the sexual fantasy lives of teenage girls who craved swishy pretty boys. In Talking to Girls About Duran Duran, author Rob Sheffield says the band inspired the most venomous arguments around his high school cafeteria tables. But even to hard-core music fans, they often seemed like a blight: At a time when George Clinton's "Atomic Dog" was struggling for airplay, radio programmers insisted that young Americans dance to these limp Brits, who, to make matters worse, had shouldered past more interesting new-wave countrymen like ABC and the Psychedelic Furs on their way across the Atlantic. Said Robert Christgau: "These imperialist wimps are the most deplorable pop stars of the post-punk if not post-Presley era."

THE DEFENSE: The '60s generation can keep "Like a Rolling Stone." Our text is poptimism, cool synth sounds, and "Save a Prayer," and we're not apologizing for it.

20. THE OSMONDS

CHARGE AGAINST: Impossibly wholesome Mormon choirboys out to reassure square America that entertainment could be as trivial as ever.

CASE FILES: Mike Curb, the Reagan crony who dropped the Velvet Underground from Verve for singing about hard drugs, recast the Jackson 5 as a quintet of squeaky-clean white siblings and hoisted them to stardom with the shameless J5 soundalike "One Bad Apple." Later, starring in a variety show with his sister Marie, Donny would insist every week that he was "a little bit rock'n'roll," helping reduce the legacy of '50s nostalgia to cloying camp as surely as Grease or Happy Days' Fonzie (who Osmond also impersonated on TV, as "the Donz"). Writes Osmond in his autobiography, "I have been made painfully aware that my so-called 'teen idol' career is considered by a persistent, vocal minority as a blight on the history of rock....One rock magazine proclaimed my birthday one of the darkest days in rock history; another found my parents remiss for neglecting to drown me. You know, some people just take this all way too seriously." In the spirit of not taking his reputation too seriously, Weird Al Yankovic called Donny in for a cameo in his "White & Nerdy" video because, he says, "if you have to have a white and nerdy icon in your video, like, who else do you go for?"

THE DEFENSE: Sure, the Osmonds ripped off Motown songs, but so did Motown half the time. Plus, Hanson fans should pretend "Yo Yo" is the B-side of the "MMMBop" cassingle they never bothered to flip. K.H.

19. LAWRENCE WELK

CHARGE AGAINST: Fighting against change in the 1960s, stiffly genial representative of the far end of the generation gap existed only to give great-grandparents a reason to live.

CASE FILES: Like other old-timers wielding media power a half-century ago, Welk ignored (if not hated) rock'n'roll, clinging to old standbys, watering down the occasional contemporary hit, and reassuring the audience of his weekly TV show (imagine a cast of singing and swinging Stepford Wives) that their anti-youth enmity was well-placed. Those who were young in the '60s and '70s recall excruciating Saturday-evening Welk-watching at an elderly relative's house. A few weeks after Woodstock, Welk donned hippie garb and introduced a rock band called the Babbling Baboons to frighten his fans into thinking he'd gone over to the other side. His real impact, however, was to sell easy-listening music to millions of fogies, thereby preparing the world for the twin horrors of modern Republicanism and smooth jazz. Nearly 30 years after Welk went off the air, Fred Armisen is still making fun of him on Saturday Night Live.

THE DEFENSE: Welk did allow one rock group on his show. On May 18, 1963, the Chantays — looking like a quintet auditioning for the zombie dance squad at Disney World — cranked up the reverb and performed their surf-instrumental hit "Pipeline."

18. KC AND THE SUNSHINE BAND

CHARGE AGAINST: Disco group that embodied every monotonous, escapist, indulgent thing that haters hated about the genre; still too flimsy and superficial to satisfy the core constituency.

CASE FILES: The disco backlash didn't exactly single out individual artists, instead painting them all with the same brush of racial, sexual, and cultural intolerance, reaching an antagonistic climax in 1979 at the "Disco Demolition" event in Chicago's Comiskey Park. But beyond the angry townspeople carrying "Disco Sucks" signs in the mid-'70s, songs like "(Shake, Shake, Shake) Shake Your Booty" were numbing to even the dance-floor faithful, thanks to their repetition and aggressively D-U-M-B lyrics. Like the title of "That's the Way (I Like It)"? Hope so, since it's sung 20 times in three minutes. In 2001, the baseball executive behind Disco Demolition issued a public apology to Harry Wayne "KC" Casey himself, who stood in as the music's general representative. He accepted, saying: "It wasn't a very nice thing to do. It was a direct hit on myself and other artists who did that for a living. I didn't bash his baseball team."

THE DEFENSE: The band could do a lot better than its biggest hits, and even those have gained the warm glow of nostalgic familiarity. Also Casey cowrote the lovable "Rock Your Baby" for George McCrae. I.R.

17. BARRY MANILOW

CHARGE AGAINST: The unbearable catchiness of the TV commercial jingle with the show-tune banality of a Las Vegas revue .

CASE FILES: Snobs always have sneered that pop songs are just jingles putting on airs. Former adman Barry Manilow, the guy responsible for "Like a good neighbor / State Farm is there" and "I am stuck on Band-Aid / 'Cause Band-Aid's stuck on me" couldn't have done more to support their argument if he'd tried. Though sometimes merely insipid ("Mandy") or tasteless (the glitzy disco cash-in "Copacabana"), at his worst ("Looks Like We Made It," "I Write the Songs") Manilow embodied the sort of hollow Vegas bombast that only the emptiest souls manage to survive undamaged. Observed Bill Hicks, dejectedly: "We live in a world where John Lennon was murdered, yet Barry Manilow continues to put out fucking albums." And even his fans can't handle it: In 1997, an Arizona man sued the singer, claiming that a 1993 Manilow concert had damaged his hearing.

THE DEFENSE: Manilow not only got his start as Bette Midler's pianist back when she was playing New York's gay bathhouses—he coproduced and performed on her earliest (and best) albums.

16. WINGER

CHARGE AGAINST: Prettiest of the pretty-boy hair-metal softies

CASE FILES: Winger's CV really was no different from that of any other high-gloss rock band who adopted Aqua Net and spandex drag by 1988, and their hit single "Seventeen" was a harmless-enough rumination on statutory rape. But the band became emblematic of poodle rock's cookie-cutter hit-making and pre-grunge death throes, enmity due in no small part to singer-bassist Kip Winger's cheekbones, shirtless photo shoots, and, really, his name. They were immortalized as the ultimate signifier of uncool when Mike Judge had Stuart, the dweeby neighbor kid on Beavis and Butt-Head, wear a Winger shirt at all times. "We had a character devoted to us who they hung by his underwear in almost every episode," guitarist Reb Beach lamented in 2007.

THE DEFENSE: Singling out Winger for crimes against taste seems arbitrary, and the band's legacy ultimately feels like more of a testament to the power of Beavis' withering asides than any distinctive shittiness. Despite rumors that Winger himself wasn't pleased about becoming the perfectly chiseled face of a fading genre, the classically trained ex–Alice Cooper sideman has a sense of humor about it now. "The record took off, and it was like, 'What do we wear?'" he told SPIN in 2007. "So we turn on MTV and decide to dress up like Whitesnake. When you're a kid, you want to dress up like that; you want to lose yourself in fantasyland." S.K.

15. PUFF DADDY

CHARGE AGAINST: Shiny-suited huckster milking the unquenchable greed of the Jiggy era.

CASE FILES: Like Suge Knight notoriously explained, Puffy was the "executive producer all in the videos, all on the records…dancing," i.e., ostensibly a backstage figure who clearly wanted more attention for himself than the artists he was promoting. He would ultimately get it through wanton appropriation of enormous chunks of the Police, Led Zeppelin, and David Bowie: A karaoke-rap style that was sacrilege to rock fans and just plain hackwork to hip-hop heads. His champagne-pouring, speedboat-driving, Jacuzzi-soaking antics were essentially the reason people started paying attention to indie-rap labels such as Rawkus. Also, no one likes a guy who forces you to call him by his self-imposed nickname.

THE DEFENSE: "What's the 411?," "Flava in Ya Ear," "Juicy," "Hypnotize," "Fucking You Tonight," "Victory," "It's All About the Benjamins," "Feels So Good," "Dead Wrong," "That's Gangsta," "Bad Boy for Life," "Let's Get It," "Special Delivery," "Roc Boys (and the Winner Is)...," "Ass on the Floor"

14. BILLY RAY CYRUS

CHARGE AGAINST: Singing mullethead who ratifies Garth Brooks' deliverance of Nashville to pop's promised land.

CASE FILES: Yankovic wrote a whole song about how annoying this guy is, and Bill Hicks used to openly fantasize about a TV show called Let's Hunt and Kill Billy Ray Cyrus. At the time, it would have been worth watching. Some Gave All, his cloddish, seven-million-selling 1992 debut, borrowed enough from Jimmy Buffett, Bob Seger, Bruce Springsteen, and John Mellencamp to indoctrinate a huge audience into country's new style-blurring ways. Whether they admit it or not, some of the manly truck-driving hat models who currently fill the country charts owe Cyrus a debt. So does someone else. After his fleeting musical moment, Cyrus became a TV actor, but his not-exactly-talented teen daughter Miley dwarfed his success.

THE DEFENSE: He was friendly with Kurt Cobain! That's more than you can say about Axl. I.R.

13. JOURNEY

CHARGE AGAINST: The nadir of studio-buffed, soulless, corporate AOR.

CASE FILES: Even more than the robot-obsessed Styx, Journey were never interested in appearing remotely human: Steve Perry's weirdly androgynous, stratospheric vocals; Neil Schon's pristine guitar sound; and those electric blue scarabs bursting into outer space on their album sleeves (Lester Bangs put "Any Journey cover" at No. 7 on his list of the ten worst LP covers ever). Indeed, when they morphed from a hippie-ish Santana offshoot to a steely hit machine, critic Dave Marsh wrote that the band "was a dead end for San Francisco area rock." By comparison, other corporate-rock goofballs acts (Foreigner, Toto, and REO Speedwagon) seemed warmly nuanced.

THE DEFENSE: Time has shown "Don't Stop Believin'" to be a cross-demographic cultural touchstone. The song was used in the last shot of The Sopranos, was the showstopper in the Broadway hit Rock of Ages, and became a rallying cry for the Detroit Red Wings, Chicago White Sox, Los Angeles Dodgers, and San Francisco Giants. Perry even appeared in the Giants' victory parade after the team won the 2010 World Series. Honestly, don't you sing along when it comes up at karaoke? D.M.

12. MICHAEL BOLTON

CHARGE AGAINST: Perma-frizzed goon constantly melting down Motown and Stax 45s for lukewarm easy-listening spa treatments.

CASE FILES: There isn't a song this guy can't soften into a flavorless, gray paste. Combine that with Bolton's general ubiquity (more than 50 million records sold!), and he's simply fated to be one of the easiest punch lines available. In the cult flick Office Space, no destiny was crueler than being software programmer "Michael Bolton," who shared his name with "that no-talent ass clown." Conan O'Brien has been working him into his monologue for years, and Dave Attell once said, "I listened to a Michael Bolton tape and I got my period." Even the softball throwers on Whose Line Is It Anyway? do Bolton bits. Hell, we'd make fun of him a little in this paragraph, but, honestly, it seems pretty hacky.

THE DEFENSE: Bolton's teaming with the Lonely Island for the gently self-mocking "Jack Sparrow" received the first Grammy nomination he actually deserved. C.W.

11. NICKELBACK

CHARGE AGAINST: Jock-rock oafs.

CASE FILES: After lucking out with "How You Remind Me," maybe the catchiest song Candlebox never recorded, these dunderheaded Canucks showed their true colors with the repulsive "Figured You Out" ("I like the dirt that's on your knees / And I like the way you still say please"). In a long decade of peeved grunts that followed, they slowly moved from Nerf Neanderthals to formulaic flyover jammers, representing everything arrogantly gluttonous about post-Creed modern rock: pristine Mutt Lange production, immaculately styled hair, collabos with at least two American Idol losers, and even more entitled songs about blowjobs. America fought back online. One careful listener posted audio of "How You Remind Me" and 2003 single "Someday" playing simultaneously as scientific proof that this band writes music like they're filling out Mad Libs. The Facebook page "Can this pickle get more fans than Nickelback?" received an affirmative. Our nation's true, pathetic answer to the Arab Spring was the much-supported (if ultimately failed) petition to prevent the band from playing the halftime show at the Detroit Lions' 2011 Thanksgiving Day game. Said Black Keys' Patrick Carney in an interview: "Rock'n'roll is dying because people became okay with Nickelback being the biggest band in the world."

THE DEFENSE: It takes a special kind of rock star to write a song as hilariously self-aware as "Rockstar," and these dudes do it while being more famous than Dr. Hook & the Medicine Show ever were.

10. YOKO ONO

CHARGE AGAINST: A screeching, incomprehensible boho who broke up the Beatles.

CASE FILES: Even her most ardent admirers would admit that Ono's penchant for warbling, exploratory vocal workouts is tough sledding. Her singing is the kind of thing that makes people think conceptual artists are hucksters without much natural talent and, worse, willing to drag others down to their level. That stance was aired out in a classic episode of The Simpsons in which a Yoko-like avant-gardist forces Barney's Lennon figure into perplexing experiments. As recently as 1999, a BBC documentary about Ono featured the British art critic Brian Sewell arguing that "she's shaped nothing, she's contributed nothing....If she had not been the widow of Lennon, she would be totally forgotten by now."

THE DEFENSE: Only people struck with (the vaguely sexist and racist) hysterical, Beatles-post-breakup deafness could fail to understand that Ono is one of the most forward-thinking artists of our time. Over a massively influential 40-year recording career, she has proven herself a giant of downtown minimalism (all the greats played her loft), a skilled pop poet ("Listen, the Snow Is Falling," her half of Double Fantasy), an ever-searching sound radical ("AOS," which featured Ornette Coleman), and even a modern club-queen (her 2011 dance hit "Move On Fast"). D.M.

9. PAT BOONE

CHARGE AGAINST: : Wholesome as a glass of milk, smooth as a laxative, happily shouldered the white man's burden of ruining the songs of black artists for "mainstream" audience acceptance.

CASE FILES: Boone's lazy swims through Fats Domino's "Ain't That a Shame," Little Richard's "Long Tall Sally," and Joe Turner's "Chains of Love" diluted and drained every last trace of life (or, more accurately, sex) out of the songs. Not surprisingly, his soul-free renditions outsold the originals, taking money out of their creators' pockets and impeding the spread of innovative music. Pat later passed his sanitized baton to daughter Debby, whose "You Light Up My Life" spent ten weeks at No. 1 just as the punk era hit its stride. Boone the elder finally capped his culture crimes with the absurd 1997 album In a Metal Mood: No More Mr. Nice Guy, containing tongue-in-cheek big-band renditions of "Paradise City," "Enter Sandman," and other hard-rock numbers. These days, the genial 77-year-old supports the Tea Party, believes Obama is an alien, and has likened liberals to cancer.

THE DEFENSE: In spite of it all, there are genuine rock'n'rollers who don't hate him. DJ Fontana, Elvis Presley's original drummer, believes Boone belongs in the Rock and Roll Hall of Fame, and reckons his boss would too. "They were friends," he told Roctober magazine. "I think [Elvis] recognized Pat's talent for what he was doing."

8. MATCHBOX TWENTY

CHARGE AGAINST: Floridian FM wangos feasting off '90s grunge leftovers, ushering in a deeper morass of toothless, modern "adult alternative."

CASE FILES: Matchbox Twenty's Rob Thomas (a shorthair, it should be said) offered a neutered take on Eddie Vedder's marble-mouthed mewling, but kept his lyric book clean of any wild-eyed abstractions or chest-beating psychodrama. In turn, his band's hookless, faceless brand of alt-gone-soft-rock was every bit as portentous and plodding as grunge at its worst. Critics massacred the band (Quoth the NME: "Musically, this is the sound of middle America at its most ugly and nauseating"), ultimately prompting Thomas to tell CNN: "I say, if you're going to bash us, just be clever." Prior to their 1998 SPIN cover (sorry!), MTV sent a camera crew to a Matchbox Twenty show to ask audience members to name the band's members. The network would later air a montage of puzzled expressions. Thomas' star would rise even higher with "Smooth," the inescapable Grammy-winning collaboration/abomination with Carlos Santana.

THE DEFENSE: Matchbox Twenty never sought to project an image any different from what they actually were. Thomas, in particular, made light of the fact that they were punching bags, appearing on an episode of It's Always Sunny in Philadelphia and hilariously calling their latest album Exile on Mainstream. D.B.

7. EMERSON, LAKE & PALMER

CHARGE AGAINST: Hollow virtuosos who took prog rock to its ill, logical extreme.

CASE FILES: In addition to dressing like medieval gentry, ELP incurred charges of self-important muso-mania via countless pompous gestures: unending solos, the Freudianly oversize kit of drummer Carl Palmer, the spaceship-sized keyboard rig of Keith Emerson, the haughty ballads of bassist Greg Lake, and snooty interpretations of works from the "high art" canon. Desirous of a solo-larded, electric version of Mussorgsky's "Pictures from an Exhibition"? Look no further! Want the most accurately titled album in history? Might we direct you to 1974's triple-LP Welcome Back My Friends to the Show That Never Ends? Not for nothing, a common joke of the era suggested that "pretentious" was spelled "E-L-P."

THE DEFENSE: There's not exactly a world of difference between the time-signature intensity of ELP and, say, the rhythmic assault of Battles. Additionally, Lake's gentle, humble "I Believe in Father Christmas" is one of the few holiday rock songs worth humming sincerely. And the H.R. Giger–designed skeleton-queen cover for 1973's Brain Salad Surgery is undeniably fucking awesome.

6. VANILLA ICE

CHARGE AGAINST: Shiny-suited white interloper hell-bent on watering down and commercializing the greatest African-American invention since peanut butter.

CASE FILES: For a while it seemed like dude would do anything to cross over: Lying about where he grew up, clumsily parroting hip-hop slang, borrowing African American fraternity chants for his hooks, trying to pass off a one-note difference in a sample as thrilling and unique songcraft, and of course, dancing around in a sequined American flag suit. It clearly worked, as To the Extreme ended up selling 15 million copies worldwide, but the hip-hop nation was not exactly excited to be represented by Pat Boone in a streaked pompadour. Some choice disses came from Del ("Dance all day, while I'm pissin' on your steps"); Tim Dog ("Rap is nothing you can put in a movie with a bunch of turtles!"); Kid 'N Play ("The brothers always boo you, and we know it hurts"), and even fellow honkies 3rd Bass, who performed a baseball-bat beatdown on a Vanilla imposter (played by Henry Rollins) in their "Pop Goes the Weasel" video.

THE DEFENSE: After his weird VHS-smashing quasi-meltdown on MTV's 25 Lame in 1999, Vanilla has maintained a pretty decent sense of humor about everything: appearing in viral videos playing indie-rock covers and clowning around on countless reality TV shows (including Celebrity Bull Riding Challenge). Also, as sample-ganking pop-rap goes, we'll take "Ice Ice Baby" over anything Flo Rida does. C.W.

5. INSANE CLOWN POSSE

CHARGE AGAINST: A little song, a little dance, a little seltzer down society's pants

CASE FILES: They call themselves the "Most Hated Band in the World," and it ain't for nothing: As of last year, the FBI officially considers their fanbase a "gang" worth monitoring. In 1998, a notorious SPIN comic strip compared their act to blackface minstrelsy. Blender dubbed them the "Worst Artists in Music History" while also describing them as "two trailer-trash types," personifying a pervasive and unconcealed classism that haunts almost all criticism of the group. Their "Miracles" video was a laugh-and-point Internet meme, and The Guardian called them "a magnet for ignorance." Okay, guys, we get it, you went to college.

THE DEFENSE: Recent collaborator Jack White knows what's up: If you can't laugh and bounce along to high-spirited knuckleheadery like "Fuck the World," you have an enormous stick up your ass. Their music gets more irresistible as it gets more melodic; 2009's soda-sweet popfest Bang! Pow! Boom! was easily their career best. Plus, these dudes are serious rap heads who are constantly giving pioneers paychecks to perform at their annual Gathering: E-40, DJ Quik, Paris, Scarface, Above the Law, Kurupt, Digital Underground, and Dayton Family have all made the trek into the craggy woods of Illinois. Stroke your goatee to the Shins at Bonnaroo; we'll be lighting fireworks and spraying Faygo in the forest. Whoop whoop! C.W.

4. CREED

CHARGE AGAINST: Watered-down grunge as a platform for messianic egomania; Nickelback before there was a Nickelback

CASE FILES: These ham-fisted ding-dongs represented the grim nadir of post-grunge's third wave: Somehow, everything about their music offended. Philadelphia Weekly even went so far as to run a 2002 cover story with the all-caps headline "WHY CREED SUCKS," and the authenticity-obsessed argument that "Creed — and their torpid, halftime-playing, self-congratulatory type — are a cancer on the most beautiful thing God ever gave us in the 20th century: rock'n'roll." To make it worse, frontdouche Scott Stapp couldn't keep from shaming himself: He brawled with 311 in a Baltimore hotel, was rumored to have been punked by college kids while trawling for groupies at a Florida Denny's, and found himself at the center of a (Kid Rock–enriched!) sex-tape scandal in which he allegedly sighed, "It's good to be king." Creed's moment in the sun is when the trail blazed by Nirvana eventually dead-ended, a place where antiseptic, quasi-religious, self-serious bombast assumed all the rock clichés that grunge was meant to usurp.


THE DEFENSE: If we close our eyes, we can pretend the particularly melodic opening 12 seconds of "Higher" is really Candlebox. D.B.

3. KENNY G

CHARGE AGAINST: Making elevators seem safe since 1982.

CASE FILES: While the tenor sax honks with a satisfying bellow and altos wail out the depths of humanity, soprano sax — an essential tool in the easy-listening lexicon — is at once soothing and irritating, like a bath in boiling honey. Kenny G is the man with the tubular bell. Over the course of some 20 soporific albums, he's eased his way through virtually every Christmas song and movie ballad you'd care to name. The Seattle native took the liberty of dubbing himself on top of an old Louis Armstrong record and releasing the resulting "collaboration." That got people out of their recliners: Jazz guitarist Pat Metheny called it "unbelievably pretentious" and "cynical," and attacked the saxophonist's playing as "lame-ass, jive, pseudo-bluesy, out-of-tune, noodling, wimped-out," and "fucked-up."

THE DEFENSE: Sorry, the only plea here is nolo contendere. Nobody who makes such worthless, repugnant, soft-serve music should be so monumentally arrogant. The guy's not even in Sting's league, but how's this for tone-deaf twattiness? "I've always thought it would be fun to do classical music, but I wouldn't want to do a famous classical piece. I'd want to write a piece of music that sounds like a classical song, but is my own composition." A Foster the People co-sign ain't helping.

2. LIMP BIZKIT

CHARGE AGAINST: Soul-patch minstrel show, a hissing valve for pointless Cro-Magnon boy-rage, the 'roided-out Altamont stabbing of the '90s alterna-dream.

CASE FILES: Their macho, crowd-surfing, dunderfuck Woodstock '99 hulk-out session coincided with wanton property destruction and multiple sexual assaults, and Limp Bizkit were subsequently seen as single-handedly destroying all the hard work that alternatypes like Nirvana and Nine Inch Nails did creating a more sensitive space for heavy music. To wit, Reznor remarked, "Let Fred Durst surf a piece of plywood up my ass," and Courtney Love said, "He brought about the worst years in rock history." The list of dipshittery Durst involved himself in throughout the following decade seemed to have no end: Haplessly covering the Who, leaking a sex tape ("Touch my balls and my ass," he instructed), and proving his indie bona fides via Cobain chest tattoo. A Metallica crowd in Chicago rained a hailstorm of water bottles and coins on the band and chanted "Fuck Fred Durst." Also thank him for getting Staind and Puddle of Mudd record deals.

THE DEFENSE: Wes Borland is a tip-tapping Zornophile whose talents may be put to better use eventually. DJ Lethal has permanent immunity because he was in House of Pain. John Otto and Sam Rivers were a leaden rhythm section, but could hold down a groove. One of these things is not like the other. C.W.

1. MILLI VANILLI

CHARGE AGAINST: Didn't even sing their fucking songs.

CASE FILES: The wizard's curtain was pulled back thanks to a skipping backing track, and it quickly became apparent that wiggling bike-short advertisements Fab Morvan and Rob Pilatus were lip-synching on stage — you know, just like dance stars have been doing since time immemorial? But the real hammer blow came when it was revealed that the Teutonic twosome hadn't sung as much as a syllable on their chart-topping multiplatinum album Girl You Know It's True. Grammys were rescinded, records were taken out of print, class-action consumer lawsuits brought, and shock feigned over how pop-star sausage gets made. Milli Vanilli were never exactly loved to begin with — Rolling Stone named them the Worst Band of 1989 before the fallout — but the controversy made arguments about "authenticity" fly around like their luxurious dreadlocks. Pilatus died in 1998. "The press says Rob died of an overdose," Morvan commented. "I say no, he died of a broken heart."

THE DEFENSE: As Morvan gives more interviews, it becomes increasingly apparent that Milli Vanilli were just some good-looking, eager, broke kids who signed their lives away into a Draconian contract, remaining forever trapped in the cold gears of music-industry machinery. "We're victims," said Pilatus in 1990, "and we're portrayed as crooks."


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Polarizing Benedict Cumberbatch in New Jaguar Ad

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Watch Benedict drink tea, read the paper, and drive around aimlessly in this RIVETING new ad!


He talks about what makes him feel alive--acting, driving, curling up on a sofa and reading a book...  It's essentially voice porn.  And car porn... if you're into that I guess.  

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The 6 Saddest Mother Daughter Movies Of All Time

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Whether she admits it or not, a girl’s relationship with her mother is very important. It can be strenuous at times, but in the end family is family—you love them no matter what. It doesn’t matter if its Mother’s Day or you just want to curl up on the couch and watch a mother-daughter movie with your Mom. Any one of these six movies will bring you two to tears and closer together.



“Stepmom”



Susan Sarandon plays Jackie Harrison, a woman terminally ill with cancer. Julia Roberts plays Isabel, Sarandon’s ex-husband’s girlfriend. Since Sarandon knows she isn’t going to survive very long so her two children are going to have to live with her husband and Roberts could someday become their stepmother. Despite how hard it is for her and her daughter, they try to bond with quirky and spontaneous Roberts. I can guarantee that by the end of the movie you’ll be sobbing like a baby.

"White Oleander”



“My mother was the most beautiful woman I had ever seen. She was also the most dangerous.” “White Oleander” is a hauntingly beautiful story following an intense mother-daughter relationship. Astrid (Alison Lohman) is a young girl who’s been separated from her mother Ingrid (Michelle Pfeiffer) after she murders her ex-lover with the poison of white oleander flowers. Astrid ends up in four different foster homes. Her and her mother’s relationship is strained by the prison bars that keep them apart and Pfeiffer’s stubborn, controlling personality.

"Anywhere But Here”



“Anywhere But Here” starts when Adele (Susan Sarandon) picks up her whole life in Wisconsin, including her daughter Ann (Natalie Portman) and moves to California. She expects to start living a glamorous life in Los Angeles but is surprised when she cannot afford anything! She pushes Ann to become an actress, but she isn't interested in acting and just wants to study and get into Brown University so she can get as far away as possible from her mother. It is touching stories we all can relate to at least a little bit—mothers just don’t understand their daughters sometimes.

“Mother and Child”



“Mother and Child” is a heartwarming story about lost time and a few mother-daughter relationships. When she was only 14, Karen (Annette Bening) gave birth to a baby girl and gave her up for adoption. The movie follows Karen, now a middle-aged woman struggling with her guilt about giving her baby up, Elizabeth, her daughter who is also pregnant and Lucy, a woman who cannot have her own children but longs for a baby. “Mother and Child” shows us the importance of mother-daughter relationships that are sometimes taken for granted.

“The Divine Secrets of the Ya-Ya Sisterhood”



After Siddalee (Sandra Bullock) becomes a successful playwright, she gives an interview to Time Magazine speaking of her quirky mother and unhappy childhood. Her mother Vivi (Ellen Burstyn) becomes furious at the picture the reporter has painted of her. Vivi’s friends, the Ya-Ya Sisterhood, drug Siddalee, kidnap her and bring her back to where she grew up. Siddalee learns about her mother as a friend, wife and person– something every daughter should try to do. Your mother wasn’t born as your mom!

“Sherrybaby”




“Sherrybaby” is a raw, riveting tale of a young mother and drug addict Sherry (Maggie Gyllenhall) who is released from prison on parole after three years of being away from her daughter. Sherry’s daughter, Alexis is placed in the care of her brother Bobby and his wife. They treat Alexis as their own child and Sherry has limited time with her. Sherry has to adjust to life on the outside, her constant drug temptation and forming a relationship with her daughter.

SOURCE

Michelle scared the crap out of me in White Oleander. Best film on this list tbh. Oh btw Susan Sarandon and Maggie Gyllenhall are awesome.



Darren Aronofsky to Direct Anne Hathaway in Judy Garland Biopic

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Darren Aronofsky is heading back to drama, and you can’t blame him after he struck it big with 2010′s “Black Swan.” Now, he is in business with the Oscar veterans at the Weinstein Co., which have tapped Aronofsky to direct GET HAPPY, the anticipated Judy Garland biopic starring Anne Hathaway.

Earlier this month word was that Jaffe Cohen had signed on to pen the script, which is based on the book “Get Happy: The Life of Judy Garland,” written by Gerald Clarke. The pic will follow the true life story of American actress and singer Judy Garland, who, despite her professional triumphs, battled many personal problems, including a long running battle with drug and alcohol addiction, money woes and a string of divorces.

Kelly Carmichael will oversee for the Weinsteins.

Since the success of “Black Swan,” Aronofsky has been able to get his passion projet and bible epic, “Noah,” off the ground with Paramount and New Regency both on board. He will direct from a script he co-wrote with Ari Handel. Russell Crowe was recently confirmed for the role of Noah.

Aronofsky is attached to direct other projects around town, including “Jackie” for Fox Searchlight, which focuses on the assassination of John F. Kennedy from the perspective of his wife, Jackie Kennedy. He is also attached to direct “Human Nature,” a sci-fi/drama from Warner Bros. about a businessman, who awakens after being cryogenically frozen, to a world where humans are now treated like animals. George Clooney is attached to star in the pic.

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lol what? unnecessary biopic by flop director imo.

'Wire' Star Michael Kenneth Williams Cast in Ol' Dirty Bastard Biopic

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by Daniel Kreps


Late last year, it was revealed that an Ol' Dirty Bastard biopic was in the works based on a script written by the late Wu-Tang rapper's cousin, Raeshawn. Tracy Morgan and Eddie Griffith were rumored to be up for the role of the madcap Big Baby Jesus, but another, more accomplished thespian has beaten them to it: Boardwalk Empire’s Michael Kenneth Williams, the man responsible for one of television's greatest characters (Omar Little from The Wire), has signed on to Dirty White Boy. Directed by "99 Problems" cinematographer Joaquín Baca-Asay, the film will cover the final years of ODB's life EW's Inside Movies reports.

However, and this is where things get complicated, this is not the ODB movie that Raeshawn penned. Just as there are currently two different Jeff Buckley films in the works, Dirt McGirt is also the focus of competing biopics. Dirty White Boy was written by former VH1 employee Brent Hoff. His one-time colleague, Jarred Weisfeld, was ODB's manager while the rapper was serving three years behind bars, and his experience trying to rein in hip-hop's most off-kilter talent will be the crux of the upcoming film. Meanwhile, Raeshawn's script is still floating around Hollywood, and Griffin and Morgan are still in contention for the part.

While no one questions whether Williams has the talent to portray the irrepressible Dirty, the actor's age could prove to be a stumbling block. Williams is 45, a full decade older than ODB at the time of his death. It's nothing a little soft lighting can't fix, and since the project focuses on the end of ODB's life, the age gap won't be terribly noticeable. However, casting the 40+ Morgan or Griffin in an ODB biopic that dates back to the Enter the Wu-Tang years will be more problematic (the rapper was 24 at the time).

Meanwhile, Williams' ODB biopic is only the second-most important musical project he's working on: Yesterday, Spin reported that he'd reprise his role of James in R. Kelly's third installment of Trapped in the Closet.


Oh, indeed.
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Lessons in Love, by Britney Spears

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When it comes to authorities on love, we naturally think of Britney Spears. Britney may not write many of her songs, but they have taught countless humans and animals about love. Let’s take a brief, but important journey through some of BritBrit’s Classics.








1. In ‘Criminal’, we get to know what it’s like to be in love with, well, a criminal, and how it affects her relationship with her mother.

“But mama I’m in love with a criminal and this type of love isn’t rational, it’s physical.”

So basically, we’re told that this is all about getting it on, and that there’s not a lot of thought put into this relationship. She wants to comfort her mother who is obviously distraught about her daughter’s choices.

“Mama please don’t cry. I will be alright.”

This probably does little to appease her. Oh, wait. The chorus isn’t over just yet! It’s not just physical?

“All reasons inside, I just can’t deny, love the guy.”

I guess she does love this criminal after all, hopefully her mother will come around.

Britney’s Love Lesson: A relationship is like a song. The beginning is physical and just as you get into it, you fall in love.






2. Britney gets a little risque when she sings about a different kind of love in ‘If U Seek Amy’.

“Love me, hate me. Say what you want about me, but all of the boys and all of the girls are begging to If You Seek Amy.”

She suffers a pain I assume most celebs suffer: the knowledge that everyone wants to have sex with you all the time.

Britney’s Love Lesson: This kind of love is one only a celebrity needs to endure.






3. Here we find Britney telling the story of an imaginary celebrity named ‘Lucky’, but we all also imagine that imaginary celebrity is Britney herself, right?

“She’s so lucky. She’s a star, but she cry, cry, cries in her lonely heart, thinking if there’s nothing missing in my life then why do these tears come at night?”

Lucky/Britney longs for someone to love her. She has everything she could want because of her celebrity, but it’s just not enough. We feel for Lucky/Britney crying in her bed, indecent proposaling herself, to hide her feelings of a lonely and loveless life.

Britney’s Love Lesson: Having everything money can buy is no substitute for love.






4. I think this may be one of my fave Britney songs. She’s so innocent here and so clumsy! She plays with people’s hearts by accident on, what I gather to be, multiple occasions.

“Oops!…I did it again. I played with your heart, got lost in the game.”

Apparently she thinks playing with someone’s heart is a game. Wait, what’s that Britney?

“Oops!…You think I’m in love, that I’m sent from above. I’m not that innocent.”

So you are not so innocent in this playing with my heart! I thought you were an angel, but you’re not. You did this accidentally on purpose.

Britney’s Love Lesson: Don’t trust your heart with a clumsy angel.






5. You better keep your epi-pen within arm’s reach when dealing with this Britney standout. Sometimes love can be dangerous. Sometimes you misread labels, or in this case, people and crazy things can happen.

“Baby, can’t you see I’m calling. A guy like you should wear a warning.”

See! Even Britney agrees!

“It’s dangerous. I’m fallin’. There’s no escape. I can’t wait, I need a hit. Baby, give me it. You’re dangerous. I’m lovin’ it.”

She recognizes this kind of love is dangerous, toxic even, but she’s lovin’ it. We should probably just trust her on this one, or perhaps just take some Benedryl before going out clubbing next time.

Britney’s Love Lesson: Love can be dangerous.






6. You know that feeling you get when you’re crazy in love with someone that they are all you can think of, all the time? ‘Crazy’ gets right into that feeling. Maybe it’s new love, or maybe this is a song about a stalker who just really loves Britney.

“Every time you look at me my heart is jumpin, it’s easy to see you drive me crazy. I just cant sleep. I’m so excited. I’m in too deep. Ohh…crazy, but it feels alright. Baby, thinkin of you keeps me up all night.”

Let’s just pretend this is about new love.

Britney’s Love Lesson: Sometimes love can drive you crazy.






7. Britney tells us that some people are born to make other people happy in her aptly titled song, ‘Born To Make U Happy’.

Some people are destined for each other. Does Britney believe in soul mates? Do we really think she and Justin Timberlake were meant to be? Or Britney and Kevin Federline?

“I don’t know how to live without your love. I was born to make you happy cuz your the only one within my heart. I was born to make you happy. Always and forever, you and me that’s the way our life should be.”

This one is kind of sad if you think about the fact that maybe her love is no longer with her.

Britney’s Love Lesson: Some people are born for each other, born to make each other happy.





8. This Britney song has nothing to do with that 1990 Sean Penn movie as far as I can see. ‘(Love is) A State of Grace’ is more about that feeling you get into when you are in love.

Do you think Sean Penn and Madonna were ever in a state of grace when they were together?

“Love is a state of grace, transcending time and space. No other way I can describe insanely beautiful, it’s almost mystical cause you’re mine and I can’t believe that I feel what I feel. Such a strange kind of ‘real’. Love is a state of grace between you and I.”

Does Britney get religious in this one?

Britney’s Love Lesson: Love can be a religious experience.






9. This is a simple one. Sometimes ‘Love is War’ and you have to fight for what you want.

“Love is war. What are we in it for? Why do we play the game? Why are we keeping score? You and I, you know that we’re born to fight. There’s so many times before, know I should be sure, love is war.”

In any relationship there are ups and downs, and in any pop song, we tend to lean to the dramatic. Is love really war? You remember that movie, War of the Roses, with Michael Douglas and Kathleen Turner and their love deteriorated so much that they had an all out battle in their house (I love that movie), maybe that’s what Britney is singing out in this song?

Britney’s Love Lesson: Love is war sometimes. (Britney didn't even record this damn song, rme rn.)






10. This was one of Britney’s unreleased songs that I really had no idea what she was singing about.

This unfortunately or fortunately (however you look at it) not a cover of the Donna Summer song. ‘Love 2 Love U’ as a statement is a simple one, as a song? Just check this out and you tell me what she means.

“Go (go), watch me get down and go (go). When I come around just let me go. I love to love ya. Go (go), watch me go down and go (go). When I come around just let me go. I love to love ya.”

Where the hell is she going?

Britney’s Love Lesson: Love makes you need to go.






11. Britney gets all high tech on on our hearts.

‘Email my heart’ tells the story of love through email. It’s a story as old as time – well at least from the beginning of email.

“E-mail my heart and say our love will never die and that I know you’re out there and I know that you still care. Email me back and say our love will stay alive. Forever, Email my heart.”

I’d be kinda scared if I got this email from someone I was dating. Like, red flags all over the place.

Britney’s Love Lesson: Don’t send emails like this to someone you love.

Britney also predicts that Apple will move into the telecommunications industry: "You don't answer when iPhone, guess you want to be left alone."





12. The Shania Twain/Robert Lange penned ‘Don’t Let Me Be the Last to Know’ talks about Britney (or a woman) wanting to hear her boyfriend say that he needs her all the way and that he loves her.

Do you think Shania knew at the time that she and her husband were not meant to be? Were they the last one’s to know this? Were they predicting the future with their songs?

“Don’t, don’t let me be the last to know. Don’t hold back, just let it go. I need to hear you say, you need me all the way. Oh, if you love me so don’t let me be the last to know. Your body language says so much. Yeah, I feel it in the way you touch, but til’ you say the words it’s not enough. C’mon and tell me you’re in love, please.”

That last line kills me. “Please”? Whatever, this is still a great choice for karaoke.

Britney’s Love Lesson: If you love someone don’t make them beg you to say those three important words.


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Demi is devastated after Ashton/Rihanna sex date

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Demi Moore is totally devastated and ‘sick to her stomach’ over Rihanna’s affair with her ex, Ashton Kutcher. The shock news of Rihanna’s midnight sex-date with Ashton has sent Demi into a tailspin and she is acting crazy according to a source who spoke to Grazia mag. Rihanna showed up at Ashton’s place for a secret rendezvous at midnight one night last week after partying at Colony and stayed until 4 AM. A photog captured the whole hot mess and it was all over the Internet for Demi to see.

Since her now infamous late night booty call, it has come out that Rihanna has been hot and heavy with Ashton for the past two months.

According to a source, the pair’s romance has ‘sent Demi spiraling,’ leaving her friends concerned about her mental and physical health.

The source told Grazia magazine: “Demi is constantly keeping tabs on Ashton so when these pictures came up she was understandably devastated. Demi’s convinced something happened between them and said she felt ‘sick to her stomach.’”

‘Demi’s been acting crazy ever since, trying to find out information about the pair. Demi is in such a fragile state, even the idea of them together has affected her quite badly. She’s in a terrible way but, at the end of the day, Ashton is a single man and free to do whatever he likes.”

Demi is totally ‘humiliated’ because Ashton appears to have moved on so quickly and obviously doesn’t care about her at.

A source told Closer magazine: ‘Demi can’t believe Ashton would do this. She’s really hurt by the rumors and feels humiliated he’s being linked to other celebrities just a few weeks after she got out of rehab. She feels it cheapens their marriage even further.’
Demi needs to totally forget about Ashton and move on herself. The man cheated on her repeatedly during their marriage and obviously doesn’t care about her at all.

SAUCE

'Modern Family' cast about to enter contract renegotiations; drama sure to ensue

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Hollywood is gearing up for what could be one of the toughest — and highest-stakes — TV contract renegotiations in years.

With third-season production on ABC’s top-rated and Emmy-winning comedy Modern Family ending in early March, representatives for the series’ six adult castmembers have begun formulating a plan to negotiate significantly higher salaries with producer 20th Television, according to multiple sources.

Castmembers Julie Bowen, Ty Burrell, Jesse Tyler Ferguson, Eric Stonestreet and Sofia Vergara were paid in the $65,000-an-episode range for the 22-episode third season, according to sources, a fee that was bumped up from the first two seasons last summer. (Stonestreet was making merely $20,000 an episode or so for the first season, when he won an Emmy, one of 11 wins for the series.) Ed O’Neill, who came to Modern Family after success on Married … With Children and other series, makes in the $105,000 range per episode, plus a small backend he receives for agreeing to cut his quote to join the series in 2009. (O’Neill was considered the “get” when Modern Family was casting, taking on the patriarch role when Craig T. Nelson passed.)

Now the series is heading into its all-important fourth season, when casts often renegotiate their contracts, scoring big paydays in exchange for agreeing to extend original seven-year deals by an additional year or two so the studio can generate bigger syndication revenue. One source suggested the cast could ask for a jump to the $200,000-an-episode range for season four, which would be on par with the three stars of CBS’ The Big Bang Theory when they re-upped after their show’s third season in 2010. Reps will seek additional boosts of $50,000 to $100,000 for subsequent seasons, but 20th is likely to resist opening the vault for a cast with twice as many leads as the Big Bang trio.

“It’s going to get ugly,” says a source close to the dealmaking.

To be sure, the show is a profit center for its studio and network. Modern Family reinvigorated a comedy genre many had left for dead. The show regularly draws 13.7 million viewers, up 12 percent from a year earlier, and a 5.9 rating among the coveted 18-to-49 viewers, according to Nielsen. In 2011, Modern Family generated $164 million in ad revenue for ABC, up 40 percent year-over-year, according to Kantar Media.

Still more impressive: The show has become TV’s No. 1 scripted series among younger viewers and is the highest-rated comedy since Friends and Will & Grace. Since its 2009 launch, Modern Family has formed the basis for a Wednesday comedy block, helping to seed other ABC comedies from Happy Endings to the upcoming Don’t Trust the B---- in Apartment 23.

Following Modern Family’s breakout first season in 2010, 20th inked a rich syndication deal with USA Network — its first major sitcom acquisition — for a license fee close to $1.5 million an episode, according to sources. The eye-popping sum was roughly on par with a deal struck by TBS and Warner Bros. for Big Bang repeats. Modern Family is poised to bring in millions more from broadcast stations when the series rolls out in syndication in 2013, and foreign revenues said to be especially robust.

20th won’t be alone in the negotiations with the cast. ABC will be involved because its licensing arrangement with the studio provides that the network solely fund production of later seasons of the show. That means that any substantial salary increases agreed to by 20th eventually would be paid for by the network toward the end of the series run.

The question now is whether the Modern Family cast will negotiate together, much as the stars of Friends famously did. (Each jumped to $100,000 after the second season and later scored $1 million an episode plus backend for the final season on NBC.)

O’Neill so far has declined to join his co-stars, though a source says strategy talks among the representatives are just beginning and negotiations likely will stretch into the summer. One option on the table is to demand commensurate percentage increases, which would benefit O’Neill proportionally and allow the cast to present a united front (similar to their Emmy strategy of submitting each adult actor in the supporting category).

Reps for 20th and the actors declined comment, but the prospect of a big-ticket renegotiation amid generally declining TV salaries is welcome news to the talent community.

“There are always going to be those exceptions, and Modern Family is an exception,” says Gersh senior managing partner Leslie Siebert, who was integral in renegotiating on Friends and Will & Grace, whose four leads successfully banded together. “If it were me, I would make sure all of the adults stick together and go in for a whopping upfront salary and whopping participation. That backend participation is the clincher because that [means money for] the rest of your life.”

http://www.hollywoodreporter.com/news/modern-family-cast-raises-abc-304907

Madonna Might Be Fined if She Speaks Against Homophobic Law in St. Petersburg

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A new city law banning homosexual propaganda among minors has caused widespread criticism abroad and a divided response in Russia, with many petitioning for the city to be boycotted by tourists.

St. Petersburg is unlikely to suffer a decrease in the volume of tourists as a result of the petitions and negative response to the new law, St. Petersburg tourism officials said.

“I’m not worried about the new law affecting tourism volumes in St. Petersburg,” Sergei Korneyev, deputy head of the Russian Tourism Union told The St. Petersburg Times.

“It is normal to observe the laws of a country to which a person travels. For instance, in Muslim countries laws and traditions are quite strict, but tourists obey them,” Korneyev said.


In a blog post for the International Herald Tribune, Russian journalist Masha Gessen called for American pop-star Madonna, who is scheduled to give a concert in St. Petersburg on Aug. 9, to join the boycott of the city. Gessen encouraged Mercedes-Benz and PepsiCo, who both signed on as partners of the city’s annual International Economic Forum due to be held from June 21 to 23, as well as other people planning to visit the city, to cancel their trips.

“I think it’s one of the most beautiful cities on earth. I have many friends who live there. And I am asking you, please, do not visit it,” Gessen wrote.

“If you are an entrepreneur or an artist or an athlete who has been asked to participate in one of the many conferences and festivals that will take place there this summer, I am asking you to say no. And if you were just planning to visit the city as a tourist during the gorgeous White Nights season in May and June, I am asking you to take your vacation someplace else,” she said.



Gessen said “neither the Russian authorities nor the Russian public see that they stand to lose anything by passing blatantly discriminatory legislation.”

That is why she is attempting to show them that they do.

“This is why I am addressing Madonna and anyone else who was planning to go to St. Petersburg. Please help us show them that they do have something to lose. Tourism makes up an important part of the city’s income… Do not go to St. Petersburg,” she wrote.

Madonna responded by becoming one of the latest international figures to speak out against the controversial legislation.

“I will come to St. Petersburg to speak up for the gay community and to give strength and inspiration to anyone who is or feels oppressed,” the American singer was reported by Bloomberg as saying last Tuesday. “I am a freedom fighter,” she said.

“I don’t run away from controversy,” she added. “I will speak during my show about this ridiculous atrocity.”


Ironically, by doing this, the star has put herself between a rock and a hard place as gay activists in Russia expressed dissatisfaction with her decision, saying that they would protest “the hypocrisy of pop stars” at her show.

In his turn, Vitaly Milonov, a deputy in the St. Petersburg Legislative Assembly and author of the new law, warned Madonna about “the administrative punishment” she or the organizers of the concert might receive if they violate the new law.

“The singer may be fined 5,000 rubles ($170) and the organizers may lose up to half a million rubles ($18,000),” Milonov was cited by Interfax as saying.

Meanwhile, numerous senior Russian politicians and officials have expressed support for the city’s new law.

Foreign Minister Sergei Lavrov said Russia was “trying to defend society from homosexual propaganda.”

Former St. Petersburg governor Valentina Matviyenko, who is currently the speaker of Russia’s Federation Council, said last year that the law could be accepted on a federal level if “it didn’t contradict existing legislation,” Gazeta. Ru reported.

Prime Minister Vladimir Putin — who will start his third term as president in May after having served four years as prime minister — has linked his position on gay rights to the birth rate in Russia, where the population shrank to 142.9 million in 2010 from 145.2 million in 2002, according to the Federal Statistics Service in Moscow.

“As for same-sex marriages, they do not produce offspring, as you know,” Putin told CNN’s Larry King in December 2010.

“We are fairly tolerant toward sexual minorities; however we think that the state should promote reproduction and support mothers and children.”


Homosexuality was decriminalized in Russia in 1993, although homophobia remains widespread. A 2010 survey by the independent pollster Levada Center showed that 74 percent of Russians thought gays and lesbians were “amoral” and “mentally defective.”

British actor and comedian Stephen Fry spoke out against the bill when it passed its first reading at the end of last year. Speaking on the micro-blogging site Twitter, he wrote: “Hell’s teeth! Something must be done to stop these fantastical monsters. Will even talk about Tchaikovsky be banned?”

An online petition by campaign group AllOut has received more than 270,000 signatures from people all over the world, many of whom left messages of support for those affected in Russia.

So far, both British and American authorities have spoken out against the law, as well as a number of other European countries.

The U.S. State Department issued a statement condemning the bill after the passing of its first reading in November last year. The department said: “We are deeply concerned by proposed local legislation in Russia that would severely restrict freedoms of expression and assembly for lesbian, gay, bisexual, and transgender individuals, and indeed all Russians.”

The Foreign Office in London also expressed concern, notably over aspects of the law which “appear to link issues of sexual orientation with pedophilia,” UK Gay News reported.

xx xx

Ringer 1x20 "If You're Just An Evil Bitch Then Get Over It" Promo

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source

i knew that scene in last weeks promo would be a dream sequence. three episodes left!

so what do our good friends at Nickelodeon have in store for us in the future?

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Nickelodeon Brings Upfront Presentation to announce 650 Episodes of New Content and Returning Hits

Nick's 2012-13 Programming Slate to Feature New Scott Baio Project for Nick at Nite, James Franco in Multi-Episode Arc on Hollywood Heights, Premiere of The Legend of Korra, Original TV Movies, a SpongeBob SquarePants Stop-Motion Christmas Special, a Raving Rabbids series, and a Development Project for Hit-maker Dan Schneider and iCarly star Jennette McCurdy



Nickelodeon brought its annual Upfront presentation to Los Angeles, where it announced the pickup of Scott Baio's Daddy's Home for Nick at Nite and the casting of James Franco for a multi-episode arc on Hollywood Heights, in addition to a robust 2012-13 programming slate detailed in its March 14 presentation in New York, including an unprecedented 650 new episodes of brand-new content and returning hits, including: the highly-anticipated animated series The Legend of Korra; a stop-motion SpongeBob SquarePants Christmas special; original primetime TV movies; an original animated series based on the Raving Rabbids video games; and new projects with UK pop sensation One Direction, iCarly/Victorious show creator Dan Schneider and iCarly star Jennette McCurdy.  

Nickelodeon has ordered 20 episodes of Daddy's Home (working title), starring Scott BaioDaddy's Home is a multi-camera half-hour comedy for Nick at Nite that follows David Hobbs (Baio), an actor who, after ten years of starring as America's favorite TV dad, becomes a stay-at-home father to honor the deal he made with his soap star wife so that she may return to the limelight.  The series comes from creators/executive producers Tina Albanese and Patrick Labyorteaux and is helmed by executive producers Nat Bernstein and Mitchel Katlin who will show run.  Eric Bischoff and Jason Hervey are also executive producing through their production company Bischoff Hervey Entertainment (BHE), along with Baio.  The series begins production later this year in Los Angeles.

Actor James Franco will also be joining the cast of Hollywood Heights, a daily scripted series premiering on Nick at Nite this summer. Franco will star in a multi-episode arc, playing the role of Osborne "Oz" Silver - a passionate, intense eccentric movie mogul who lives life to the fullest, often outrageously.  Funny, offbeat, seductive, ruthless when he has to be, Oz adores the moviemaking process and does whatever it takes to make the films he wants.

Held this morning at Avalon in Los Angeles, Nick's presentation featured special guest appearances and contributions from: Scott Baio; Keke Palmer; the cast of Hollywood Heights; and performances by Nick's own Big Time Rush, How to Rock's Cymphonique Miller and Gravity 5; and Nick's newest star, Rachel Crow of The X Factor fame, who capped the presentation with a performance of Cee Lo Green's "Forget You".   

Details of Nickelodeon's new content slate include:

ANIMATION:
Nickelodeon, the top producer of television animation in the U.S., will roll out a new roster of over 300 new animated episodes in 2012 which includes:

  • New episodes of returning hit series including SpongeBob SquarePants, T.U.F.F. Puppy, Kung Fu Panda: Legends of Awesomeness, The Penguins of Madagascar, The Fairly OddParents and The Winx Club.
  • The Legend of Korra, in which the mythology of the beloved animated franchise from Avatar: The Last Airbender creators Michael Dante DiMartino and Bryan Konietzko continues.  The series centers around a new Avatar named Korra, a 17-year-old headstrong and rebellious girl who continually challenges and bucks tradition on her quest to become a fully realized Avatar in a world where benders are under attack.  The half-hour series will debut on Saturday, April 14, at 11:00 a.m. (all times ET/PT), as part of Nickelodeon's Saturday morning block (8AM-Noon), which has been the number-one destination for Kids 2-11 for 12 consecutive years and currently delivers more than three million total viewers each week. The Legend of Korra will air regularly on Saturday at 11:00 a.m.
  • Raving Rabbids, which will join the net's animation line-up in spring 2013, brings to television the hysterical physical comedy that has become so popular in Ubisoft's Raving Rabbids video games.  Nickelodeon has secured global broadcast rights for 26 new CG episodes of Raving Rabbids, which will be produced by Ubisoft.
  • Monsters vs. Aliens, the all-new animated television series marking the third partnership between Nickelodeon and DreamWorks Animation.  Green-lit for 26 episodes and based on the popular characters from the 2009 blockbuster hit feature film ($383 million worldwide gross), the new series will continue to follow the funny escapades of the beloved, well-meaning monsters.
  • Robot & Monster, which will also be hitting Nickelodeon's air for a 26-episode run for the 2012-2013 season.  Created by Josh Sternin, Jeff Ventimilia and Dave Pressler, this CG-animated buddy comedy is set in a unique world where gangs of Howling Cyber Monkeys roam the streets at night, everybody loves bacon, and robots and monsters live side by side, but typically don't get along.   
  • It's A SpongeBob Christmas! - Nickelodeon's first full-length stop-motion animated special is inspired by the classic Rankin/Bass (Rudolph the Red-Nosed Reindeer, Santa Claus is Comin' to Town) specials, and the popular SpongeBob song released in 2009, "Don't Be a Jerk, It's Christmas," written by Tom Kenny (voice of SpongeBob) and Andy Paley.  In "It's A SpongeBob Christmas!," Plankton vows to get his Christmas wish -- the Krabby Patty formula -- by turning everyone in Bikini Bottom bad by feeding them his special jerktonium-laced fruitcake.  The special features John Goodman as Santa Claus, and will air in December 2012.
  • Seven new animation pilots picked up for the 2012-2013 season, including four pilots helmed by hit-maker Butch Hartman (The Fairly OddParents, T.U.F.F. Puppy). 

LIVE ACTION:
As part of the overall 650 new episodes the network is rolling out this year, Nickelodeon's live-action slate will include:

  • More new episodes of hit live-action hit series -- iCarly, Victorious, Big Time Rush and Supah Ninjas.
  • A 26-episode pick-up of Marvin, Marvin, an original new series starring Internet sensation Lucas Cruikshank (AKA Fred).  Executive Produced by Jeff Bushell and The Collective, the half-hour comedy follows the exploits of Marvin, an alien teen, living with a human family, while trying to fit into life on Earth.
  • The third installment of the hit Fred movies -- Fred Goes to Camp, as well as a pick-up of 28 additional 11-minute episodes of FRED: THE SHOW
  • A development project for UK pop sensation One Direction, who will next collaborate with Nick when they perform live at Nickelodeon's 2012 Kids' Choice Awards in Los Angeles on March 31. 
  • Rags, a music-infused modern-day fairy tale debuting this spring. The two-hour original TV movie centers on Charlie Prince (Max Schneider), an orphan living with his acerbic and unloving stepfather and spoiled stepbrothers, whose dream of being a singer might come true once he meets pop star Kadee Worth (Keke Palmer).  Rags is executive produced by Nick Cannon, directed by Billy Woodruff (Beauty Shop, Honey) and features original music by Rodney Jerkins and choreography by Rosero McCoy (America's Best Dance Crew).
  • A Fairly Odd Christmas, a sequel to 2011's hit live-action TV movie, A Fairly OddMovie: Grow Up Timmy Turner, which will bow this holiday season.  The original TV movie follows the exploits of Timmy Turner (Drake Bell), and his well meaning fairy godparents, as he tries to save Christmas, but first he's got to get himself off the naughty list.  
  • Figure it Out, a contemporary revival of the hit '90s family friendly game show. The show,which begins production in Los Angeles this April, will launch later this year with 40 brand-new episodes. Figure It Out features a panel of celebrities trying to guess kid contestants' unique talents and skills by asking 'yes' or 'no' questions while being bombarded by messy visual and tactile clues.
  • Hollywood Heights (previously titled Reach for a Star), a daily scripted series based on the wildly popular Televisa telenovela, Alcanzar Una Estrella, will debut in primetime on Nick at Nite in June.  The 80 one-hour episodes currently in production will star Brittany Underwood, Melissa Ordway, Cody Longo and Justin WilczynskiHollywood Heights is a co-production with Televisa and is being produced by Sony Television.

Nickelodeon President Cyma Zarghami also highlighted several live-action projects currently in development, including a pilot for Nick at Nite, Wendell & Vinnie, a comedy starring Jerry Trainor (iCarly) about a goofball uncle who becomes the guardian to his conservative 12-year-old genius nephew; a new Nickelodeon series from hit-maker Dan Schneider that will star Jennette McCurdy from iCarly; and a series starring The X Factor sensation Rachel Crow.

Nickelodeon, now in its 32nd year, is the number-one entertainment brand for kids. It has built a diverse, global business by putting kids first in everything it does. The company includes television programming and production in the United States and around the world, plus consumer products, online, recreation, books and feature films. Nickelodeon's U.S. television network is seen in more than 100 million households and has been the number-one-rated basic cable network for 17 consecutive years.




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