It's the make-your-own textile challenge, everyone! Don't you love this challenge? It's just the thing for times when I want to feel seasick or pretend I'm playing a game of "Where's Waldo?" after dropping acid. I realize designing a textile isn't easy, but at this point in the challenge the designers are so overwhelmed and sleep-deprived that most of them seem to take this as an opportunity to vomit up whatever craziness is floating around in the back of their brain pan, and it's not always easy to look at. More importantly, it's not usually something you want to wear unless you're a model or, say, a paranoid schizophrenic.
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Being brand new to the cutthroat world of "Glee" recaps, I was really hoping to write something about why I like the show, why I've stuck with it over the years and why I've often been annoyed with its status as a designated punching bag in some corners of the web. An episode like the season four premiere, "The New Rachel," makes that hard to do.
In many ways it was a fresh start for the show. We've been hearing for several months that season four will take on the ambitious challenge of splitting screen time between New York -- where Rachel Berry is newly enrolled at NYADA -- and the usual setting of McKinley High, where a handful of returning cast members will be joined by new recruits. There's a lot of potential in this approach for both success and failure, and after watching the first hour I'm more concerned than optimistic.
That's because "Glee" has a whole new problem. For the first time they've introduced a slew of characters who are one thing the show almost never is: boring.
NEW YORK -- With much fanfare leading up to the reveal, Disney finally launched the trailer for Steven Spielberg's "Lincoln" this evening. The event was part of a Google Play cross-promotion with Spielberg and star Joseph Gordon-Levitt on hand in a Google+ Hangout to take questions from selected fans for 30 minutes after the trailer debuted.
The event was simultaneously broadcast on the ABC SuperSign in Times Square, where a modest group of people stopped to watch and snap photos as rush hour dwindled. Google users' comments scrolled across the sign with exclamations like "Those are all gonna be great performances!" and "Anyone else smell the coming Oscar for Daniel Day-Lewis?"
Calling the production "one of the most compelling experiences" he has had making a film, Spielberg noted that it was important to get a penetrating and thorough look at Lincoln as a man, not as a myth. And one way into that was to focus on the final four months of his presidency, rather than the entire width and breadth of it, and his cues were taken from Doris Kearns Goodwin's book "Team of Rivals," on which Tony Kushner's screenplay is based.
I'm still reeling from Wednesday night's bizarre interactions between Danielle & Shane and The Fierce Five.
Nobody had a clue who anybody was, but they were all so darned pleased to be meeting.
And I'm also reeling from Danielle's Head of Household win, as she continues to Forrest Gump her way deeper and deeper into the game.
On the assumption that Danielle's going to protect her in-game boyfriend Shane, we're about to lose one of the two people who actually deserve to win "Big Brother" this season.
Click through to see how the drama -- Julie Chen's been tweeting big promises -- unfolds...
TORONTO - Sitting down with Amy Adams last week during the Toronto International Film Festival, there was only one thing on the agenda and it probably wasn't what you'd expect it be. No, I didn't ask her about playing Lois Lane in the upcoming Superman reboot "Man of Steel." And, no, there wasn't time to ask her what she thoughts were of her "Trouble with the Curve" co-star Clint Eastwood's now iconic speech to an empty chair at the Republican National Convention two weeks ago. Instead, the topic of conversation had to be regarding her incredible performance in Paul Thomas Anderson's "The Master."
With less than two months before it debuts in limited release, DreamWorks Pictures debuted the first full-length trailer for Steven Spielberg's "Lincoln" today. The preview teased the classic cinematic imagery and framing Spielberg has been known to embrace when tackling more serious, period fare and gave moviegoers their first extended look of Daniel Day-Lewis as the 16th President of the United States. And while Day-Lewis appears headed for another Oscar nomination for his portrayal of Honest Abe, it was the subtle inclusion of Lincoln with his young son (we assume) that was the surprise.
I thought the first night of the revamped "X Factor," featuring a slack-jawed Britney Spears and Demi Lovato's One Glistening Tear, was pretty good.
America, however, decided it'd be better to watch a third consecutive night of "The Voice."
But on a "Voice"-free Thursday, perhaps "X Factor" will get a big audience bounce?
Or else I'll just keep live-blogging into a vacuum.
Click through for all of the fun...
This week, Amanda Palmer started her recruiting the "orchestra" members of her Grand Theft Orchestra Tour with an announcement: she'd be drafting "professional-ish" quality horn and string players locally at each gig. "We will feed you beer, hug/high-five you up and down (pick your poison), give you merch and thank you mightily for adding to the big noise we are planning to make."
Let's be clear about something: Amanda Palmer did not invent the notion of paying musicians in drink tickets and a good hang.
Palmer fell under fire for her pay structure regardless, and for a few reasons.
According to the New York Times, the Boston-based songwriter will be paying her three regular touring members, but still wants seven or eight unpaid performers for each night: a string quartet and three or four saxophone players.
The songwriter made headlines earlier this summer for raising a record-breaking $1.2 million through Kickstarter, to make and promote her next new record "Theatre Is Evil." That album bowed on Tuesday and Palmer claims those funds were used in promoting and marketing and creating the set.
She also said that paying seven or eight musicians for three dozen tour dates would amount to $35,000, which she does not have or has not delegated or does not want to delegate. Plus, she told the Times, "If you could see the enthusiasm of these people, the argument would become invalid. They’re all incredibly happy to be here," she said. “If my fans are happy and my audience is happy and the musicians on stage are happy, where’s the problem?”
Not all of her fans are happy, and some have thought the move was unfair to musicians. Musicians Unions are not happy, saying her recruiting method devalues working musicians' work.
But, indeed, many of her fans are fine with the move: the $1.2 million is evidence of their loyalty and acceptance of this other type of "crowdsourcing."
Palmer's path -- even when she was on Roadrunner -- has always been unique, and these days, firmly DIY. Her music isn't my cup of tea, but I admire her enterprising and intimate connection with her fans. In my interview with her in 2010, she admitted to the tendencies of her "hardcore" fans, and then the need to recapture new fans' attentions after an album drops.
It's more than just the hardcore fans that will make the Grand Theft Orchestra Tour successful. And have no doubt: it will be really, really successful.
And that's where I break with her decision. Her logic says that her rotating mini-orchestra should get paid $0 or $35,000, and suggested no number in between. But Palmer is going to kill this tour. Murder it dead. She's playing mid-sized ballrooms and theaters, and she will sell many of them out. And she will have $35,000 and then some to spare by the end of it.
If Palmer says it took $1.2 million to make this album, sure, fine, it's totally fine. Blow it on catering and payroll. The math may bother me, but spending it on what she wants doesn't bother me, and I don't think the many fans that paid to make her album "possible" would disagree. But it's misleading to say that at the end of this tour, she can't afford to pay her players, even if $35k is high.
In her Tumblr, she noted the "poetic placement" of an article about David Byrne was next to her Times article. David Byrne even name-checked Palmer in his article, "as an example of someone who creatively crowdsources things," she posted. Plus: "when david byrne guested with the grand theft orchestra a few months ago at the music hall of williamsburg, we paid him…in beer."
Halt. Stop right there. I think Amanda Palmer knows that David Byrne is compensated for his music, and deserves to be. David Byrne played Palmer's show for a drink token not just because he likes Amanda Palmer, but because of a little something called good will. Generosity. Good will and generosity helped to raise $1.2 million, and not solely just because people like her previous albums.
To answer Palmer's question "where's the problem?", I'd say the move, more than anything, is tacky. Palmer could have listed "Play with my band" as one of the "rewards" for donating to her album fund. She, instead, experienced the love and generosity of her hardcore fanbase's outpouring of good will and vibes, and then dipped into the pot again, in a very public and tactless way. Her fans' exceptionalism is no excuse.
There are musicians and Amanda Palmer fans who would love the exposure and the fun of playing with her. There are musicians and Amanda Palmer fans who would love to play with her, but believe they deserve to get paid. Those who will play for free will get the gig, whether or not they are better players than those who decline the opportunity (and, at that, the lottery). Palmer will value you as an "Orchestra" member if you play for free, so what does that say about how she values all performers and touring artists, beyond how happy they are?
Chronic crank and brilliant record engineer Steve Albini, in his discussion online at the Electrical Audio board, used the word "waste" toward what happened with Palmer's Kickstarter fun. Furthermore, I'd call this tactic a waste of good will. Of course some of her hardcore, professional-ish fans would play for free. That doesn't mean she should let them.
Don Mischer will direct the 85th Academy Awards telecast, it was announced today by producers Craig Zadan and Neil Meron.
Mischer has directed the telecast several times before, including 2011's 83rd Oscars, which was largely critically reviled, due in part to James Franco's lethargic co-hosting job. Mischer was nominated for directing Emmys for the 2011 and 2012 shows.
Nicki Minaj's "Super Bass" was the graceful, bangin' balance between the pop and rap sides of her coin, a track with perfect peace with current top 40. Now with "The Boys," the Young Money artist yet again achieves that yin and yang, for urban radio. On top of that, we get a -- gasp -- feminine view into Minaj's songcraft.
After so many songs adopting the common male hip-hop vernacular, Minaj puts Roman aside for the moment to talk about "The Boys," featuring rising R&B vocalist Cassie. These hip-hop guys are "always spending all their money on love," an assertion that's notable for a couple of reasons. First, the chorus arrives on the heels rumors flying about Cassie and notable money-and-love lover Diddy.
Second, it's the counter-argument to "the boys" going broke because of their girlfriends: it's not the girls asking for money, it's the boys blowing it themselves. Kanye, Jay-Z, Rick Ross, crew boss Lil Wayne and others all have verses insisting on outfitting their women in the very brand names they endorse... or worse, call out the bitches, hoes and other pet names for "taking" rappers' cash for money for purses, shoes, whatever.
Third, it removes the female from general equation, and simply points the cashflow toward "love," here as a service rendered, or a simple commodity. "They want to touch it, taste it, see it, pet it, bone it, own it," the auto-tuned voice sings, defining "love" as less than a woman and more of an object. You know: money, cash, hoes, money, cash, chicks, what.
That sentiment goes hand-in-hand with the big, soupy-sweet hook of the chorus, which could also be read a couple of ways. "You get high / Love a bunch of girls / And then cry / on top of the world" may read with the last line as a quote "And then cry, 'On top of the world'" or it could simply be the rapper whining or crying when he's at the top of his game. Either way, "loving" a bunch of girls is the prerequisite to the rapper's successful business model.