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Today, Justin Bieber released “All Around The World,” a new track from “Believe,” his new album out June 19. It’s the third song we’ve gotten, following “Boyfriend” and “Die in Your Arms.”
While all three have been about love, they have all been strikingly different musically. “All Around The World,” which is, conveniently the title of Bieb’s upcoming NBC special, is a flat-out electro-pop dance track. “Boyfriend” started with its whisper intro before paying homage to Justin Timberlake, whereas “Die In Your Arms” recalled Michael Jackson and other soul icons.
[More after the jump...]
The Beach Boys are celebrating their 50th anniversary this year, but in some ways, the designation is misleading. While the initial quintet originally formed in 1961, there have been long periods—decades, actually—when the group’s brain trust Brian Wilson has not been an active member of the group.
In fact, his surprising reuniting with his bandmates for “That’s Why God Made the Radio,” out today (June 5), is the entire reason to buy the set. It’s his first full album with the group in decades. He’s joined by fellow founding members Mike Love and Al Jardine and nearly-founding members David Marks and Bruce Johnston.
For the casual fan, those who know such hits as “Good Vibrations” or “Kokomo” or “I Get Around,” there’s plenty here for you, such as “Shelter,” whose beautiful chorus makes up for the weak verses, or “Beaches In Mind.” Years later, the surf’s still up and the summer is endless.
[More after the jump...]
In the last few days, I've been talking with a number of friends about "Prometheus," written in part by Damon Lindelof, and the careful campaign of secrecy that Fox and the filmmakers mounted while it was in production.
Obviously, Lindelof has some experience with working on something that he wants to keep secret, what with his time on "Lost" and his experiences working with JJ Abrams. Right now, I'm enjoying the build-up to the still-untitled sequel to "Star Trek," if for no other reason than it seems to be driving the Internet crazy.
Abrams, of course, is the king of playing games with the Internet while he's in production on something, and so far, he's played things very close to the vest on "Star Trek 2." Close enough that people still are arguing about whether or not Benedict Cumberbatch is playing Khan in the film, and close enough that there's still rampant speculation about whether or not he's going to include Klingons in the film.
Thanks to Abrams himself, though, that no longer appears to be a question.
If Mary J. Blige has her way, she’ll be bringing her volatile, inspiring life story to Broadway. The multiple Grammy winner revealed her plans during an interview with Hitfix on June 3 about her role as strip club owner Justice Charlier in “Rock Of Ages.” The movie opens June 15; the soundtrack is out June 5.
“I’m thinking more of my own life,” she replied when asked what role she’d like to play on the Great White Way. “That’s what I’m thinking. I’m not thinking of anything else right now for Broadway. My life is a musical.”
Wearing awesome red glasses to match her red belt, Blige told Hitfix that she’s “in talks” about the idea, “so it’s definitely something we’re going to do. You’ll see it. We’re going to do it.”
Blige also revealed how visiting strip clubs helped her prepare for her character and the back story she created for Justice.
Below is our Q&A with Blige. It includes primarily questions we asked, but also a few asked by a reporter from another outlet as the two of us sat down together with Blige.
HITFIX: A lot of people don’t know that have covered rock tunes like Led Zeppelin’s “Stairway to Heaven” and “Whole Lotta Love” and U2’s “One.” How did your love affair with rock start?
MJB: I grew up listening to it as well as R&B and hip hop. I got exposed to the heavy metal through MTV. MTV was the only video station we had so we got exposed to Van Halen and Led Zeppelin and Journey, you know what I’m saying? And then I grew up on soft rock because there was no Hot 97 or WBLS or 98.7 when I was five years old, so I know a lot of songs from WABC and WNBC [Editor’s note: These are all New York radio stations], That’s the radio station we were listening to and just growing up, listening to music period, you just love it. Great music is great music.
In “Rock Of Ages,” you play a strip club owner named Justice, who takes Julianne Hough’s character, Sherrie, under her wing. Did real life imitate art here? Did you share any of your experience with her?
Julianne is pretty smart and pretty wise to be so young, but the character called for me to be that person and I had to find that person in her that I was when I was a kid and someone had to help me. There were women that helped me get on my feet and helped me to remember that I’m smart and beautiful and strong regardless of whatever people say or think about me. There’s a lot of truth to the character: I had to be strong in those bad environments and believe in myself and not my circumstances, and teach her and all the girls all the same thing. That’s who Mary is a lot of, but that’s who Justice is too.
What attracted you to the script?
It was the fact that she had depth and that she saw herself in Sherrie and she wanted to help her. If she was just a strip club owner, I would have been like “I’m not doing that.” If she was a dingy, ditzy owner, it would... it had to have something that related to me in order for me to play it, be drawn to the role. She was loose and fun and it was another side of her, just like there’s another side of me that people don’t see, they always see this strong, marching through side. they don’t ever see the fun loose person.
Justice is a woman who’s made it in a man’s world, like you.
She lost something when she was a child and she lost it to men and she kept losing it to men and so she wanted to gain back the ground and power over them in that area by keeping her identity and running the joint, like “I have power here, this is my place.” And that’s [like] being a strong woman in the music business. I have my identity. I fought for who Mary J. Blige is. I have power over a lot of the men in the industry.
That’s a complete back story that we don’t know about her. Did you create that or did director Adam Shankman give you that?
No. That’s how I see her...Why would she be there? Why would she be in a strip club? She’s supposed to be looked at as a beautiful. strong. powerful business woman. Why is she there? She’s there to get back the power that some man took from her all her life and she’s gotten that back. That’s fair enough to say. She tells them how much money to spend, she brings the girls out and she’s running the club so she has the power over men in the club.
You’re the most experienced and best singer of the cast, which includes many actors not known for their singing. Did you coach any of them?
No. they didn’t need my help (laughs)
Which was your favorite song to sing?
The “Shadows of the Night/Harden My Heart” mash-up because those songs mean so much to me. I loved “Harden My Heart.” I loved “Shadows of the Night.” I love, love those songs.
Julianne said she prepared by going to strip clubs. How did you prepare?
I went to strip clubs. That was fun! It was actually fun because the women there were so sweet and nice and, you know, they just want to talk to you. They knew exactly who I was so I got bombarded and stampeded and I had to sit and talk to them all night. They didn’t want to dance, they just wanted to talk. I got the chance to talk to Maiden, the “Justice” of the club and she’s young too and she’s sweet. But they’re happy where they are. They’re confident and they’re beautiful, so I learned how to carry myself from watching them.
Were you bummed you had no scenes with Tom Cruise?
I mean I was not bummed. I did one. They might show it briefly when they do the behind-the-scenes. If you blinked, you’d probably miss it.
When you’re recording for a soundtrack and are in the booth, are you recording as Mary J. Blige or as your character?
The character. You’re Justice. You’re singing from whomever you made Justice out to be. Mary’s delivering the vocal stuff, but the pain and the depth is coming from Justice’s experience.
What’s your next movie role?
It’s “Parallel Lives.” It’s a Lifetime movie and we start shooting in September and October. It’s about [civil rights advocate] Betty Shabazz and Coretta Scott King. It’s about the lives of the women behind the men. [I play] Betty.
How do you prepare for that?
Gotta get an acting coach. I already started going online and looking up her interviews, so I’m already looking.
That’s such a responsibility when you’re playing a real person.
It is a responsibility. So you’ve got to do your homework to really nail... you don’t want to mess it up.
Is Broadway in your future?
Of course, there’s Broadway.
What role would you like to do?
Well, I’m thinking more of my own life, you know what I’m saying? That’s what I’m thinking. I’m not thinking of anything else right now for Broadway. My life is a musical.
Have you talked to anyone about that? Is that in formative stages?
Yeah. What’s crazy is... yeah. We’re in talks about there’s different things happening. People are staying the same thing. The same thing you’re asking, people are saying the same thing, so it’s definitely something we’re going to do. You’ll see it. We’re going to do it.
And as always, feel free to e-mail us questions for the podcast.
Given Dan's travels last week, and the amount of stuff he would have to catch up on his DVR upon returning, we weren't sure if we'd be able to record a Firewall & Iceberg Podcast today, or if we'd have to wait until later in the week. But late last night, we figured out a compromise: a two-podcast week!
So today we kept it simple — but very long — by talking briefly about Sundance's "Push Girls" before doing extended segments on the end of "Game of Thrones" season 2 and last night's "Mad Men," and we'll be back later in the week to talk about "Buffy the Vampire Slayer," "True Blood" and more.
The second full day of the Cannes Film Festival was also the first day of the rain that marred much of the event this year. I was unprepared for it, and so when I hurried from the 8:30 AM screening of "Reality" to the beachfront location where I was set to conduct my "Moonrise Kingdom" interviews, I was just barely ahead of an ominous cloud front and the first few strangled bursts of precipitation.
Because of the weather, everyone found themselves inside, waiting for the interviews, doing their best to stay dry. I sat down at a table with James Rocchi, both of us working to write up "Reality" as we prepared for our time with the cast and with Anderson. While we were sitting there working, Jason Schwartzman walked in. They told him he'd have a half-hour until they needed him, so he dropped into a chair at the same table as Rocchi and me and just started chatting movies.
One of the things I've noticed about Schwartzman over the years is that he is ridiculously approachable, and he has a genuine curiosity about what other people think of things. He wanted to hear about movies Rocchi and I had been seeing, and about what we were looking forward to, and then he and James moved on to a conversation about the Canadian band Sloan. By the time they called him away to start his interviews, it had been almost the full half-hour, and it flew by.
UPDATE (6/6): Well, GKIDS just announced another acquisition, this one with an expressly intended Oscar qualification release noted: "From Up on Poppy Hill." Add that one to the fire.
EARLIER: I'm asked daily at this point so I guess I'll just say, yes, predictions are coming. By the end of the month.
One of the things I start doing around this time of year, in preparation for that package, is suss out the animated feature category as best I can. Things change often with this field as we're always focused on the magic number of qualifying contenders necessary for five nominees (16), and even that can offer surprises as this film or that fails to submit paperwork, or this or that pops up as a sudden fringe possibility.
Last year there were three such possibilities, all of them from scrappy indie GKIDS. The distributor landed its first (surprise) nomination in the field back in 2009 for "The Secret of Kells" and muscled in with two showings last year for "A Cat in Paris" and "Chico & Rita." This year, once again, GKIDS has a few options.
Sometimes we need to listen to songs that make us happy when we are breaking up. Sometimes we need to hear tunes that are about breakups during our breakups. Fiona Apple's new track "Werewolf" is a song you should put on in the instances of the latter.
The track is fairly minimal -- with Apple' s voice and a big, breathy grand piano -- but it's a little found-sound sample that gives this heart-wringer more life. The sound of children playing rattles over the melody as Apple admits that the best way she and her ex-lover can help each other is to "avoid each other." She has a sense of humor about the whole thing, even with the drooping submission of her manic voice. It's an odd track, stirring in how plain-spoken a bust-up can be.
This week's episode was neatly divided into two halves, each dealing with a gay sibling of one of the housewives. Caroline's brother Jamie plans to marry his partner Rich (why do all the men have the same names on this show??), and Kathy's sister Rosie comes out to her niece and nephew.
Meanwhile, tensions between Caroline and Teresa remained on simmer, but Caroline declared herself a ticking time bomb...
JAMES BOND 007 DECLASSIFIED
File #5: "You Only Live Twice"
This series will trace the cinema history of James Bond, while also examining Ian Fleming's original novels as source material and examining how faithful (or not) the films have been to his work.
Directed by Lewis Gilbert
Screenplay by Roald Dahl
Produced by Harry Saltzman and Cubby Broccoli
CHARACTERS / CAST
James Bond / Sean Connery
Ernst Stavro Blofeld / Donald Pleasance
Aki / Akiko Wakabayashi
Kissy Suzuki / Mie Hama
Tiger Tanaka / Tetsuro Tanba
Mr. Osato / Teru Shimada
Helga Brandt / Karin Dor
"M" / Bernard Lee
"Q" / Desmond Llewelyn
Moneypenny / Lois Maxwell
Henderson / Charles Gray
Ling / Tsai Chin
The orchestration of the sting is very different this time out, and I really dig the stop and fire this time.