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Friday, January 30, 2015
Muse's News February 2015
Thursday, January 22, 2015
Everyone Is Offended By Ted Nugent's Obama Insult
When it comes to insulting the president of the United States, Republican politicians have officially drawn the line. Rick Perry and Rand Paul have both denounced rockstar Ted Nugent for calling President Barack Obama a "subhuman mongrel.
11 forgotten Sundance Film Festival Movies to watch
11 forgotten Sundance Film Festival gems you can watch right now
Russell Simmons Blasts Hollywood’s Racial ‘Segregation'
By Cynthia Littleton
MIAMI — Hip-hop mogul Russell Simmons had harsh words about the business environment he has encountered in Hollywood now that he’s turned his focus to producing movies, TV shows and digital content.
“The reality is the lack of integration is deafening,” he said Wednesday during a Q&A at the NATPE confab. “The segregation in Hollywood is incredible.”
In a candid 45-minute conversation with Variety co-editor in chief Andrew Wallenstein, the Def Jam founder was critical of Hollywood “progressives” who have no understanding of African-American culture, even if they are well-meaning and liberal in their political views. He said he’s seen ample evidence of bias in the development process that tends to keep black creatives from working in an organically integrated way with white talent.
“I speak English,” he said. “Not only can I make Eddie Murphy cool again, I can make Jim Carrey cool again.”
Simmons also called on African-Americans to be more proactive in demanding more opportunities.
“I kind of blame black people for not forcing their way in doors,” he said. “You have to take the initiative and push your way in the door too….Everybody has to take responsibility for the new incarnation of Hollywood.”
Simmons was critical of the lack of diversity in most Hollywood talent agencies, noting that he recently moved from CAA to WME. “I didn’t realize they’re all the same,” he said, adding that both agencies seem to have “the one black agent.” He later added that despite his criticism, he was happy to be at WME.
Simmons said he had 11 movie projects in various stages of development and he is emphasizing stories that present an integrated world. He described a comedy project that he billed as akin to “Legally Blonde,” with a white man in love with a black woman who gets an introduction to African-American life when he follows her to school at Howard University, the historically black college.
Another project stars J.B. Smoove as a man who goes to Sweden, solves a crime and becomes the monarch.
“There’s a lack of integration from a cultural standpoint,” he said. “There’s a white space” where creative talent of different races and ethnic backgrounds should be working more together. “America wants to see Hollywood more integrated than ‘Jerry Springer.’ ”
Simmons lamented the fact that a group of comedians who broke out in part through his Def Comedy Jam series — including Smoove, Mike Epps, Bernie Mac, Martin Lawrence, Chris Tucker, Kevin Hart and Dave Chappelle — saw their careers stall about 15 years ago through lack of opportunities in film and TV.
He cited the problem of executive “gatekeepers” who chose to pick “more accessible” African-American talent rather than those comedians whose material is more rooted in the specific black experience. He cited the duo of Key and Peele, stars of the Comedy Central sketch series, as an example.
Moroever, Simmons noted that TV has shied away from difficult questions of race and class for years.
“No one has even discussed race and politics as good as Norman Lear in 30 years,” he said.
Simmons said he just delivered a pilot to HBO as part of a first-look deal he has there that he produced with director Steve McQueen and writer Matthew Carnahan. The untitled project revolves around a black man with a mysterious past who enters New York high society. He said he was “pretty sure” it will get picked up.
While Simmons is forging ahead with projects through his Def Pictures Film and Television, he’s also energized by the lower-budget work underway at his All Def Digital banner. He’s working with a number of YouTube, Vine and Instagram stars on a range of short- and long-form content, which is attractive because he is able to own that content and the talent is raw and ripe for breakout stardom.
“Maybe I’ll make all my movies and TV for myself,” he said.
With racial issues in the headlines again, following a string of police-related deaths of unarmed black men, Simmons said the entertainment biz should help move the country forward.
“Hollywood should lead the way in healing,” he said, generating a round of applause. “Hollywood should not be afraid of the subject matter Norman Lear dealt with 35 years ago.”
Watch the full interview.
MIAMI — Hip-hop mogul Russell Simmons had harsh words about the business environment he has encountered in Hollywood now that he’s turned his focus to producing movies, TV shows and digital content.
“The reality is the lack of integration is deafening,” he said Wednesday during a Q&A at the NATPE confab. “The segregation in Hollywood is incredible.”
In a candid 45-minute conversation with Variety co-editor in chief Andrew Wallenstein, the Def Jam founder was critical of Hollywood “progressives” who have no understanding of African-American culture, even if they are well-meaning and liberal in their political views. He said he’s seen ample evidence of bias in the development process that tends to keep black creatives from working in an organically integrated way with white talent.
“I speak English,” he said. “Not only can I make Eddie Murphy cool again, I can make Jim Carrey cool again.”
Simmons also called on African-Americans to be more proactive in demanding more opportunities.
“I kind of blame black people for not forcing their way in doors,” he said. “You have to take the initiative and push your way in the door too….Everybody has to take responsibility for the new incarnation of Hollywood.”
Simmons was critical of the lack of diversity in most Hollywood talent agencies, noting that he recently moved from CAA to WME. “I didn’t realize they’re all the same,” he said, adding that both agencies seem to have “the one black agent.” He later added that despite his criticism, he was happy to be at WME.
Simmons said he had 11 movie projects in various stages of development and he is emphasizing stories that present an integrated world. He described a comedy project that he billed as akin to “Legally Blonde,” with a white man in love with a black woman who gets an introduction to African-American life when he follows her to school at Howard University, the historically black college.
Another project stars J.B. Smoove as a man who goes to Sweden, solves a crime and becomes the monarch.
“There’s a lack of integration from a cultural standpoint,” he said. “There’s a white space” where creative talent of different races and ethnic backgrounds should be working more together. “America wants to see Hollywood more integrated than ‘Jerry Springer.’ ”
Simmons lamented the fact that a group of comedians who broke out in part through his Def Comedy Jam series — including Smoove, Mike Epps, Bernie Mac, Martin Lawrence, Chris Tucker, Kevin Hart and Dave Chappelle — saw their careers stall about 15 years ago through lack of opportunities in film and TV.
He cited the problem of executive “gatekeepers” who chose to pick “more accessible” African-American talent rather than those comedians whose material is more rooted in the specific black experience. He cited the duo of Key and Peele, stars of the Comedy Central sketch series, as an example.
Moroever, Simmons noted that TV has shied away from difficult questions of race and class for years.
“No one has even discussed race and politics as good as Norman Lear in 30 years,” he said.
Simmons said he just delivered a pilot to HBO as part of a first-look deal he has there that he produced with director Steve McQueen and writer Matthew Carnahan. The untitled project revolves around a black man with a mysterious past who enters New York high society. He said he was “pretty sure” it will get picked up.
While Simmons is forging ahead with projects through his Def Pictures Film and Television, he’s also energized by the lower-budget work underway at his All Def Digital banner. He’s working with a number of YouTube, Vine and Instagram stars on a range of short- and long-form content, which is attractive because he is able to own that content and the talent is raw and ripe for breakout stardom.
“Maybe I’ll make all my movies and TV for myself,” he said.
With racial issues in the headlines again, following a string of police-related deaths of unarmed black men, Simmons said the entertainment biz should help move the country forward.
“Hollywood should lead the way in healing,” he said, generating a round of applause. “Hollywood should not be afraid of the subject matter Norman Lear dealt with 35 years ago.”
Watch the full interview.
Wednesday, January 21, 2015
The Phil Mitchell Band
The Phil Mitchell Band
CD title : Cross Roads
Genre: Rock
Country: Chicago , USA
The Phil Mitchell Band is a rock band out of Chicago. This is the
third album for Phil Mitchell, songwriter and musician. Their newest album is
titled "Crossroads" and features Jammie Bosstel on vocals, Kevin
Branigan and Rex Carroll on guitars, and Phil Mitchell on piano.
"White Horse Rider"
is the third song on the album and is written as a tribute for Presidents' Day
(February 16 in America). What would George Washington think if he were alive
today? Would he approve of the national debt? Going off to fight in foreign
wars? The song also reminds us of the veterans and the price of war.
The song builds up to a climax as you picture George Washington riding
again as he comes to greet us. "A Brave Man came to fight, as he stood
above the guns, a White Horse stood gently on the Plain....
" Contact Info: Morningstar_pm@msn.com
www.facebook.com/PhilMitchellBand
Monday, January 19, 2015
'Whitney’ Review: Angela Bassett’s Directorial Debut Glosses Over the Big Ugly
Lifetime’s original movie, which stars Yaya DaCosta as the troubled late singer, feels half-baked
Despite the sentiment of one of her most famous songs, Whitney Houston was definitely not every woman, but instead a talent on a larger-than-life scale.
In her directorial debut, actress Angela Bassett‘s depiction of the “Greatest Love of All” singer, played by Yaya DaCosta (“Lee Daniels‘ The Butler”), attempts to show the human side of the legend, but occasionally staggers along the very line it tries to cross — where genius-level skill meets basic human need for love, understanding and companionship.
The movie opens on 25-year-old Houston dressed in gold, riding in a limo to the 1989 Soul Train Music Awards, where she will meet future husband Bobby Brown, played by Arlen Escarpeta (“Final Destination 5″). The crowd’s cheering grows louder as the limo approaches.
“Time to be Whitney Houston,” DaCosta says to her friend and business partner Robyn Crawford (Yolonda Ross) with a subtle reticence, then checks her teeth for lipstick.
Throughout the Lifetime Original Movie, 32-year-old DaCosta is trussed up in Whitney-wear and hair to paint the singer in broad pop culture strokes inspired by some of the period’s most famous visuals of her — by photographers like David LaChappelle,Richard Avedonand Randee St. Nicolas, for instance, and video directors like Julian Temple of “I’m Your Baby Tonight” fame.
“Whitney” progresses from the singer’s first meeting with Brown, through their tumultuous courtship and wedding, Houston’s pregnancies (including a devastating miscarriage), starring role in film “The Bodyguard” and subsequent tour to support that film’s soundtrack.
Houston’s life comes across as if outlined in simple, declarative statements with limited depth of emotion and introspection. Maybe that’s how some people need to think a cultural icon lives her life — Ã la “I’m Every Woman” — but you can’t help but feel there’s a layer of truth missing. Despite the depiction of his and her vices, there’s an element of danger missing — the danger of what really happened in the end, that the world lost one of its musical treasures to overindulgence and addiction.
The principals here pull off a true, but still by-the-numbers love story with a believable mix of love, obsession and codependency.
When, for instance, Brown is ready to take their relationship to the next level, Houston tells him she’s slow to trust her own feelings, which he doesn’t take well. “I love you — straight up. If you don’t feel the same, this ain’t going to work,” Brown says after a lovemaking session in which he tries to make her forget about possible rivals for her affections, like actor Eddie Murphy (Reign Morton). He storms out, and Houston, the relationship’s drug-use instigator, turns to cocaine to adjust her fouled mood.
A long-distance booty call later sends Brown running back to Houston and ultimately leads to their engagement — much to her mother’s dismay. Gospel singer Cissy Houston (Suzzanne Douglas) is not happy with her daughter’s choice of Brown: “I spent my life trying to keep you and your brothers out of the projects; now you marrying into it? … You can take the boy out the ghetto, but not the ghetto out the boy.” Houston’s brother then chimes in that Brown has two kids by two different women — shocking.
DaCosta’s performance invites comparisons to contemporaries like “Gotham” actress Jada Pinkett Smith and Zoe Saldana of film “Guardians of the Galaxy.” Escarpeta’s portrayal of Brown elicits more sympathy than the real-life singer seemed to enjoy when stories of the couple’s troubles played out in supermarket tabloids.
Deborah Cox is not seen, but is heard throughout, performing some of Houston’s best-known songs. Aside from a few stray personal flourishes, Cox’s renditions honor the icon’s originals without resorting to precise mimicry. The Canadian singer should be proud of her work here — and Houston fans may want to ask themselves if they’ve listened to enough Deborah Cox lately.
Bassett, a goddess in her own right and seen currently on “American Horror Story: Freak Show,” shows promise behind the lens, giving Lifetime a better-than-average TV movie. She should shoot for stronger writing, better music supervision — the reggae selection for Houston and Brown’s first sexual encounter was a particularly unfortunate choice — and a bigger budget in her next outing. (Some of those cut corners showed.)
But if Bassett’s intention was to simply celebrate Houston’s music and talents, why bother showing even glimpses of the ugliness that took the singer from her friends, family and fans so prematurely? Fans looking for an ’80s-themed-celebrate-life party might do better busting out their own gold lamé gowns and “Whitney: Greatest Hits” DVD and dancing along.
Maybe there’s a sequel coming — “Whitney: The Haggard Years” — because despite its glittering superficial charms, this “Whitney” still feels a little half-baked.
Saturday, January 17, 2015
Ann Curry To Depart NBC News
Ann Curry, the veteran NBC News correspondent who was pushed from the “Today” show in 2012 after not being able to strike a rapport with co-host Matt Lauer and the show’s producers, is leaving the network to start her own production company.
As part of the deal, Curry will be free to devise content for TV networks that compete with those owned by NBCUniversal, as well as digital outlets that are distributed online or via broadband. NBCUniversal will provide “seed’ funding for the venture.
““In today’s world of fragmented media, this is the time to seize the opportunity to improve the way we distribute and even tell stories, ” Curry said in a statement. ” I want to expand my drive to give voice to the voiceless to emerging platforms and produce both scripted and non-scripted content, in addition to continuing to report on-air about stories that matter.”
Curry did not respond to an email seeking comment. Robert Barnett, an attorney who has represented Curry in her dealings with NBC in the recent past, referred an inquiry to the correspondent.
The New York Post previously reported news of Curry’s agreement to depart.
“We’re proud to support Ann in her new venture, and we look forward to more of her exceptional storytelling,” said Pat Fili-Krushel, chairman of NBCUniversal News Group, in a statement. “She is committed to uncovering critical issues, humanizing them, and ultimately helping viewers understand and connect.”
Curry served as news anchor on “Today” from 1997 until 2011, when she was named co-anchor alongside Lauer after Meredith Vieira stepped down from the post. But the two personalities never seemed to gel, and Curry found it hard to pivot from covering news to highlighting the lighter fare that is often a part of the morning-news cycle.
Even so, the manner in which NBC handled her exit only served to alienate viewers, who were already beginning to search for other eggs-and-toast programming. “Today” was tackling more lurid stories and attempting to parry with ABC’s “Good Morning America,” which has less of “Today’s” serious bent built into its brand.
“Today” has yet to recover. The show lost its first-place ranking to “GMA” in 2012 and has come in second since that time. Since leaving “Today,” Curry has served as a national and international correspondent for NBC News and an “anchor at large” for “Today,” and has made sporadic appearances on the program she once called her home
As part of her deal with NBC after leaving “Today,” Curry notched a salary said to be worth around $12 million annually. Over the course of her career, Curry has earned seven Emmy awards and the Simon Wiesenthal Medal of Valor for her extensive reporting in Darfur, among other honors.
She is following a path others in similar situations have blazed. When CNN wanted to replace anchor Soledad O’Brien in the network’s morning program in 2013, it agreed to work with her as she set up a production company that would supply programming to multiple outlets, including CNN. Since that time, O’Brien has done work for HBO, Al Jazeera America, and several others.
Thursday, January 15, 2015
Antony Venneri
International recording artist, poet and songwriter. Originally from Italy he has been living and performing successfully in many places (New Orleans, Los Angeles, Dublin, etc…) and has always been faithful to his free spirit and to his dreams, regardless matter how hard and dangerous the life of a true artist could be.
Being totally committed to music and poetry since his adolescence days, he refuses and criticizes all conventions and illusions of provincial people and society. He rightly considers himself a citizen of the universe and just like a modern wondering minstrel his destination is wherever his music will take him. His true family and friends are his timeless songs and all those who love and support his art. Antony’s songs have many musical influences and styles, from rock to blues, from classical to oriental music.
His lyrics can be quite philosophic, melancholic and romantic and at times be wild, bitter and ironic. Antony Venneri is a not only a seeker and a lover but also a drifter and an adventurer. Transparence, creative freedom and inspiration are his major prerogatives in his music and his life. As an independent artist, he keeps giving all of his time, heart and soul, to his benevolent, timeless and prolific muse.
Here is what Antony Venneri still has to say to his worldwide fans, “I am always ready to travel and to play somewhere new and I am looking forward to touring internationally for the joy of sharing my art with my worldwide wonderful fans and for the vital importance and glory of true and good music in the world.”
Wednesday, January 14, 2015
NBC ANCHOR DEFENDS DAUGHTER'S ANAL-ORAL SEX SCENE
NBC ANCHOR DEFENDS DAUGHTER'S ANAL-ORAL SEX SCENE
'She's an actress ... no animals were harmed during the filming'
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While Hollywood celebrated at the Golden Globe Awards on Sunday evening, Lena Dunham’s HBO series “Girls” began its fourth season with an anal-oral sex scene – starring the naked behind of Allison Williams, the daughter of NBC anchorman Brian Williams.
The 26-year-old Williams’ latest display of her acting chops comes one month after starring as Peter Pan in the musical-theater production of “Peter Pan Live!,” which aired in primetime on NBC, the same network that employs her father.
“The best thing was getting videos of little kids watching it, and clapping for Tinkerbell.” Williams said at the time. “That, to me, that’s the best. That’s why you do the thing.”
image: http://www.wnd.com/files/2015/01/allisonwilliams.png
Allison Williams stars in “Peter Pan Live!” on NBC
In an interview with New York magazine, NBC’s top newsman reacted to his daughter’s sexually explicit scene on “Girls.”
“She’s always been an actress. For us, watching her is the family occupation and everybody has to remember it’s acting, no animals were harmed during the filming, and ideally nobody gets hurt.”
The actress described the scene to Entertainment Weekly:
“I had a couple of days talking to wardrobe and makeup to get ready to rig the thing that I wore for the ass motorboating. It was an engineering achievement! I would manufacture it if more than one person a year needed it. [Laughs] It was so elaborate — it involved Spanx that we cut away and glued down and involved menstrual pads and two of those weird thongs. I’ve had to do scenes like this twice now.”
Williams described her parents as “veterans of the show” and said both offered her advice on preparing for the scene.
“I’d get a call from my mom and she’d be like, ‘Maybe if you took a thong and cut it away from the sides but you stuck it on in the front and the back it could work.’ I was like, ‘Mom, I like your thinking.’ Just your regular dinner conversation!” Williams told In Touch magazine.
The show’s creator-star Dunham proudly called Williams a “good sport.”
“Let me tell you this, when someone puts their face in your butt, whether there’s a barrier or not, their face is still in your butt. And she handled that with aplomb,” said Dunham.
During an interview on the red carpet at the Globe ceremony, Dunham complained to TV host Ryan Seacrest about “deranged neocons” trashing her on Twitter. Seacrest asked Dunham whether she would be checking social media for fan reactions to the “Girls” season premiere.
Dunham replied, “I deleted Twitter because I’m trying to create a safer space for myself emotionally. People like, threatened my life and told me what a cow I am so I decided I was gonna cut it out.”
Read more at http://www.wnd.com/2015/01/nbc-anchorman-defends-daughters-anal-oral-sex-scene/#qsXZ68Xj4y5T4mRe.99
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