Archive for the ‘Entertainment’ Category


Topless And Muzzled In Italian Vogue: Promoting Film

September 2, 2009

Rhianna, Scorsesse and comedian Sarah Silverman team up &
Rhianna appears topless and muzzled in Italian Vougue to promote the project.
Hold onto your codpieces-


Will.I.Am vs. Perez Hilton • Hermit History Lesson #4 • this day in history: june 24

June 24, 2009

A special report for • Hermit History Lesson #4 

According to MTV

the couple in happier times

the couple in happier times

“It’s the biggest pop-culture blowout of the summer: the alleged assault of Perez Hilton by Black Eyed Peas manager Liborio “Polo” Molina in Toronto on Monday morning, and the resulting war of words that has erupted between the celebrity blogger and BEP rapper Will.I.Am.

It began with some frantic, early-morning tweets and has grown to encompass multiple response videos, grainy camera-phone footage, the Toronto Police Service, GLAAD, TMZ, “Access Hollywood,” every celebrity’s Twitter page and finally, some litigious threats from personal attorneys.”

Why do we care?  Interestingly enough the historical events of June 24 offer some clues.


Mind Control Device Demonstration – Tan Le

January 2, 2009

from FORA TV header

Actual demonstration of the device begins at around 10:35. Tan Le, co-founder and president of Emotiv Systems, gives a live demo of a mind control device that uses a person’s thoughts to input computer commands.

EG is the celebration of the American entertainment industry. Since 1984, Richard Saul Wurman has created extraordinary gatherings about learning and understanding. EG is a rich extension of these ideas – a conference that explores the attitude of understanding in music, film, television, radio, technology, advertising, gaming, interactivity and the web – The Entertainment Gathering

Tan Le is an Australian telecommunications entrepreneur, businesswoman and the 1998 Young Australian of the Year. She is president and co-founder of Emotiv Systems.


The year in film 2008

December 18, 2008

A.V. Club  • Noel MurrayKeith PhippsNathan RabinTasha RobinsonScott Tobias
see all posts in: Entertainment      Reviews      or  jump to most recent post

synecdochenewyork2previewNoel: Gang, a year ago at this time, we were so overwhelmed by the quality of the movies we were seeing that we actually came up with a feature where we looked back at other great years for movies, just for the sake of comparison. Well, that run sure didn’t last long, did it? I actually don’t think 2008 was a bad year for movies—I’m happy with my Top 10, and I can think of 10 to 15 more ’08 movies I’d recommend fairly strongly—but I certainly didn’t see much that I believe will stand the test of time the way the likes of No Country For Old Men and There Will Be Blood surely will. I didn’t see a lot of greatness, in other words, or even much that aspired to greatness. Outside of the daring, wonderfully confounding Synecdoche, New York, much of the real ambition in 2008 came from blockbusters like WALL-E and The Dark Knight (and even Hancock, to some extent). Those were the movies that stirred debate, and earned passionate defenders and detractors. As much as I like Milk—to name just one of the purportedly serious movies competing for our attention here at the end of the year—I don’t consider it a landmark piece of cinema that people will be discussing for decades to come.
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Aesop Rock • Interview

December 12, 2008

David Wolinsky • A.V. Club                                 jump to most recent post 

user70221_pic715_1212762098Aesop Rock counts as a major star in the world of independent rap, where he’s remained a flagship act of El-P’s Definitive Jux, arguably the most vital label in the hip-hop underground. Rock’s mindful rhymes stream out at warp speed, with a style built around a Shakespearean jester’s mix of self-deprecation and incisive urgency. Rock kept a strong focus on the streets and science fiction on his 2003 albumBazooka Tooth, but he places a greater emphasis on story-songs on last year’s None Shall Pass, an album largely produced by Blockhead. On the heels of a monthlong tour,The A.V. Club spoke to Ace about his next record and how rappers are like the Golden Girls.

The A.V. Club: With None Shall Pass, you said you wanted to take yourself out of the equation. Why?

Aesop Rock: Lyric-wise, I didn’t want it to be just, “I did this. I went to the store. I think this, because I like this.” I guess my stuff starts leaning toward being a little soap box-y. Even if it’s just braggadocio stuff, it still kind of gets that way, and it just bothers me. Maybe not “bothers” me; it’s just so available for that, especially in rap music where a solo album is a record not only by a guy, but about the guy.   (NONE SHALL PASS VIDEO AFTER THE BREAK)
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Chinese Democracy vs. Synecdoche, New York

December 8, 2008

Josh Modell   •  A.V CLub

“When are we going to get an audience in here? It’s been 17 years.”

Yesterday, completely by coincidence, I saw Charlie Kaufman’s Synecdoche, New York for the first time and listened to Guns N’ Roses’ Chinese Democracy, also for the first time.

I’m guessing this parallel has been drawn by some sharp word-jockey already: SNY is a movie—a fantastic movie—about a guy who spends his whole life and inordinate amounts of money trying to create art that is “true” and “honest.”Chinese Democracy is an album made by a guy who didn’t seem to blink at the idea of spending more than a third of his life (read that again—a third of his life!) and untold millions to make it exactly the way he wanted to.

And while Chinese Democracy didn’t move me at all, I find it incredibly difficult to dismiss after watching the painful (and often painfully funny) Synecdoche. More than that, I find myself creating a new movie in my head, a sort of post-modern reality show following the creation of Chinese Democracy as seen from Axl’s eyes. The amazing review that Chuck Klosterman wrote for us theorizes a bit about Axl’s thought processes, but I want more—straight from the mind of a crazy guy so deep into the creation of something that it all seems fairly normal, as if there’s no other way to do it.

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Chinese Democracy

December 8, 2008

Chuck KlostermanA.V. Club

Reviewing Chinese Democracy is not like reviewing music. It’s more like reviewing a unicorn. Should I primarily be blown away that it exists at all? Am I supposed to compare it to conventional horses? To a rhinoceros? Does its pre-existing mythology impact its actual value, or must it be examined inside a cultural vacuum, as if this creature is no more (or less) special than the remainder of the animal kingdom? I’ve been thinking about this record for 15 years; during that span, I’ve thought about this record more than I’ve thought about China, and maybe as much as I’ve thought about the principles of democracy. This is a little like when that grizzly bear finally ate Timothy Treadwell: Intellectually, he always knew it was coming. He had to. His very existence was built around that conclusion. But you still can’t psychologically prepare for the bear who eats you alive, particularly if the bear wears cornrows.

chinese-democracy-1Here are the simple things about Chinese Democracy: Three of the songs are astonishing. Four or five others are very good. The vocals are brilliantly recorded, and the guitar playing is (generally) more interesting than the guitar playing on the Use Your Illusion albums. Axl Rose made some curious (and absolutely unnecessary) decisions throughout the assembly of this project, but that works to his advantage as often as it detracts from the larger experience. So: Chinese Democracy is good. Under any halfway normal circumstance, I would give it an A.

But nothing about these circumstances is normal.

For one thing, Chinese Democracy is (pretty much) the last Old Media album we’ll ever contemplate in this context—it’s the last album that will be marketed as a collection of autonomous-but-connected songs, the last album that will be absorbed as a static manifestation of who the band supposedly is, and the last album that will matter more as a physical object than as an Internet sound file. This is the end of that. But the more meaningful reason Chinese Democracy is abnormal is because of a) the motives of its maker, and b) how those motives embargoed what the definitive product eventually became. The explanation as to why Chinese Democracy took so long to complete is not simply because Axl Rose is an insecure perfectionist; it’s because Axl Rose self-identifies as a serious, unnatural artist. He can’t stop himself from anticipating every possible reaction and interpretation of his work. I suspect he cares less about the degree to which people like his music, and more about how it is taken, regardless of the listener’s ultimate judgment. This is why he was so paralyzed by the construction of Chinese Democracy—he can’t write or record anything without obsessing over how it will be received, both by a) the people who think he’s an unadulterated genius, and b) the people who think he’s little more than a richer, red-haired Stephen Pearcy. All of those disparate opinions have identical value to him. So I will take Chinese Democracy as seriously as Axl Rose would hope, and that makes it significantly less simple. At this juncture in history, rocking is not enough.

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