Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Weird Nightmare
Directed by Raymond Douglas Davies in 1993, Weird Nightmare documents the making of the Hal Willner's 1992 Mingus tribute record Weird Nightmare: Meditations on Mingus.
In multiple parts, just follow the numbers …
A l’Est avec Sonia Wieder-Atherton
Directed by Chantal AckermanAMIP
Chantal Ackerman’s projects over the past forty years have secured her place in the international vanguard of film directors both male and female. Her films are widely known for experimenting with time and images while questioning their relationship to a film’s narrative. It’s no surprise that her film A l’Est avec Sonia Wieder-Atherton showed at the Barcelona International Woman’s Film Festival in June. In fifty-one minutes Ackerman attempts to show the power of music and the passion of the musician through images. It is her second film with world renowned cellist Sonia Wieder-Atherton as her subject, and weather or not Ackerman achieves her goal is up to you.
Wieder-Atherton is Ackerman’s go-to musician and has been the music director in many of her previous films including D’Eest, which is where the repertoire of music for this documentary originates. Viewers expecting the typical dialogue-heavy documentary film of a musician will be disappointed, as Wieder-Atherton speaks for only a brief moment after the opening scene of her playing in what appears to be a concert hall. She describes only how her passion for the cello and violin cello began developing from a very early age and how inspiring her maestro was. The remainder of the film is Wieder-Atherton using her instrument to explain her passion.
Ackerman chose to shoot Wieder-Atherton playing the eastern European compositions accompanied by only a piano or sometimes two other cellists. Ackerman uses various visual tactics so as not to distract from her true subject: the music. For example, the full color film never extends beyond a softly illuminated neutral gray, black, and white color palate. Wieder-Atherton herself alternates between two black and white silk blouses with grand billowing sleeves that appear to oscillate like wings as she pulls, teases, and coaxes the notes from her cello’s strings. Alternating shots between close ups of Wieder-Atherton’s hands and the whole ensemble paired with scenes that begin and end with fades creates a fluidity to the images that reflects the melody of the music. Composition titles as well as composers are provided for a short time at the bottom of the screen to indicate the beginning of another piece.
It is clear that Ackerman wants to distance herself and her images as far from the music as possible in order to create a truly musical experience. The audience at the Barcelona festival was, indeed, lulled into this entranced state of visual listening; however, Ackerman’s objective became lost as eyelids grew heavy and heads began to bob. Toward the end, awake once again, people began to shift impatiently in their seats.
It should be noted that although this film is reflective of Ackerman’s style it is not the more evocative of her influential talent. Audiences familiar with Ackerman’s previous work might expect a more challenging film, and novel viewers might find it a bit tedious and trying in the end. Without a doubt, the power of the music interpreted by Wieder-Atherton is transmitted, but it’s the viewer’s responsibility to be an active receiver.
Review by Sara Custer
Black Pearl Sings! — The Adrienne Theater, Philadelphia (6/18/10)
Written by Frank HigginsDirected by Seth Rozin
With their current production, Black Pearl Sings!, InterAct Theatre brings a powerful story to the Mainstage of Philadelphia’s Adrienne. The intimate performance space, where third row is a mere six feet from the floor-level stage, helps one feel immersed in the story.
Written by Frank Higgins and directed by Seth Rozin, the two-act play stars C. Kelly Wright as Alberta “Pearl” Johnson and Catharine K. Slusar as Susannah Mullally. In the story, set during the Great Depression, song collector Mullally meets Johnson while visiting a Texas prison. Mullally hopes to find an old song that has never been documented, a song that might land her a university teaching job. She helps to obtain parole for Johnson, with the condition that Johnson will be in Mullally’s custody. After parole, the women go to New York, where they present a performance meant to make both of them famous. The play ends with a powerfully triumphant Johnson in control of her own future, and Mullally humbled and grown through this relationship.
The play is based upon the true story of musicologist John Lomax, who collected songs for the Library of Congress during the 1930s. In a Louisiana penitentiary, Lomax met guitar player Huddie Ledbetter, later known as Lead Belly.
During the course of the play, Mullally reveals that her wealthy family has disowned her for pursuing a nontraditional path (“Why would I want to get married?”), and that a man used her research to advance his career. I sat shaking my head in disbelief, thinking to myself, “So now you are going to use a woman to advance your career? At one point she asks, “We’re friends, aren’t we?” to which Johnson replies, “We’re friendly.” For how can there be true friendship when one party’s freedom is dependent on another’s exploitation?
There were many moments when I found myself embarrassed for Mullally, as well as the ignorance of the community in which she moved, which viewed Johnson as a discovery or exhibit. In Act II, Mullally reads a review in which Johnson is referred to by the writer as “Black Pearl.” Johnson responds indignantly, “How come you ain’t White Susannah?” Mullally was schooled through her relationship with Johnson, and at many times humor eased the way.
For me, the greatest beauty of this show lay in the voice of C. Kelly Wright as she sang a cappella spirituals and folk songs, and her visceral expression of emotions throughout the performance. Her rich voice brought tears to my eyes multiple times, and manifested great power and strength. I felt her voice not only in my ears but in my bones.
This excellent production runs through June 27.
Review by Lisa Rand
See What I'm Saying: The Deaf Entertainers Documentary
Directed by Hilari Scarl
Worldplay
See What I'm Saying is an irreverent yet important introduction between Deaf performers and a mainstream hearing audience. The film, which is open captioned, follows a year in the lives of four performers who make up a cross-section of the Deaf community in terms of art form, race, gender, and sexuality. One performer identifies as hard of hearing rather than deaf, but wishes to be accepted as a part of Deaf culture.
Before I go on, a few definitions:
Deaf Culture: Deaf with a capital “D” means a specific reference to the largely American Sign Language (ASL) using community, and the media, theatre, comedy, music, history, and other aspects of any culture transmitted through language. Deaf with a lowercase “d” means the generic description for someone who can’t hear, whether they are a part of the Deaf community or not. The film goes a long way toward making this clearer, as well as succinctly demonstrating various different ways of communicating using speech and sign.
Open Captions: See What I'm Saying has the captions burned into the film itself, and there is no way to turn them off. Every print of the film in every cinema is captioned. The captions also include descriptions of incidental sounds and music, but are otherwise like watching a subtitled foreign film. This is a huge deal for a film on release at major cinemas. The film is also voice-interpreted where necessary, so there is a continuous signed, spoken, and captioned narrative.
Now, back to the review. The four performers featured are really engaging people. Bob Hilterman is an old school rocker who, Blues Brothers style, decides to get his former band back together for one last show. Everyone in the band is Deaf and all the guys are really funny, as is their repartee when they finally get together and start rehearsing again.
CJ Jones is a comedian with a level of success on the scale of, perhaps, Robin Williams, going by reactions of his fans when they spot him at Deaf events. His humour is a mix of storytelling, improvisation and observation, and he’s a comic actor as well. The film follows his well-deserved but not always fruitful attempts to break into mainstream comedy and television.
Robert DeMayo is an admirably centered person who can talk about his difficult past with honesty and understanding for people who’ve let him down. He’s an amazingly gifted storyteller and comic mime artist, and it’s a shame there wasn’t time to feature more of his work in the film. I could watch his stuff all day.
TL Forsberg is the youngest performer, the only woman, and also the only artist whose journey specifically relates to being accepted by the Deaf community, while the others are followed trying to achieve success with hearing audiences. This juxtaposition adds further depth to the audience’s understanding of the difficulties of "crossing over." In fact, any minority artist or from any underground art form could relate to the difficulties portrayed in See What I'm Saying.
Hilari Scarl, a hearing performer and director who worked as a voicing actor with the National Theatre of the Deaf (NTD), decided to make the film after noticing that once the tour was finished, she was getting work and her deaf colleagues just... weren’t. Scarl became passionate about this issue and used her considerable skills as a producer to make this happen. She does not come across as an outsider but, to this hearing reviewer in any case, as part of the scene. Her drive as a filmmaker was evident when I spoke to her, and she had a dedicated team of performers, promoters, volunteers and friends, as well as the financial backing of a few major corporations. It is her hope that these and other Deaf performers will receive the attention they clearly deserve.
See What I'm Saying is on limited release at several major cinemas throughout this year. It is also taking bookings for festivals, so check the film's website for details.
Review by Chella Quint
Worldplay
See What I'm Saying is an irreverent yet important introduction between Deaf performers and a mainstream hearing audience. The film, which is open captioned, follows a year in the lives of four performers who make up a cross-section of the Deaf community in terms of art form, race, gender, and sexuality. One performer identifies as hard of hearing rather than deaf, but wishes to be accepted as a part of Deaf culture.
Before I go on, a few definitions:
Deaf Culture: Deaf with a capital “D” means a specific reference to the largely American Sign Language (ASL) using community, and the media, theatre, comedy, music, history, and other aspects of any culture transmitted through language. Deaf with a lowercase “d” means the generic description for someone who can’t hear, whether they are a part of the Deaf community or not. The film goes a long way toward making this clearer, as well as succinctly demonstrating various different ways of communicating using speech and sign.
Open Captions: See What I'm Saying has the captions burned into the film itself, and there is no way to turn them off. Every print of the film in every cinema is captioned. The captions also include descriptions of incidental sounds and music, but are otherwise like watching a subtitled foreign film. This is a huge deal for a film on release at major cinemas. The film is also voice-interpreted where necessary, so there is a continuous signed, spoken, and captioned narrative.
Now, back to the review. The four performers featured are really engaging people. Bob Hilterman is an old school rocker who, Blues Brothers style, decides to get his former band back together for one last show. Everyone in the band is Deaf and all the guys are really funny, as is their repartee when they finally get together and start rehearsing again.
CJ Jones is a comedian with a level of success on the scale of, perhaps, Robin Williams, going by reactions of his fans when they spot him at Deaf events. His humour is a mix of storytelling, improvisation and observation, and he’s a comic actor as well. The film follows his well-deserved but not always fruitful attempts to break into mainstream comedy and television.
Robert DeMayo is an admirably centered person who can talk about his difficult past with honesty and understanding for people who’ve let him down. He’s an amazingly gifted storyteller and comic mime artist, and it’s a shame there wasn’t time to feature more of his work in the film. I could watch his stuff all day.
TL Forsberg is the youngest performer, the only woman, and also the only artist whose journey specifically relates to being accepted by the Deaf community, while the others are followed trying to achieve success with hearing audiences. This juxtaposition adds further depth to the audience’s understanding of the difficulties of "crossing over." In fact, any minority artist or from any underground art form could relate to the difficulties portrayed in See What I'm Saying.
Hilari Scarl, a hearing performer and director who worked as a voicing actor with the National Theatre of the Deaf (NTD), decided to make the film after noticing that once the tour was finished, she was getting work and her deaf colleagues just... weren’t. Scarl became passionate about this issue and used her considerable skills as a producer to make this happen. She does not come across as an outsider but, to this hearing reviewer in any case, as part of the scene. Her drive as a filmmaker was evident when I spoke to her, and she had a dedicated team of performers, promoters, volunteers and friends, as well as the financial backing of a few major corporations. It is her hope that these and other Deaf performers will receive the attention they clearly deserve.
See What I'm Saying is on limited release at several major cinemas throughout this year. It is also taking bookings for festivals, so check the film's website for details.
Review by Chella Quint
I Was the Jukebox
By Sandra BeasleyW.W. Norton
As a poet myself, it’s inspiring to come across a writer like Sandra Beasley. Not only is she highly talented, but she’s also a young, female poet who has already published two book-length collections and received national recognition and awards. In her latest collection, I Was the Jukebox, it’s easy to see why she’s so successful. From the first page to the ninetieth page Beasley blends refreshing imagery with unique diction. She mixes myth and modernity. She creates lines that float from the pages and haunt your thoughts.
“You Were You,” which features the title line, is a primary example of Beasley’s mastery. From “I wanted to dance. I wanted a scotch. / I wanted you to take your hands off her” to “I played Aretha, Marvin, the Reverend Al” you can hear the rhythm in her poetry and you can clearly visualize the speaker’s life as a jukebox.
In “I Don’t Fear Death,” Beasley examines what’s behind nature and life from a female perspective: “what I really believe is that / we keep growing: infinite corn, / husk yielding to green husk. / I look back on the miles / connecting me to Earth, think / I’d have never worn those shoes.”
“Japanese Water Bomb” explores a relationship from both a male and female point of view. The subject of fragility is paired with Beasley’s vivid descriptions and musings and culminates in an explosive ending. Lines like “How the difference between an igloo and a block / of ice is only the body sheltered beneath it” lead to the powerful last few lines “How the moment splits, / a mitosis of love and chronology: how he is / her present. How she has become his past.”
Unlike many poets, Beasley effectively gives her subjects a voice. I Was the Jukebox includes a series of poems that allow things like an eggplant, a platypus, and a piano to speak. These poems make you stop and think “Wow, music really does seem to ‘slide loose’ from a piano,” and “Why is it called a duckbilled platypus anyways?”
Poetry is supposed to accomplish all that Beasley’s poems accomplish—it should make you think of something in a new way, it should leave you breathless, and it should follow you long after you’re done reading.
Review by Michelle Tooker
Troubled Water
Directed by Erik Poppe
Film Movement
Last night, I watched this really great film Troubled Water by a Norwegian director Erik Poppe. As I mentioned before, I don't really like movies and I don't watch them a lot. And now I know why. The simple reason is that very few movies are as good as this one.
This is definitely not one of those sad Hollywood monstrosities that aim to prevent you from having a single thought by any means possible. This film does not attempt to benumb the spectators by an endless assault of noises, colors, flashes, explosions, colorful images, etc. It actually leaves the viewers some space to think, analyze, and simply to exist. Troubled Water does not attempt to rob me of my humanity and my human agency, unlike the stupid Hollywood productions.
This is the kind of film that works through powerful acting and great directing. There are no cheap thrills in Troubled Water. No special effects, no monsters or vampires, no explosions, 3D effects, unrealistic car chases, etc. There is just life, human existence, normal people trying to figure out important stuff.
Instead of silicone-inflated cyborg-like individuals who pass for actors in Hollywood, this film has actors who actually look like real, normal people. We are so used to the assembly-line faces and bodies of Hollywood characters, that the actors in Troubled Water look refreshingly attractive. As attractive as only real human beings can be. And these actors even know how to act.
I'm not going to retell the plot of the movie here. Because great art is not about the plot. The story is never as important as the artistic means employed to transmit it. I will only say that Troubled Water is a film that makes you want to come back to it over and over.
Review by Clarissa's Blog
Film Movement
Last night, I watched this really great film Troubled Water by a Norwegian director Erik Poppe. As I mentioned before, I don't really like movies and I don't watch them a lot. And now I know why. The simple reason is that very few movies are as good as this one.
This is definitely not one of those sad Hollywood monstrosities that aim to prevent you from having a single thought by any means possible. This film does not attempt to benumb the spectators by an endless assault of noises, colors, flashes, explosions, colorful images, etc. It actually leaves the viewers some space to think, analyze, and simply to exist. Troubled Water does not attempt to rob me of my humanity and my human agency, unlike the stupid Hollywood productions.
This is the kind of film that works through powerful acting and great directing. There are no cheap thrills in Troubled Water. No special effects, no monsters or vampires, no explosions, 3D effects, unrealistic car chases, etc. There is just life, human existence, normal people trying to figure out important stuff.
Instead of silicone-inflated cyborg-like individuals who pass for actors in Hollywood, this film has actors who actually look like real, normal people. We are so used to the assembly-line faces and bodies of Hollywood characters, that the actors in Troubled Water look refreshingly attractive. As attractive as only real human beings can be. And these actors even know how to act.
I'm not going to retell the plot of the movie here. Because great art is not about the plot. The story is never as important as the artistic means employed to transmit it. I will only say that Troubled Water is a film that makes you want to come back to it over and over.
Review by Clarissa's Blog
Afghan Star
Directed by Havana Marking
Zeitgeist Films
One of my favorite bands, The Avett Brothers, have a lyric in one of their songs claiming, “May you never be embarrassed to sing.” Since viewing Havana Marking’s documentary, Afghan Star, this lyric has been on repeat in my brain, reminding me, as Afghan Star aptly illustrates, if embarrassment is all that we have to risk, then we are risking very little. In her feature length directorial debut, Marking journeys into recently independent Afghanistan to explore the newly created television program Afghan Star. Following four contestants as they compete for the $5,000 prize, Marking exposes the inspiring and passionate citizens of a country shrouded by war, violence, and tyranny.
The film opens with a close-up of two little boys. One, whose face and eyes appear to have been violently damaged, sings sweetly into the camera and when he finishes the other states simply “If there was no singing the world would be silent.” From this point on Afghan Star weaves a complicated narrative that instigates dialogue about the power of having a voice, and the ideologies that determine what voices are heard and by who.
In 1996, the Taliban rule in Afghanistan created a ban on music, dancing, and singing. The ban was lifted in 2004, but as history has taught us all too well, a change in politics doesn’t always result in changing people. Most of those interviewed in the film, from the show’s producers to townspeople, equate singing with freedom; however, the concept of freedom is abstract and intangible. It is defined within the boundaries of Afghan politics and Islamic religion, leaving little room for the inclusion of Western liberties and autonomous behavior.
This is most evident in the subtle, yet disturbing, fulfillment of traditional gender roles. Both of the male contestants whom Marking chooses to focus on are met with great hope and respect by their communities. But when interviewing the families and supporters of the female contestants the responses are overwhelmingly concerned and fearful, or rife with ulterior motives. As the male contestants campaign openly in public and receive adoration from fans, the women are hidden by their burqas, unable to be recognized.
The contradiction is striking, yet the women are complicit and seemingly unaware of their alienation. However, the most drastic display of sexism occurs when Setara, one of the two female finalists and by far the most dynamic of all the contestants, is eliminated. While performing her final song, Setara “dances” on stage while also allowing her head scarf to fall revealing her hair. The result is scorn from her fellow competitors, eviction from her apartment and death threats so fierce and overwhelming, she fears returning to her hometown.
For those of us in the West, Afghan Star presents a thoughtful exploration of the life we so often take for granted: freedom of speech, the privilege of choice, and the unnecessary luxury of television and its star-making programs. But, above all, this film is a riveting reminder of the power, freedom and endless possibilities we hold in our voice and that no matter how we may use it, we must never be embarrassed to sing.
Review by Alicia Sowisdral
Zeitgeist Films
One of my favorite bands, The Avett Brothers, have a lyric in one of their songs claiming, “May you never be embarrassed to sing.” Since viewing Havana Marking’s documentary, Afghan Star, this lyric has been on repeat in my brain, reminding me, as Afghan Star aptly illustrates, if embarrassment is all that we have to risk, then we are risking very little. In her feature length directorial debut, Marking journeys into recently independent Afghanistan to explore the newly created television program Afghan Star. Following four contestants as they compete for the $5,000 prize, Marking exposes the inspiring and passionate citizens of a country shrouded by war, violence, and tyranny.
The film opens with a close-up of two little boys. One, whose face and eyes appear to have been violently damaged, sings sweetly into the camera and when he finishes the other states simply “If there was no singing the world would be silent.” From this point on Afghan Star weaves a complicated narrative that instigates dialogue about the power of having a voice, and the ideologies that determine what voices are heard and by who.
In 1996, the Taliban rule in Afghanistan created a ban on music, dancing, and singing. The ban was lifted in 2004, but as history has taught us all too well, a change in politics doesn’t always result in changing people. Most of those interviewed in the film, from the show’s producers to townspeople, equate singing with freedom; however, the concept of freedom is abstract and intangible. It is defined within the boundaries of Afghan politics and Islamic religion, leaving little room for the inclusion of Western liberties and autonomous behavior.
This is most evident in the subtle, yet disturbing, fulfillment of traditional gender roles. Both of the male contestants whom Marking chooses to focus on are met with great hope and respect by their communities. But when interviewing the families and supporters of the female contestants the responses are overwhelmingly concerned and fearful, or rife with ulterior motives. As the male contestants campaign openly in public and receive adoration from fans, the women are hidden by their burqas, unable to be recognized.
The contradiction is striking, yet the women are complicit and seemingly unaware of their alienation. However, the most drastic display of sexism occurs when Setara, one of the two female finalists and by far the most dynamic of all the contestants, is eliminated. While performing her final song, Setara “dances” on stage while also allowing her head scarf to fall revealing her hair. The result is scorn from her fellow competitors, eviction from her apartment and death threats so fierce and overwhelming, she fears returning to her hometown.
For those of us in the West, Afghan Star presents a thoughtful exploration of the life we so often take for granted: freedom of speech, the privilege of choice, and the unnecessary luxury of television and its star-making programs. But, above all, this film is a riveting reminder of the power, freedom and endless possibilities we hold in our voice and that no matter how we may use it, we must never be embarrassed to sing.
Review by Alicia Sowisdral
I'll Never Get Out of this World Alive [lyrics]
I'll Never Get Out of this World Alive [lyrics]
Now you're lookin' at a man that's gettin' kind a mad
I had lot's of luck but it's all been bad
No matter how I struggle and strive
I'll never get out of this world a live.
My fishin' pole's broke the creek is full of sand
My woman run away with another man
No matter how I struggle and strive
I'll never get out of this world alive.
A distant uncle passed away and left me quite a batch
And I was livin'g high until that fatal day
A lawyer proved I wasn't born
I was only hatched.
Ev'rything's agin' me and it's got me down
If I jumped in the river I would prob'ly drown
No matter how I struggle and strive
I'll never get out of this world alive.
These shabby shoes I'm wearin' all the time
Are full of holes and nails
And brother if I stepped on a worn out dime
I bet a nickel I could tell you if it was heads or tails.
I'm not gonna worry wrinkles in my brow
'Cause nothin's ever gonna be alright nohow
No matter how I struggle and strive
I'll never get out of this world alive.
I could buy a Sunday suit and it would leave me broke
If it had two pair of pants I would burn the coat
No matter how I struggle and strive
I'll never get out of this world alive.
If it was rainin' gold I wouldn't stand a chance
I wouldn't have a pocket in my patched up pants
No matter how I struggle and strive
I'll never get out of this world alive.
Now you're lookin' at a man that's gettin' kind a mad
I had lot's of luck but it's all been bad
No matter how I struggle and strive
I'll never get out of this world a live.
My fishin' pole's broke the creek is full of sand
My woman run away with another man
No matter how I struggle and strive
I'll never get out of this world alive.
A distant uncle passed away and left me quite a batch
And I was livin'g high until that fatal day
A lawyer proved I wasn't born
I was only hatched.
Ev'rything's agin' me and it's got me down
If I jumped in the river I would prob'ly drown
No matter how I struggle and strive
I'll never get out of this world alive.
These shabby shoes I'm wearin' all the time
Are full of holes and nails
And brother if I stepped on a worn out dime
I bet a nickel I could tell you if it was heads or tails.
I'm not gonna worry wrinkles in my brow
'Cause nothin's ever gonna be alright nohow
No matter how I struggle and strive
I'll never get out of this world alive.
I could buy a Sunday suit and it would leave me broke
If it had two pair of pants I would burn the coat
No matter how I struggle and strive
I'll never get out of this world alive.
If it was rainin' gold I wouldn't stand a chance
I wouldn't have a pocket in my patched up pants
No matter how I struggle and strive
I'll never get out of this world alive.
Latest on Amy Winehouse
Amy Winehouse shows off a hickey she recently acquired from her new husband.
Some quotes from Amy Winehouse during a recent performance in London:
"I broke my tooth, it's not pretty, but at least I can just about sing."
"I don't know if you heard, but I just got married to the best man in the entire world. My dad's going to kick my head in - he's still got to pay for the proper wedding."
Source & Source
Eve 'Tambourine' Video Stills
BET Access Granted and Yahoo.com will both premiere EVE's VIDEO for "Tambourine" this Thursday, 5/24 at 8pm EST (5pm PST)!
Make sure you check it out!
EVE - Here I Am
IN STORES AUGUST 7
Geffen Records
Myspace: http://www.myspace.com/eve
Eve Official Site: http://www.evefans.com
"Tambourine" AUDIO
Windows
Real
Make sure you check it out!
EVE - Here I Am IN STORES AUGUST 7
Geffen Records
Myspace: http://www.myspace.com/eve
Eve Official Site: http://www.evefans.com
"Tambourine" AUDIO
Windows
Real
Paul MCartney to Premiere New Video on YouTube
At 5pm EST Paul McCartney will premiere his new video on YouTube.
The video will be featured in the 'Director Videos' slot at the top of the page.The video, 'Dance Tonight' which stars Natalie Portman as a 'futuristic ghost' is from McCartney's upcoming album, Memory Almost Full, which is scheduled to be released on June 5.
When asked how Portman was cast for the role Paul replied, "The connection with Natalie came from my daughter Stella, who makes non-leather shoes that Natalie buys. So I rang her up and said, 'Hey I'm Stella's dad!' She had a bit of time off, as she was between films, so it was great."
Source
This Week's Mocha City Rundown
This week on Mocha City Rundown
50 Cent, Lil' Cease Exposed, Mase picks up transvestite, Cam'ron Beef, Fake Pretty Ricky Wannabe’s, R. Kelly's Ego, & more!
The last couple minutes of this is PRICELESS!
MochaCity’s Rundown is the newest and freshest entertainment video blog to hit the Internet. We recap weekly events and occurrences in urban entertainment with our own comedic twist. Join us every Monday as the hilarious B-Ezy guides you through topics with his version of hot gossip and re-enactments.
OFFICIAL PAGE: http://tv.mochacity.com/rundown
50 Cent, Lil' Cease Exposed, Mase picks up transvestite, Cam'ron Beef, Fake Pretty Ricky Wannabe’s, R. Kelly's Ego, & more!
The last couple minutes of this is PRICELESS!
MochaCity’s Rundown is the newest and freshest entertainment video blog to hit the Internet. We recap weekly events and occurrences in urban entertainment with our own comedic twist. Join us every Monday as the hilarious B-Ezy guides you through topics with his version of hot gossip and re-enactments.
OFFICIAL PAGE: http://tv.mochacity.com/rundown
To The Lip Synchers of the World..
In honor of the Britney Spears episode this weekend and all other musicians such as herself and Ashlee Simpson, I bring you Milli Vanilli and their video hit, 'Girl You Know It's True'.
Heh. You know you loved it!
Heh. You know you loved it!
Win Erasure's New CD Out in Stores Tomorrow!
Light At The End Of The World - Erasure
Out in stores May 22!
Official Erasure MySpace
Official Erasure Website
______________________
Win the new Erasure CD!
Send Spicy a blank email with the Subject: I WANT ERASURE!.
One winner will be picked at random on Thursday, May 24th!
*Added 5/24: Congratulations L. Ramani! You are the winner of Erasure's latest CD!
Out in stores May 22!
Official Erasure MySpace
Official Erasure Website
______________________
Win the new Erasure CD!
Send Spicy a blank email with the Subject: I WANT ERASURE!.
One winner will be picked at random on Thursday, May 24th!
*Added 5/24: Congratulations L. Ramani! You are the winner of Erasure's latest CD!
Watch Britney Spears Lip-Synch in Orlando
I guess this clip catches one of reportedly 5 incidents where Britney's pre-recorded song skips a beat.
Random Britney Spears weekend pics
Random Britney Spears weekend pics
Rapper Method Man Busted For Marijuana
Method Man was arrested Thursday night after paying his toll at the Battery Tunnel in NY.
When Method Man, real name Clifford Smith, rolled down his 2005 Lincoln Navigator's window to pay the toll, a huge cloud of marijuana smoke drifted outside.
An unamed source said, "It was like something out of 'Cheech and Chong.' He rolls down the window and the smoke would choke a horse."
Smith was arrested at approximately 10 p.m. Thursday not far from the toll booths.
Upon searching the vehicle officers found two marijuana blunts and nearly an ounce of pot in the vehicle.
Smith was charged with unlawful possession of marijuana, criminal possession of marijuana, operating a motor vehicle under the influence and driving an uninspected motor vehicle.
Source
When Method Man, real name Clifford Smith, rolled down his 2005 Lincoln Navigator's window to pay the toll, a huge cloud of marijuana smoke drifted outside.An unamed source said, "It was like something out of 'Cheech and Chong.' He rolls down the window and the smoke would choke a horse."
Smith was arrested at approximately 10 p.m. Thursday not far from the toll booths.
Upon searching the vehicle officers found two marijuana blunts and nearly an ounce of pot in the vehicle.
Smith was charged with unlawful possession of marijuana, criminal possession of marijuana, operating a motor vehicle under the influence and driving an uninspected motor vehicle.
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