50 cent

» by Alvin aqua Blanco May 17, 2012, 9:38am

50 Cent’s latest promo barrage got postponed, sort of, due to illness. The Queens rapper was scheduled to do a round of press to promote his upcoming Gangsta Grillz mixtape, The Lost Tape, with DJ Drama. However, it seems that Ferrari caught an unknown ailment (AllHipHop reports it was a stomach virus) that warranted hospitalization.

Nevertheless, Fif kepts fans abreast of the situation, via Twitter. “I’m in the hospital but my gangsta grillz LOST TAPE is done so it will be out on time,” tweeted Fif, along with photos of himself in a hospital bed. “I don’t want to go into surgery. @FloydMayweather call my phone why your phone off.” 

Last night, the “Wanksta” rapper also dropped a video for “Ni**as Be Schemin’,” a song that’s actually from his last mixtape, The Big Ten. The Lost Tape is due out on May 22nd. Peep photos of 50 in the hospital in the gallery.

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Source: http://hiphopwired.com/2012/05/17/50-cent-hospitalized-still-promotes-new-gangsta-grillz-mixtape-photos/

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Aerosmith?s ?I Don?t Want to Miss a Thing? is a song about trying to keep the Earth from being blown up. It?s a manipulative song; the title/hookline definitely scans like a fake testimonial from someone paid to say how awesome it was when Bruce Willis stopped the mean old asteroid in a circa-1997 Michael Bay ad campaign. In tonight?s episode of ?Idol,? the song was performed by Jessica Sanchez.

As ?Idol? Top 3 contestant Jessica Sanchez belted out the track, Steven Tyler looked a lot more comfortable watching someone else sing it than he ever did trying to squeeze out those constipated notes that the chorus vaults up.

So the beauty of American Idol is that a Mariah Carey-tackling 16-year-old living out her dreams is not manipulative. Jessica Sanchez sincerely wanted to knock this Diane Warren-penned doo-doo out of the park, and we can all still wish upon a star and believe in miracles, sniff sniff. Sanchez and her oh-so-tasteful orchestra did as honest a job as they could with a track that was orphaned and raised by wolves.

Tyler gaped like Balloo and Bagheera when they finally brought Mowgli back to his village of fellow humans. In case you missed the performance, it can be described overall as ?meh.?

Source: http://ultimateclassicrock.com/aerosmith-i-dont-want-to-miss-a-thing-american-idol-jessica-sanchez/

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@U2, May 16, 2012
By: m2 / @mattmcgee

More U2 News

Source: http://www.atu2.com/news/u22-to-be-shipped-by-end-of-may.html

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9:45 pm, May 16th, 2012

VIDEO

(YouTube)

Joshua Ledet got one of the only standing ovations on Wednesday?s ?American Idol.?

Ledet repeatedly wowed the judges with his performances, in which he tackled Etta James? ?I?d Rather Go Blind,? John Lennon?s ?Imagine,? and Mary J. Blige?s ?No More Drama.?

But it was Ledet?s take on ?I?d Rather Go Blind? that got the judges on their feet.

Check out the videos below!

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WATCH:

Joshua Ledet ? I’d Rather Go Blind ? American? by IdolxMuzic

Joshua Ledet ? Imagine ? American Idol 2012 (Top? by IdolxMuzic

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Source: http://www.gossipcop.com/joshua-ledet-imagine-american-idol-id-rather-go-blind-video-no-more-drama-youtube-watch/

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May 16, 2012 in 4dancers, 4teachers, Editorial

Please join me in welcoming our newest contributor Dalia Rawson, who will be writing about ABT?s National Training Curriculum for 4dancers?

by Dalia Rawson

I was finally there, at 890 Broadway in New York City. This building, which houses the Laurence A. Wien Center for Dance and Theatre, is the legendary home of the American Ballet Theatre and ABT?s Jacqueline Kennedy Onassis School. The building boasts floor after floor of dance studios, and it has been the site of rehearsals, classes, and auditions for countless dance companies, dance schools, and Broadway shows.

The building?s rich history is apparent the minute you step out one of its two operator-controlled elevators, into a maze of hallways and staircases leading to countless dressing rooms and dance studios. Innumerable legendary dance teachers have taught in these studios, and I was about to meet one of the most notable. American Ballet Theatre?s Franco De Vita, the co-creator of ABT?s National Training Curriculum and Principal of ABT?s JKO School had invited me to observe three days of classes. Ballet San Jose School is moving towards implementation of ABT?s National Training Curriculum, and I couldn?t have been more thrilled by this opportunity.  Raymond Lukens, who co-created the Curriculum with Mr. De Vita, was out of town, so I would be learning about the Curriculum through watching classes taught by Mr. De Vita, as well as classes taught by other faculty members of the JKO School.

I had arrived early, not sure how long it would take to walk from the Chelsea apartment where I was staying to the studios, and found myself with a moment to catch my breath and reflect before classes were to begin. As I waited with the ABT receptionist, sitting under the framed Resolutions passed by the US Senate and House of Representatives recognizing ABT?s service as America?s National Ballet Company, I felt a growing excitement regarding what was to come. Having spent the previous night on a red-eye flight from San Jose to New York after Ballet SJ School?s Summer Intensive Auditions, I was slightly disoriented, adding to the almost surreal surge of anticipation I was feeling about seeing some of our nation?s most talented dance students up close in class. As it turns out, I wasn?t disappointed.

American Ballet Theatre Lobby, with the Senate Resolutions, Photo by Dalia Rawson & courtesy of ABT

I was taken into a studio and told that the first class I would be observing would be a Level 6/7 class taught by Mr. Keith Roberts. Mr. Roberts was obviously a popular teacher, as the students seemed happy to hear he would be teaching the class. He told me that he liked to focus on letting the students dance in his class, giving them the chance to really move. The class was made up of ten young women and four young men. The group was charming, each student a young artist with his or her own set of talents. There wasn?t a uniform look to the students; some were long and lanky, others more petite, with a variety of proportions and attributes. What they all shared was a glow of youth, talent, optimism, and health, and it was beautiful to see such talented young artists working in what was obviously such a richly inspiring environment.

The second class I observed was a class for about 8 young men, looking to range in age from about 12 to about 15. Franco De Vita himself was teaching this class, and it soon became evident why practically everyone to whom I had spoken about the ABT Curriculum has an almost disciple-like devotion to the man. He embodies every quality one hopes to find in a master teacher. His class is completely engrossing, demanding perfect attention from students at all times. His combinations are simple, letting the students focus on and perfect their technique through repetition and attention to detail. His class reflects an unwavering understanding of technique, and seemed in this instance to focus on coordinating the upper to the lower body, on precise execution of the basics at all times, and on maintaining an unyielding musicality. Corrections were barked with humor; and though students were held to the highest of standards and immediately reprimanded should they forget a combination or correction, it was obvious that each student understood the respect and fondness their teacher had for them, and that they returned these feelings in kind.

Classes went by in a whirlwind over the following days. The Children?s Division classes impressed me by including students with an enormous range of physical proportions and natural gifts, each performing classical technique to the full extent that their physicality allowed, and no further. If a student could turn out 45 degrees, then they executed every tendu and every plié from a position turned out exactly 45 degrees, perfectly placed, with their knees over their toes at all times. This level of discipline, applied to such a range of natural facility, achieved a level of perfection in execution that I have never before seen in an open enrollment class.

Watching the Studio Company in class and rehearsal was a rare privilege. It was inspiring to witness the optimism and talent of these young artists in a succession of excellent classes led by De Vita. I could see in the faces of the students chosen to work with the Studio Company that they were not taking lightly the opportunity to train with one of the most gifted teachers of our generation. Each young artist applied himself or herself fully to every minute of class and rehearsal, and my mind is still reeling with images of lovely sustained turns and balances, light jumps, clean, lengthened lines, impeccable port de bras, and honest exuberance.

Young Dancers relaxing after Studio Company Class, Photo by Dalia Rawson, courtesy of ABT

Highlights of my time at the JKO School included watching a rehearsal for Balanchine?s Tarantella that boasted all the charm and fireworks one would expect from company soloists, and watching the pas de trois from Swan Lake; danced for an invited audience of school children with elegance and strong technique. I could have spent an additional week or more just watching Carmella Gallace, a former principal of the Moiseyev Company, teach character class. I furiously tried to scribble down her combinations so that I could incorporate some of her ideas into my own character classes, while watching her pass on to her students the secrets of maintaining a feminine port de bras and upper body while beating out complicated rhythms with the feet.

Brunilda Ruiz, Student Skyler Maxey-Wert, Franco De Vita, Paul Sutherland and Suzanne Daon, Photo by Dalia Rawson & courtesy of ABT

I returned to San Jose with a notebook full of combinations and cryptic notes, thankful that I had written down as much as I did, as I can?t for the life of me remember a single combination on my own. It has all become a blur of cap-sleeved leotards and pointed feet! But what remains clear is that the man who co-created the ABT National Training Curriculum is a rare master, the type of teacher you are lucky to come across once in a lifetime. The chance to train with one who so fully understands ballet technique is invaluable. I hope to one day achieve a similarly developed ability to pass on the technical elements of classical ballet to my students with a clarity that allows for the development of true artistry. I am left confident and inspired, and can?t wait for May 30, when Mr. De Vita and Mr. Lukens will come to our studios at Ballet San Jose School to work with our faculty and dancers! I am excited to see how we all will flourish under their guidance, and how we at Ballet San Jose School will benefit by implementing the structure of ABT?s National Training Curriculum.

Dalia Rawson

Principal of Ballet San Jose School and the Artistic Director of The Rawson Project Contemporary Ballet, Dalia Rawson was recently awarded a Fellowship by the New York Choreographic Institute. She founded The Rawson Project in 2010 in order to support the creation of new works that fuse classical ballet technique with a contemporary aesthetic.

As a dancer, Rawson performed a wide variety of leading roles with Ballet San Jose, (formerly Cleveland Ballet), from 1991 through 2006. Rawson?s choreography has been performed both by Ballet San Jose and the Ballet SJ School, and for her own company she has created a repertory of award-winning ballets that showcase the virtuosity, expressive range, and extreme lines of classically trained dancers in edgy and original dances.

Tags: ABT?s National Training Curriculum, american ballet theatre, Ballet, brunilda ruiz, Carmella Gallace, dalia rawson, Franco De Vita, Jacqueline Kennedy Onassis School, keith roberts, Moiseyev Company, paul sutherland, Raymond Lukens, suzanne daon

Source: http://www.4dancers.org/2012/05/three-days-at-abts-jacqueline-kennedy-onassis-school/

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Truth rating: 0

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3:57 pm, May 16th, 2012

(GettyImages.com)

This is an odd one.

Star magazine claims Josh Hutcherson is harassing Jennifer Lawrence, his co-star in The Hunger Games.

The tabloid explains that Hutcherson is ?still trying to boost his celebrity status,? so he?s supposedly ?chasing? Lawrence.

?He?s really p-ssing her off,? alleges a Star ?source,? adding, ?He harasses her to go to dinner, and it stresses her out. And he gets annoyed when she turns him down.?

Hmm.

We know scandal-starved rags like Star want real life to be as conflict-oriented as The Hunger Games ? but allegations that Hutcherson and Lawrence?s friendship is actually some weird, ugly power play really belong on the fiction shelf.

A source close to Hutcherson tells Gossip Cop it?s ?the most ridiculous thing I have ever heard?

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Source: http://www.gossipcop.com/josh-hutcherson-harassing-jennifer-lawrence/

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Call in the indie brigade. Bill Murray, your all-time favorite person, has done something even stranger than reading poetry to construction workers: He’s posing in a fashion (!) magazine.

Promoting his upcoming role in Wes Anderson’s newest flight of fancy, “Moonrise Kingdom,” Murray, alongside his on-screen co-star Kara Hayward, dressed up in a spacesuit and a too-short tuxedo for Harper’s Bazaar.

However, the star stays mum throughout the article, which focuses on Anderson and his twee takeover. The director explains that despite his instantly recognizable style, this is not a conscious thing. “I don’t make an effort to have any style,” he told the magazine. “I make an effort to tell the story, get in as many jokes as we can, make it visually interesting and moving — or whatever I can do.”

As for “Moonrise,” despite its glossy look, it’s a film about young love. “When you’re that age,” he said of the two star-crossed protagonists, “falling in love takes over your whole life.”

“Moonrise Kingdom” starring Bruce Willis, Edward Norton, Murray, Hayward, Tilda Swinton, Frances McDormand, Jason Schwartzman and Jared Gilman, hits theaters May 25.

You can check out two of the photos below. For more, click over to Harper’s Bazaar.

[via Harper's Bazaar]

PHOTOS:

Source: http://news.moviefone.com/2012/05/16/moonrise-kingdom-bill-murray-harpers-bazaar_n_1521514.html

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ORANGE COUNTY!
We?ve teamed up with the good people of Collaborative Media once again this Saturday @ Detroit Bar in Costa Mesa. All the way from the UK, we bring you the bassline aficionado SINDEN ? making a stop on his Grizzly tour. Supporting him will be our very own BONES, along with Mad Decent?s The KiD and Collab Media?s Fuss. This one is gonna get bonkers, so make sure to get your tickets now and get there early! We?ll be giving away tickets this week on our GDD facebook page, so be on the lookout!

BUY TICKETS HERE

LOCATION:
Detroit Bar
843 W. 19th St. Costa Mesa, CA 92627
? Saturday, May 19th
? 10:00pm-2:00am
? 21+
? $10 Presale

TUNAGE:
Willy Moon ? Yeah Yeah (Sinden Remix) FREE DOWNLOAD by Sinden

Sinden ? Keep It 1000 by Sinden

Source: http://www.gottadancedirty.com/2012/05/15/collaborative-media-x-gdd-present-sinden-w-bones-detroit-bar-519/?utm_source=rss&utm_medium=rss&utm_campaign=collaborative-media-x-gdd-present-sinden-w-bones-detroit-bar-519

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Ethan Miller, Getty Images

Almost three years after being knocked to the ground while performing at the Tony Awards, Bret Michaels has settled a lawsuit with the show?s organizers and the network. While the terms were not made public, Michael?s attorney indicated the singer was pleased that the affair was over.

?Mr. Michaels would like to thank his fans for their continued support,? attorney Alex Weingarten said, according to Blabbermouth. Watch a video of the incident in question below. Michaels says that fall caused a broken nose, three stitches to his lip and eventually led to the near-fatal brain hemorrhage he suffered in 2010.

?Through his sheer will to live, to see his children grow up, [he] was able to survive this trauma,? the lawsuit states.

Initially Michaels didn?t seem motivated to sue, telling People that he felt the performance ? which was part of a ?Rock of Ages? production ? was an honor for him and Poison. When the song ends, his bandmates hop back on stage, while Michaels lingers a little too long in front of the stage and gets clobbered by a piece of set coming from the rafters. From there it?s a matter of he said, she said. Michaels says he wasn?t given proper instructions, organizers say he missed his mark.

To his credit, Michaels was only looking for attorney fees, compensatory, incidental, special and consequential damages for the incident. Reuters points out that he didn?t ask for punitive damages, which is where the big money could have been made.

Watch Bret Michaels? Tony Awards Accident

Source: http://ultimateclassicrock.com/bret-michaels-settles-lawsuit/

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Kevin Winter / ShowBizIreland, Getty Images

Earlier today (May 15), we gave you our review of Tom Cruise?s version of Def Leppard?s ?Pour Some Sugar on Me? from the upcoming movie ?Rock of Ages.? We may not have thought it was that great, but we believe in fairness, so we?re going to let Cruise tell his side of the story. A new interview with the star reveals what it was like for him to perform the song with the cameras rolling?and Def Leppard in the crowd.

?I was down in Miami, recording different songs,? Cruise told Playboy (link NSFW). ?And [director] Adam [Shankman] called and said, ?Def Leppard?s coming by the set.? I said, ?Man, that?s cool.? Then I paused. ?Wait, I?m rehearsing their song tomorrow.? And he?s like, ?Yeah!? [laughs] So we started right in the deep end, and that was the first scene I shot in the movie?They went to the back of the Bourbon Room, and I looked at my band and was like, ?Hit it.? All the crew was watching them watching me.?

Although Def Leppard attended the set hoping to poke fun at Cruise, they were pleasantly surprised by what they saw and heard.

?[T]he lead singer, Joe Elliott, points at me and goes, ?F? you! F? you!? Cruise continued. ?Then I saw big smiles on their faces, and I realized I?d gotten their stamp. It was a very cool moment. It was important they knew I was honoring their music and not making fun of them.?

Source: http://ultimateclassicrock.com/tom-cruise-talks-about-singing-def-leppard-for-rock-of-ages/

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