Singer Joyce Villa wore a ‘Make America Great Again’ gown.
Scandalous dresses on the Grammys red carpet aren’t what they used to be. It wasn’t deep cleavage or a thigh-high leg slit that had tongues wagging about singer Joyce Villa on Sunday night. It was her red, white and blue gown emblazoned with “Make
America Great Again” in front, and “Trump” across the train.
It’s a controversial statement coming from an artist in an industry that’s largely in opposition to the new president’s social policies, not to mention from a woman who identifies as bi-racial.
[In other words, The Hollywood Reporter finds it shocking, and controversial for the President of the United States to receive public support from a non-white entertainer]
The singer-songwriter, who goes by the name Princess Joy Villa, teased the ensemble on Instagram with a photo of a heart-shaped clutch and a caption stating, “My whole artistic platform is about LOVE. I couldn’t be where I am today without the love and tenderness of those beautiful supporters and friends around me.”
Villa went on to say, ”I hope you enjoy tonight’s #grammyawards2017 and remember to forget your problems and focus on the future! You are infinite and beautiful and no one can stop you but you. Read the rest of this entry »
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UPDATE: Miley Cyrus’ porn film pulled from NYC festival
Tim Donnelly writes: For a while now, Miley Cyrus has been inching closer to pornography with her increasingly revealing outfits and scandalous dance moves. Now she’s going to appear in an actual pornography festival.
Miley ain’t so wild after all. After the Post and other outlets reported Monday the singer had submitted a film for the first-ever NYC Porn Film Festival, her representatives have had the film removed from the Bushwick event and its website…(read more)
Cyrus’s short film, “Tongue Tied” — which depicts the almost-nude “Wrecking Ball” singer in bondage gear and sexually suggestive poses — will appear in the NYC Porn Film Festival, which begins in Bushwick on Feb. 27.
“It’s not pure pornography — the video has no sex, and though she writhes around in her underwear, she keeps her nipples covered. But it’s full of bondage imagery: Cyrus dons a blindfold, has her legs constrained by straps and is tied to a chair with only black tape covering her nipples.”
“It’s a pop take on S&M,” festival founder Simon Leahy says. “She’s starting to become more of a contemporary artist.”
Warning: Video NSFW
The video was released online in May, and Cyrus used it during her shows on her Bangerz Tour last year.
“It’s a touch ‘Fifty Shades’ with a pinch of Madonna’s ‘Justify My Love’ video.”
Leahy says they contacted Cadence, the production company that made the film with director Quentin Jones. Read the rest of this entry »
Todd McCarthy writes: Mike Nichols is such a great talker, my first desire after reading The Hollywood Reporter’s current skipping-stone account of his theatrical directing career is to buy his own 20-disc recording of the autobiography he unfortunately hasn’t written yet.
My second desire is to see Death of a Salesman before it closes.
My third is to know: Who is Mike Nichols?
As Meryl Streep attests, he always is “the smartest and most brilliant person in the room.” I spent a couple of hours with him many years ago, a memorable encounter that directly led to my first job in Hollywood — as assistant to his former partner, Elaine May. At the time, Nichols was preparing to direct the film version of The Last Tycoon, a project that eventually passed to his self-proclaimed idol, Elia Kazan, while Nichols moved on to The Fortune. This sequence of events didn’t work out well for either of them; it was the end for Kazan, and Nichols didn’t direct another dramatic feature for nearly a decade.
Nichols’ best films, in order:
ANGELS IN AMERICA (2003) Nichols’ distinct talents for stage and screen merge perfectly in this superlative adaptation of one of the great American epic plays. Jeffrey Wright and Al Pacino are out of this world in it.
CARNAL KNOWLEDGE (1971) With a terrific Jules Feiffer script (originally written as a play) and a bold visual style, this bracing study of men’s attitudes toward women is probably the director’s most probing, self-revelatory film.
THE GRADUATE (1967) Still funny and sharp-edged after all these years, it’s one of the great zeitgeist films of the ‘60s or any other era, caricatured, perhaps, but with truth and insight to support it. Dustin Hoffman and Anne Bancroft are simply sensational.
WHO’S AFRAID OF VIRGINIA WOOLF? (1966) Richard Burton remains the standout in Nichols’ vibrant and vital adaptation of one of the seminal American plays, with Haskell Wexler’s mobile, unflattering black-and-white cinematography still a marvel.
WORKING GIRL (1988) This key female empowerment comedy is sheer enjoyment, plain and simple, with Nichols displaying his great skill with actors by making everyone in the variously talented cast look equally good.
And therein lies the first mystery. Why did this golden boy, who had conquered improv, recording, cabaret and Broadway by his early 30s, won an Oscar for his second film and batted .750 in his first four times up to the plate — with Who’s Afraid of Virginia Woolf?, The Graduate and Carnal Knowledge all going for extra bases while Catch-22 was a deep fly out to left — suddenly flatline, lose “The Knack” (also the title of a play he successfully directed in the early 1960s) and retreat to Broadway? Read the rest of this entry »