Celebrity

L. A. Lakers star Nick Young is finally stepping in to the war between his GF Iggy Azalea and Snoop – calling the rapper a loser who’s going through a “midlife crisis. “Snoop has been tormenting Iggy for days – first making fun of the way she looks without makeup … . then comparing her to Marlon Wayans in “White Chicks. “ Iggy fired back – tweeting at Snoop that she didn’t understand why he was being so mean to her. She also posted a pic comparing him to a “drugged out” old woman. “Snoop responded to that… with a video in which he called Iggy a b*tch and a *c**t” – and warned her “n**ger” to keep her in check. Finally, Young decided enough was enough – and joined the fight on Twitter… writing, “Ain’t nobody worried about no SnoopLion . . This dude Just goin thru a midlife Crisis. “He added, “You Go get convertible yet . OG’s out here losin. “Young also posted another tweet seemingly directed at Snoop – saying, “ These old heads turnin into sucka’s. “We’re guessing this war is far from over. Source link

Famous exes Mindy Kaling and B. J. Novak went out for dinner Sunday night in Hollywood … which wouldn’t be a big deal – they’re still friends and co-workers – except that she just told the world B. J. ‘s her dream guy. Sooo… reuniting?Our photog saw them at Katsuya, but neither wanted to talk. They did drive off together though. The former “Office” co-stars dated ten years ago, and Kaling recently told Howard Stern she was heartbroken when he called it off… and would have married him, had he asked. They’ve remained good friends since the break-up – and B. J. has been an executive producer on “The Mindy Project. “ But does her revelation turn friendly dinners into awkward ones? BJ’s already called their relationship “complicated. “That seems like a huge understatement now. Source link

There had been a lot of speculation on who Miley Cyrus is dating ever since she mentioned in an interview that she was no longer single. And on the top of the list of possible boyfriends was her ex Liam Hemsworth, who Cyrus first met on the set of the movie ‘The Last Song’. The couple were together for over a year until they called it quits in August last year. Now, a source close to Cyrus has told HollywoodLife.com that the ‘Hannah Montana’ actress is indeed back with Hemsworth and her parents calling off their divorce played a huge part in the couple getting together. The source is quoted saying, “Miley is so thrilled at her parents reconciling, and it made her stop and think, and realize that Liam is someone special in her life. Their feelings for each other never stopped, and now that their schedules are better suited for each other, they have been able to work it out. “The person also added, “Plus her parents trust Liam. “When asked if Cyrus and Hemsworth were really back together or if they were just close friends, the person replied, “They started talking more at the same time Miley’s parents were mending things. They started getting back together around Valentine’s Day and are now back on as boyfriend and girlfriend. “Things seem to be going well for Cyrus who recently got back on the social networking site Twitter after she closed her account in 2009 claiming it interfered too much with her private life. But with all the good news comes the bad. An inflatable Miley Cyrus sex doll named “Finally Mylie” from Pipedream Products has reportedly become such a hot ticket item that stores can’t meet the demand. Source link

<h2>Three Acts Two Dancers, One Radio Host is a modern dance show staring Ira Glass and Monica Bill Barnes in New York with batons, bubbles, disco balls, tinsel and public-radio personalities.</h2>Things not usually found in a modern dance show in New York: batons, bubbles, disco balls, tinsel and public-radio personalities. But those and other sparkly accouterments were on hand recently in a Brooklyn studio where the dancers Monica Bill Barnes and Anna Bass, in Rat Pack-style suits one minute and slinky sequin gowns with sneakers the next, rehearsed for the New York premiere of their show “Three Acts, Two Dancers, One Radio Host,” at Town Hall, Sept. 10 to 12. And in the role of the radio host is Ira Glass, of “This American Life,” the popular hybrid of storytelling and journalism that has been a longtime staple of public radio. When Mr. Glass arrived for the run-through, he was informed that the finale would include a lot of confetti, to which he responded, “I welcome that.”

This unlikely collaboration is consistent with the untraditional path Ms. Barnes has taken as a choreographer and director over the past 15 years. “I don’t feel like I’ve ever been a perfect fit in the dance world,” she said recently at a Chelsea cafe. “I want to make something that’s hard to define, that blends things that aren’t usually blended.” And, in the process, “I do want to reach an audience outside of a typical dance audience. “She has done so with a singular style that is equal parts theater, movement, comedy, vaudeville, clowning and spectacle. Think of Buster Keaton in Vegas. It’s also unapologetically human and refreshingly relatable, which is what captured Mr. Glass’s attention.

The two met in a peculiar reversal of roles at a bar in 2011 at a competition modeled after “Dancing With the Stars.” She was speaking a lot, as a judge, and he was dancing, as a contestant. A few months later, he attended a performance of Monica Bill Barnes and Company. “I had never seen anything like it,” Mr. Glass said in a recent phone interview. “And I had never had this experience at a dance show.” A self-described “low-level occasional dancegoing member of the public,” he identified a shared DNA between Ms. Barnes’s work and his show: an unabashed desire to entertain paired with a drive to document the genuine feelings and awkward moments of life. He wrote her a note saying as much, which led to mini-projects, like a guest spot on one of the occasional live broadcasts of “This American Life.” Radio listeners kept asking about the dancers, so eventually he proposed joining them on tour and conducting a post-show interview. Ms. Barnes had a different idea. “She said, ‘I think we should put more of you in the show,’ ” Mr. Glass recalled. “And she came up with Three Acts, Two Dancers, One Radio Host where we would combine dance and radio stories in an integrated way.” The result, first trotted out in miniature form at Carnegie Hall in 2013, has been morphing and popping up sporadically in cities across the country for the past year – what Ms. Barnes called its “preview period.”

The Town Hall version of Three Acts, Two Dancers, One Radio Host has been chiseled down to a tight 90 minutes, which is lean considering that the entire archive of Mr. Glass’s radio stories and 11 years of steps and stumbles generated by Ms. Barnes and Ms. Bass were initially fair game as show material. It could have turned into something of a greatest-hits collection. Instead, like a classic “This American Life” segment, it took an unexpected detour, much to the participants’ surprise. “When we really found the heart of the show was when we started to understand that it’s essential that the show at some point take a turn toward being personal,” Ms. Barnes said. “It’s a self-reflective show. It doesn’t shy away from us revealing real parts of ourselves and not the real pretty parts. “Naturally, Mr. Glass is the right man for inviting those kinds of confessions with his ability to pose piercing questions in casual, almost innocent, ways.

In two poignant moments in the show, excerpts from interviews that Mr. Glass conducted with his co-stars provide the soundtrack to their dancing, imbuing otherwise neutral movement with layers of melancholy and the suggestion of mortality. To the soft-spoken Ms. Bass, he asks what it’s like to dance beside a presence as dominating as Ms. Barnes; to Ms. Barnes, who is 41, he forces her to grapple with age and the longevity of a dance career. It’s a comfortable position for Mr. Glass – asking the questions. But to be a full participant in this show, he realized that he would have to share part of himself as well, something he has always resisted on “This American Life. “What I say is so much more personal than the way I talk on the radio, and that’s such an amazing experience to have,” he said. “It’s something that I would never do in any other context. I was surprised by how good it felt to be onstage and speak so personally.” Of course, it’s a show grounded in movement, and Mr. Glass doesn’t just talk. But the players remain coy as to how he participates choreographically, because it’s part of the show’s arc. To say more would be a spoiler. The Glass association, for a small company that has long been operating on the fringe of the dance world, has catapulted Ms. Barnes, Ms. Bass and their team of designers and managers into a new realm of visibility. With scheduled tour dates through the end of 2015, and with the fees that Mr. Glass commands and shares, it has also given them a financial stability they haven’t had before. In a departure for Ms. Barnes, “Three Acts” is self-produced, and that freedom is inspiring an organizational shift from a traditional dance nonprofit to a production company, complete with all the creative control – and all the financial risk. (It’s a leap Mr. Glass knows well, having recently taken “This American Life” independent after 17 years of distribution by Public Radio International.)”The growth has been incredible,” Ms. Bass said. “We’ve expanded in so many ways as a business, too. It’s been an amazing year figuring out what type of company we want to be.”

The growth has bred an appetite for bolder projects: an Off Broadway show is in the works, yet another departure from the conventions of contemporary dance. But the most significant aspect of the Glass collaboration for Ms. Barnes is the opportunity to put her work in front of so many people, hear them laugh, and find that it does connect with a general audience, as she had always hoped. “To have the work resonate in that environment has given me an incredible clarity about our path forward,” she said. “It’s affirming.” Source link 

Entering his sixties, the No Wave pioneer seduces while retaining an experimentalist’s edge. Musically restless guitarist and songwriter Arto Lindsay has been elusive in the years since a string of surprisingly seductive Brazil-based solo LPs ended with 2004’s Salt. He did take over Times Square for an instant in 2009, mounting a one-night “parade” whose Ministry of Silly Walks-like choreography left tourists beaming with “only in New York” amusement. But proper concerts have been scarce in the city where he made his name in the ’70s and ’80s, both as a pioneering No Waver in DNA, and in sideman gigs with the Golden Palominos and John Lurie’s punk-jazz combo The Lounge Lizards. The past year, though, has afforded fans a spate of very different views of the artist, ranging from a solo guitar show at The Kitchen – where the emphasis on noisy abstraction was foreshadowed by the bowl of free earplugs near the door – to an edgy trio performance in Brooklyn this April, at which promoters inexplicably truncated his headlining slot to approximately 20 minutes. Now, with the two-CD Encyclopedia of Arto Lindsay out on Northern Spy - it pairs a disc-long live recording with highlights from the solo years, and is hugely welcome despite being not at all encyclopedic – Lindsay seems ready to reengage with his New York audience. At Le Poisson Rouge Tuesday night, he greeted a packed room with a quartet that clearly enjoyed itself, wordlessly sharing inside jokes and engaging listeners where the April show had been confrontational. Adding Paul Wilson on keyboards and electronics to the previous show’s trio lineup (with Lindsay’s longtime bassist Melvin Gibbs and Kassa Overall on drums) changed the vibe substantially, rounding out the group’s sound and emphasizing danceable grooves. (Had the closeness of the room not prevented it, there were several points at which a dance party might’ve broken out.) The fourth band member also helped solidify sometimes fluid arrangements: In the larger group, Overall seemed less inclined to relax his pace when the singer went languid, floating in eddies atop a current that kept moving forward. Many songs that, at the Kitchen, had translated into challenging knots of abrasive guitar were here even more organic and easygoing than they were on record. Wilson rarely used his electronics to sample bits of original productions – on “Personagem,” for instance, there was no sign of the splintered, half-shouted poetry that once offset Lindsay’s singing. And the guitarist’s noisy outbursts were deployed sparingly, sometimes less as a solo than for structural effect: On “4 Skies,” which began with a quiet piano line, the eventual introduction of distortion was like a cloud finally bursting with rain. Relaxed and friendly even when he teased the audience (as he did when a couple groped each other distractingly just a few feet in front of him), Lindsay seemed to enjoy himself fully. He nearly wooed the crowd, crooning “Beija Me” and “Ate Quem Sabe?” (a Joao Donato / Lysias Enio song once recorded by his sometime collaborator Gal Costa) as if he were in a Rio nightclub circa 1962. Though the sexual content of his own songs tends toward the oblique, Lindsay frequently chooses more explicitly lascivious material to cover. Here, the surprising choice of Raphael Saadiq’s “Still Ray” (“I’m coming home to you/Wear something see-through”) followed a tune the singer has performed for years to great effect: Prince’s “Erotic City” was sly here, with Gibbs offering a blaxploitation bass line as the singer dryly appraised the audience, maintaining a neutral expression as he sang, “We can f– until the dawn/Making love till cherry’s gone. “At his most interactive, Lindsay seemed to direct the lyrical praise of “Simply Are” to specific members of the audience, and gave his numerous Brazil-centric numbers a conversational delivery that made even monolingual listeners feel they could temporarily speak Portuguese. On the occasions when these songs sped up, Overall’s playing starting to feel like a full Carnival drum section, one felt he could easily have gotten fans to march in formation out of the room, coursing down Bleecker Street in an audience-participation echo of that abstract procession he led around Times Square. He’s been creating such events in Brazil (where he lived as a child) since 2004. Maybe it’s time for him to bring that action to his old stomping grounds in downtown New York?Source link

Robert Wagner and his silk suits and Stefanie Powers with her teased hair, were at the center of the 80s mystery series Hart to Hart remember meeting.

Long before Robert Wagner donned his finest silk suit and Stefanie Powers teased her hair up to astronomical heights, the duo at the center of the 80s mystery series Hart to Hart met under very different circumstances.

EW’s special Hart to Hart correspondents Adam Scott and Amy Poehler sat down with Wagner and Powers, who shared the story of their first meeting which came long before they starred in the 1979-1984 series (plus eight TV movies!) while on the set of EW’s fourth annual Reunions Issue. Scott and Poehler who recreated the show’s opening credits for Scott’s Adult Swim special The Greatest Event in Television History, which airs its third episode on November 7 got the serendipitous scoop from the Hart to Hart pair, and even managed to score an invite to dinner.

Watch the exclusive clip below!

Hart to Hart

Tommy Morrison, the former heavyweight champion who stood toe-to-toe with Lennox Lewis and George Foreman and later tested positive for HIV, died Monday. He was 44.

Image Credit: Everett Collection

Tommy Morrison, the former heavyweight champion who stood toe-to-toe with Lennox Lewis and George Foreman and later tested positive for HIV, died Monday. He was 44.

Morrison died Sunday night at a Nebraska hospital, said Tony Holden, his longtime promoter and close friend. The family would not disclose the cause of death.

In 1993, Morrison beat Foreman to win the WBO heavyweight title, only to lose it to unheralded Michael Bentt in a defeat that scuttled a showdown with Lewis. Morrison would fight Lewis a couple of years later, getting knocked out in the sixth round in Atlantic City, N. J. Morrison, nicknamed “The Duke,” never reached the status of such contemporaries as Mike Tyson and Evander Holyfield, but it was surely a full career.

He was a prodigious puncher whose bid to fight in the 1988 Seoul Olympics ended at the hands of Ray Mercer, who later dealt Morrison his first professional loss. He had a starring role in “Rocky V” alongside Sylvester Stallone. And perhaps most memorably, Morrison tested positive for HIV when the virus still carried a significant stigma, only to declare later the test was false.

Along with numerous legal issues, including a prison sentence that stemmed from weapons and drunk driving, Morrison’s name became attached to headlines that would eventually overshadow his work in the ring.

“If Tommy was fighting today, he no doubt would be a world champion,” Holden said. “You have to look at who he was fighting in the `90s, the guys in that division were Tyson, Lennox Lewis, Riddick Bowe, Ray Mercer, George Foreman. There’s no one with that talent today. Tommy would absolutely dominate if he were in his prime boxing today. ”

Morrison won his first 28 professional fights, beating faded champions such as Pinklon Thomas along the way. His career reached its apex in the summer of 1993 with a unanimous decision over Foreman, then in the midst of his comeback, to claim a vacant title.

As with so many things in Morrison’s life, the good was quickly followed by the bad. By February, Morrison had tested positive for HIV.

He’d been preparing for another fight that winter when his blood test came back positive for the virus that causes AIDs. Morrison’s license was quickly suspended by Nevada, and the ban was, in effect, upheld by every other sanctioning body. Morrison said at a news conference he’d never fight again, blaming his plight on a “permissive, fast and reckless lifestyle. ”

His lifestyle never changed, though, even when he stepped away from the ring.

In 1993, when he pleaded guilty to assaulting a college student. He also dealt with weapons charges and multiple DUI incidents over the years. He was finally sentenced to two years in prison in 2000, and another year was added to his sentence in 2002 for violating parole.

When he was released, Morrison said his HIV tests had resulted in false positives, and he wanted to resume his career. He passed medical tests in Arizona – even as Nevada stood by its decision – and returned to the ring.

Morrison invited the New York Times to test him for HIV in 2007.

That test, as well as two others for the sports sanctioning body in West Virginia, supported Morrison’s assertion that he did not have the virus, the Times reported, although there was some doubt as to whether the blood provided for the tests was in fact Morrison’s blood.

Morrison got in the ring two more times, once in 2007 in West Virginia and once in 2008 in Mexico, earning TKOs against lesser-known opponents.

His wife, Trisha Morrison, whom he married in 2011, said in a recent interview with ESPN.com that Morrison had Guillain-Barre Syndrome, not HIV.

Regardless, after the 1996 positive test, Morrison became a spokesman for a time for AIDS awareness and safe sex, creating the KnockOut AIDS Foundation. He finished his boxing career with a record of 48-3-1 with 42 knockouts.

Fred Willard will be allowed to enroll in counseling courses to resolve a lewd conduct arrest that cost the actor a television job.

The Los Angeles City Attorney’s Office determined Friday that Willard’s case was eligible for a diversion program that will keep him from being formally charged with lewd conduct if he completes the required courses, said spokesman Frank Mateljan.

Willard, best-known as the announcer in the film “Best in Show,” was arrested Wednesday night on suspicion of committing a lewd act. He was taken into custody by police doing a routine check at a Hollywood adult theater.

Hours later he was fired as the narrator of “Market Warriors,” a show produced by Boston public television station WGBH.

The actor will pay $380 for the diversion program, which is run by a private vendor and may include sessions on decision-making and sex-related crimes. Mateljan said the program will determine which components Willard has to complete. The decision was first reported by the Los Angeles Times.

Mateljan said the case against Willard is viable, and the actor could still be charged if he does not complete the diversion program.

Phone and email messages left for Willard’s attorney, Paul Takakjian, were not immediately returned. The actor said in a video posted Thursday by celebrity website TMZ that it was a misunderstanding and denied wrong doing.
Willard, 72, was nominated four times for Emmys for guest roles on TV’s “Modern Family” and “Everybody Loves Raymond.” In Pixar’s 2008 hit “WALL-E,” he voiced the character of Shelby Forthright, the CEO of a ubiquitous big-box chain called Buy’n’Large.

In addition to “Best in Show,” Willard has also appeared in other Christopher Guest mockumentary films, including “This is Spinal Tap” and “Waiting for Guffman. ”

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Christopher Nolan has spoken out about the horrifying events that took place at a midnight screening of his film, “The Dark Knight Rises. “

Christopher Nolan has spoken out about the horrifying events that took place at a midnight screening of his film, “The Dark Knight Rises. ”

“Dark Knight Rises” director Christopher Nolan has broken his silence on the shooting that took place at a screening of his film in Aurora, Co. In a statement which Nolan says is on behalf of the cast and crew of the film, the famed director expresses “profound sorrow at the senseless tragedy” and explains that “the movie theatre is my home. ”

Here’s his full statement:

Speaking on behalf of the cast and crew of The Dark Knight Rises, I would like to express our profound sorrow at the senseless tragedy that has befallen the entire Aurora community. I would not presume to know anything about the victims of the shooting but that they were there last night to watch a movie. I believe movies are one of the great American art forms and the shared experience of watching a story unfold on screen is an important and joyful pastime. The movie theatre is my home, and the idea that someone would violate that innocent and hopeful place in such an unbearably savage way is devastating to me. Nothing any of us can say could ever adequately express our feelings for the innocent victims of this appalling crime, but our thoughts are with them and their families.

TV networks announced Friday that they were pulling advertisements for the movie. Warner Bros., the studio behind the film, was reportedly editing the trailer to remove depictions of gun violence.

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Forget forking over the cash – or rather defrauded winnings – he raked in at a series of high stakes underground Hollywood poker games, Tobey Maguire says his gambling wins were totally legit. The ‘Spider-Man’ star’s sticky fingers sure are making a comeback – this time, in the court room. According to Radar Online, Maguire has filed a contradictory response to the lawsuit alleging that the money he won during his lucky streak with the card table sport was actually money a California hedge funder, Brad Ruderman, had illegally ‘borrowed’ from investors. A now incarcerated Ruderman created a Ponzi scheme in attempt to pay back his initial investors the money Maguire had won from him. The lawsuit seeks $300,000 in winnings to be returned to the suit’s trustees. So how is the former super hero going to get himself out of this one? Maguire insists that the underground ring was not a formal league of poker faced gentleman and denies that any ringleader (specifically a Molly Bloom who has admitted that she was in control of the structured ring of A-list gamblers) was ever appointed. Maguire “denies generally and specifically that Molly Bloom and/or Molly Bloom Inc., coordinated poker games, hired the dealers for the Poker Games, collected fees or arranged the Poker Games and arranged for the settlement of gambling winnings and losses between and among the players at the Poker Games,” his response detailed. But according to reports, the poker league was, in fact, a bit more organized than your average smoke-filled garage, card table setup. Players, among which Leonardo DiCaprio and Ben Affleck have also been named, met bi-weekly at the Beverly Hills hotel, Four Seasons or Viper Room to get their gambling on and often played in back rooms guarded by armed security. But Maguire does not seem to be budging when it comes to opening up his bulky wallet even though scammed investors are chomping at the bit to see their cash returned – let the battle begin!Source link