Celebrity Voting

Madonna

Madonna Is Considerate

Seeing as we’re in a global recession, Madonna has come under fire for charging so much for concert tickets. Her response was cute. NME reports:Madonna has shrugged off complaints that her live shows…



[[ This is a content summary only. Visit IDontLikeYouInThatWay.com for full links, other content, and more! ]]

View full post on IDontLikeYouInThatWay.com

Glee’ by a low-pitched numbers: Maxing out on Michael Jackson


Blaine (Darren Criss) shows off his MJ moves prior to the tragic slushie incident.
(Fox)
Tonight’s episode of “Glee” — a long-planned Michael Jackson tribute episode titled simply “Michael” — featured some of the most memorable dialogue in “Glee” history.

Take this line from Mr. Schuester, which followed the horrifying slushie attack on Blaine by the evil Warbler leader Sebastian: “In all my years as a teacher and a student, I have never known a slushie to do that kind of damage.”(Ah, William Schuester. Clearly you are unaware of the permanent brain damage suffered by Bart Simpson and Milhouse Van Houten following the Great Squishee Bender of 1993.)

The fact that Matthew Morrison uttered those words with a completely straight face was overshadowed slightly by the fact that he then said, with an equally straight face: “Unless you have proof that he tampered with the slushie, the police aren’t getting involved.”

But sugary frozen beverages — as delicious and occasionally dangerous to corneas as they might be — were not the point of this episode. The point of “Michael” was, of course, Michael.

For those keeping track, this installment marked the third time that “Glee” has devoted an entire episode to the music of a single artist, the first one being the “Power of Madonna” and the second the Britney Spears lovefest titled “Britney/Brittany.” Both of those episodes featured scattered plot lines engineered to include as many songs by said artists as possible; both also glorified their respective pop stars’ images to an absurd degree that, apparently, was required in order to secure the rights to use their music. “Michael,” I’m afraid, wasn’t much different.

Too many of the numbers paid such meticulous tribute to the King of Pop and his era-defining videos that they came across as nothing more than weak imitations. And in what has apparently become a “Glee” tradition, Jackson — like Madonna and Britney before him — was treated like a musical messiah whose teachings should be studied like the word of the Lord. (“WWMJD?” Mr. Schuester encouraged his charges to ask themselves. “Though I walk through the valley of the shadow of regionals, I shall fear no Warbler” … that’s in the Bible, right?)

Not every glitter-socked move was a misstep, though. So let’s assess all nine of the Jackson numbers — for the record, that’s one less than we got from Madonna, but two more than the Spears episode delivered — in this week’s “Glee.” Disagree with my take? Feel free to be startin’ somethin’ in the comments section.

“Wanna Be Startin’ Somethin’ ” — Blaine and New Directions



(Fox)

After the first of two references to the Cirque de Soleil show “Michael Jackson: The Immortal World Tour” — which, for the record, really is coming to Ohio in June — Blaine got his Jackson-esque crotch-grabbing on to lead the whole gang in a little bit of “Mama-say mama-sah ma-ma-coo-sah-ing.” The number was appropriately big and splashy, but musically, it sounded like all the funk had been drained right out of it. Darren Criss is in­cred­ibly talented, but the truth remains: you can put a white glove on Criss’s hand but you can’t make him Michael Jackson. Grade: C+.

“Bad” — New Directions vs. Warblers



(Fox)

No. 1: Leather jackets, cheerleading skirts and prep school uniforms do not mix. No. 2: Maybe Jackson just sets the bar too high, but this tune also sounded noticeably defunkified. No. 3: If there’s a street fight set to this song that does not involve Wesley Snipes, then I want no part of it. Grade: C-.

“Scream” — Artie and Mike

Call this an homage or call it a straight-up rip-off of the brilliant video for this ’90s Jackson hit. Either way, it lacked the energy and genuine aggression of the original Michael/Janet Jackson collaboration, although at least Kevin McHale and Harry Shum Jr. got to show off their dance skills. Speaking of which: I had no idea how easy it is to make Shum look like Janet Jackson. It’s all in the eyeliner and the spiky sweaters, apparently. Grade: C.

“Never Can Say Good-bye” — Quinn

This understated (by comparison) take on the Jackson 5 standard worked much better than every track that preceded it. Why? Because it took a great tune and adapted it to “Glee” instead of trying to out-Jackson Jackson. Sure, it was corny, but after “Bad” and “Scream,” it provided much-needed semi-cheesy relief. Grade: B-.

“Human Nature” — Mercedes and Sam

The “Summer Lovin’” sweethearts reconnected the way so many young couples do: by singing a duet about “sweet seducing sighs” while the nerdiest jazz ensemble on Earth provided accompaniment. They sounded good together, even if the whole thing ultimately left me asking: “Why? Why?” Grade: B-.

“Ben” — Kurt, Finn and Rachel

If the name Bill can be changed to Will during the “Glee” version of “Wedding Bell Blues,” then why on Earth couldn’t they change the name Ben to Blaine in this serenade to the Boy Who Survived a Rock-Salt Slushie Assault? Perhaps the Jackson estate wouldn’t allow it. That’s a shame. But given that the original song was technically about a boy’s love for a killer rat, was it that much weirder to see Kurt, Finn and Rachel sing it to a guy who isn’t named Ben and was wearing an eye patch and a pair of Cary Grant’s pajamas? No, especially not when it gives Chris Colfer an excuse to hit those “You’ve got a friend in me” high notes. Grade: B.

“Smooth Criminal” — Santana and Sebastian



(Fox)

Like all intense duels, the one between Santana (Naya Rivera) and the “Glee” version of Steff from “Pretty in Pink” (Grant Gustin) began with these words: “Cello guys, can you hang back for a second? I’m going to need you for this one.”

Good lord, what was going on here? If Santana and Sebastian have such dastardly tendencies, why did they keep hiding behind all those conference room chairs? Aside from paying tribute to Jackson’s ensemble from the “Smooth Criminal” video, would there be any logical reason for Santana to confront Sebastian while dressed like Jack Abramoff? And what the heck were those cellists so convulsively angry about? All I know is this: to borrow the sage words of Jay-Z, who has yet to inspire his own “Glee” episode, none of these people could bust a grape in a fruit fight. Grade: D.

“I Just Can’t Stop Loving You” — Finn and Rachel

Lea Michele — who was genuinely moving when she wept on Kurt’s shoulder over her seemingly NYADA-less future — sang this Jackson love song in the loveliest possible fashion with Cory Monteith. For a moment, I was even briefly on Finn and Rachel’s side when they agreed to marry as a result of this duet, even though that decision makes zero sense. Of course, the sweetness of this number barely lasted since Rachel eventually did receive that much-coveted NYADA finalist letter, proving once again that today’s high-schoolers simply do not have the patience needed to deal with snail mail. Grade: B+.

“Black or White” — New Directions

This was the part of the episode where the New Directions decided to take the higher road and let the Warblers use Jackson’s music in their regionals routine. (Because that’s what Michael Jackson would do.) And it was also the part where the New Directions showed the Warblers they are wayyyy better than the Warblers while simultaneously singing about how people should exist in peace and harmony. (Because, again, that’s what Michael Jackson would do.) Thankfully, the Gleeks avoided smashing any car windows a la the 1991 music video. Unfortunately, they did not avoid a round of facial morphing, a la the 1991 music video. Grade: C.

Madonna Pissed Off Elton John

Madonna won an award no one cares about. Except Elton John, because he lost it. So did his husband. On Facebook. Because apparently everyone involved is a 14-year-old girl. The New York Post…



[[ This is a content summary only. Visit IDontLikeYouInThatWay.com for full links, other content, and more! ]]

View full post on IDontLikeYouInThatWay.com

THEATER: Jackson bequest lives on in ‘Immortal’ Cirque extravaganza

There’s a moment in Cirque du Soleil’s “Michael Jackson the
Immortal World Tour” when the stage empties, the lights go down and
Jackson’s “I’ll Be There” vocal gets the room to itself.

It’s a quiet, emotionally charged scene in a production brimming
with razzle-dazzle, and Cirque’s aerial artists return to the stage
soon enough. But the message is poignant and clear: Jackson may not
be around to perform, but there’s still plenty of showmanship left
in the King of Pop.

The $60-million extravaganza arrives in San Diego on Saturday
for a two-day stop at the Valley View Casino Center (formerly the
San Diego Sports Arena).

“Immortal” is the first live project authorized by Jackson’s
estate since his 2009 death.

Montreal-based Cirque, known for its imaginative nouveau
circuses, already has boosted its pop-music credentials with
productions such as the Beatles’ “Love” and “Viva Elvis.”

But Jackson fits Cirque like a hand in a sequined glove: With
its whimsical spirit, attention to detail and high-flying elegance,
“Immortal” celebrates an artist known for his own endless
childhood, perfectionism and dreamy idealism.

For fans who have spent decades burrowing themselves into
Jackson’s music on headphones and dance floors, the hits-filled
“Immortal” offers a different sort of escapism.

The show is less a biography than a series of loosely linked
scenes intended to “get inside of Michael’s head and experience the
world through his eyes,” said director Jamie King, 39, who was a
dancer on Jackson’s 1992 “Dangerous” show and went on to helm tours
for acts such as Madonna.

King recounted the yearlong creation of “Immortal,” Cirque’s
first concert-style show. The 40-truck tour caravan —- three for
costumes alone —- rivals the scale of mega-tours by Madonna and
Roger Waters.

“Everything he did in performance was already so big. He made it
so magical,” King said. “So with this collaboration, I had the
opportunity to really take it to another place, an even bigger
spectacle.”

The show is a feast of MJ imagery: An animatronic child Jackson
glides across the arena in a hot-air balloon. A costumed performer
plays Bubbles the chimp as a club DJ. Dances and costumes from
iconic videos such as “Thriller” and “Beat It” are rendered live.
The props are massive, the details exacting —- down to the
outfits studded with Jackson’s favorite Swarovski crystals.

There are no Jackson impersonators, though a face-painted,
break-dancing mime is a frequent onstage front-man.

The set draws inspiration from the star’s Neverland Ranch, in
particular, the backyard oak —- the Giving Tree —- where
Jackson retreated to write songs. A tree mockup is the set’s
sprawling centerpiece, a versatile hub for the 52 dancers,
acrobats, contortionists and aerialists.

Several elements designed for Jackson’s ill-fated 2009 concerts
are intact, including illuminated track suits for “Billie Jean” and
videos for songs such as “Smooth Criminal.” (Jackson died of an
accidental drug overdose in the final weeks of rehearsal for his
London concerts. His physician was recently found guilty of the
crime.)

At the heart of it all is Jackson’s voice, featured in
surround-sound with a live ensemble that includes several players
from his old concert bands, including conductor Greg
Phillinganes.

In association with the tour, Epic Records released in November
an “Immortal” companion album, produced by show music designer
Kevin Antunes. Like the show, the album features vocal tracks from
Jackson’s original session tapes, wrapped in new musical
arrangements.

That meant cracking open some of the most valuable master tapes
of the 20th century.

“It was a little tough,” said Epic chief L.A. Reid. “These tapes
are precious, and it’s not something you tamper with lightly. But
the integrity of the songs is still intact. None of us can know
what Michael would or wouldn’t like, but my guess is that he would
love this.”

Behind the scenes at Cirque’s headquarters in Montreal,
Jackson’s imprint was inescapable. Dancers born years after
“Thriller” talked of the honor in representing him. Longtime
colleagues spoke in reverent tones.

If this isn’t a Michael Jackson tour, it’s the closest you’re
going to get. A family-reunion vibe dominated backstage, bustling
with MJ associates such as choreographer Travis Payne, props
designer Michael Curry and costume designer Zaldy Goco.

“Immortal” was born of mutual inspiration in 2010. As Jackson’s
estate brainstormed live-show concepts, the call came from Cirque
head Guy Laliberte, who wanted to create a Jackson spectacular.

Cirque and Jackson were no strangers. The singer had been a fan
since the company’s first L.A. tent show in 1987, and he even
toured the Montreal headquarters in 2003. He took his kids to see
Cirque’s “Mystere” in Las Vegas a year before his death.

Still, the estate had its own conditions —- namely, that the
show emphasize dance and enlist some of Jackson’s creative
associates.

“We had a lot of confidence in Cirque. They’ve created some of
the best shows ever made,” said estate co-executor John Branca.
“But Cirque also has a lot of shows, and we wanted to make sure
this was going to be a Michael Jackson show.”

Fifteen die-hard fans from around the world were invited in for
feedback as the show progressed.

The result: a production that is likely to satisfy the most
discerning devotees while pleasing mainstream fans.

And you can thank a body of work that just might be, well,
immortal.

“Michael lives on. His spirit lives on,” King said. “He’s here
with us. Maybe not physically. But certainly his influence, his
energy, will never die.”

 

Madonna Hates Lady Gaga

Imitation is the sincerest form of flattery. Madonna does not give a shit — just ask her about “Born This Way.” Us Weekly reports:”I thought, this is a wonderful way to redo my song ["Express...



[[ This is a content summary only. Visit IDontLikeYouInThatWay.com for full links, other content, and more! ]]

View full post on IDontLikeYouInThatWay.com