gimme more

OK, I recognize that Britney worked her butt off on her Femme Fatale tour, but where was the star on TV? In February, I wondered why Britney had made so few public appearances when she was about to release a new album, and while we did eventually see her perform on a handful of shows like "Good Morning America," her promo schedule was nothing compared to those undertaken by Gaga, RiRi or Justin Bieber. Now that Britney is reportedly engaged and will take some time off, it’s highly likely we won’t be seeing much of the 30-year-old in 2012 either. We miss hearing from you, Britney! How about another MTV “For the Record” documentary when you release your next album?

http://newsroom.mtv....-stars-of-2011/ 

sempre lembro que tenho um blog. falta disciplina pra escrever aqui.

Never say no to Panda!

Tom Felton está no Rio para divulgar o último filme da saga Harry Potter

O Dia - Do que você mais sente falta?
Tom Felton - O que eu mais vou sentir falta, vai ser das pessoas. Já estou sentindo saudade. Menos o elenco, mais a equipe. São pessoas que eu via sempre nesses dez anos e eles fazem um trabalho incrível. Na verdade, os atores levam crédito demais. A gente não faz nada na verdade. A gente fica lá por cinco minutos. Os caras por trás das cenas é que fazem tudo.

the best food

Nick & Sam's Steakhouse, Dallas, TX

+ circus tour

fotos durante a circus tour, nos bastidores.
felicia encontrou a britney!!!

barber's pole :)

The origin of the red and white barber pole is associated with the service of bloodletting and was historically a representation of bloody bandages wrapped around a pole. During medieval times, barbers performed surgery on customers, as well as tooth extractions. The original pole had a brass wash basin at the top (representing the vessel in which leeches were kept) and bottom (representing the basin that received the blood). The pole itself represents the staff that the patient gripped during the procedure to encourage blood flow.

Barbers, being medieval surgeons, would be present at the birth of a child, and were there to cut the umbilical cord—a red (artery) and blue (vein) on a pale colour umbilical cord was passed to the parents by the barber after the umbilical cord had been cut, and this blue/red/pale tube or pole became the Barber's pole, and the symbol of the pole represents a freshly cut umbilical cord.
Others opine that the red, white and blue format in the United States may be an homage to the colours of the flag.

In some parts of Asia, a red, white and blue barber pole is used as a symbol for a brothel. While prostitution is illegal in many parts of Asia, laws against it are often not enforced to the degree that all public solicitations for it are eliminated. The barber's pole is used as a euphemistic way of advertising a brothel, thus reducing the likelihood of police intervention.

In South Korea, barber's poles are used both for actual barbershops and for brothels. Brothels disguised as barbershops, referred to as 이발소 (ilbalso) or 이용실 (iyongsil), are more likely to use two poles next to each other, often spinning in opposite directions, though the use of a single pole for the same reason is also quite common. Actual barbershops, or 미용실 (miyongsil), are more likely to be hair salons; to avoid confusion, they will usually use a pole that shows a picture of a woman with flowing hair on it with the words hair salon written on the pole.

meta

vou fazer a sean connery

Britney Spears, pictured shortly before her marriage to dancer Kevin Federline, proclaiming her love with a T-shirt with the words 'Mrs. Federline' across it. Although Britney did become Mrs Federline, the marriage was short-lived

meu harry :)

own, fofo e terrivel.

vamos reativar isso aqui, dona brit?
ha muito o que dizer e compartilhar. :)

hj assisti submarine. ...

as vezes sinto vontade de escrever sobre minhas experiencias, sobre sentimentos, tanta coisa. mas dai eu lembro que aqui naum eh lugar pra isso.

'Femme Fatale' is basically brilliant

Story filed Thursday, 10 March 2011

So the recent history of Britney is a bit like this: recorded by a detached superstar at the height of some rather desperate lows, 'Blackout' quickly established itself as Britney's surprise masterpiece. Britney's next studio album was 'Circus'. Despite an amazing lead single 'Circus' sounded like the work of a popstar who was involved too much and too little at the same time, the victim of the sort of absent-minded hands-on approach that does more damage than good. 'Circus' was not the sort of album Britney Spears should have been making. It was, quite simply, not very good. Well we had a listen to 'Femme Fatale' earlier. And here's the good news: 'Circus' feels like the work of a different artist. Here's the even better news: 'Femme Fatale' is another 'Blackout'. It's bursting with all that album's best bits - the slightly deranged production, the hard and dark spirit, the massive beats and the big tunes. And while it might be less of a surprise, as Britney is obviously pretty much back on top of things now, on first listen it might just be as much of a masterpiece. It's also a relief, because if 'Femme Fatale' had been a bit of a dog's dinner Britney-as-a-recording-artist would have been over.  To listen to 'Femme Fatale' we went over to Britney's label earlier tonight. The tracks only arrived in the UK at about 6pm, having been whizzed across the Atlantic via a spooky download link thing for internal use by Sony.  Here is what the album looks like on the Sony/RCA/Jive/whatever listening room computer thing.  For anyone amused by the apparently tokenistic dubstep breakdown in 'Hold It Against Me' - and the genre's trademark gloomwobble did rather seem to appear from nowhere then disappear back there just as abruptly - the big news from 'Femme Fatale' is that the foray into dubstep was more than just flirtation. There's dubstep in the DNA of this album. It's rarely as blunt as in 'Hold It Against Me'  - there's no "ooh look at me I'm dubstep" showboating - and 'Till The World Ends' is a far better indication of the album's sound. With some exceptions, this is a heavy, dark and dangerous-sounding Britney album. It's a sound you'll hear in 'Inside Out', one of various songs leaked so far in clip form. Even the will.i.am track 'Big Fat Bass', which sounded unbearable on first listen and seemed likely to reinforce will.i.am's reputation for turning in the worst tracks on otherwise amazing female-fronted pop albums - sounds great. We made notes on the songs one by one and had prepared the title 'Big Fat Pile Of Shit' in anticipation of this song starting but, halfway through, we'd crossed that out. It was surprisingly bearable partly because the second clip that emerged is a far better reflection of the track and partly because the rest of the album makes sense of it.  Lyrically - well, on the surface it's about what happens when you go out and what happens when you get back home, and beneath the surface it may well turn out to be that too. Pop right now doesn't really feel like it needs another set of songs about how great it is to a) go clubbing and/or b) have sex, and 'Femme Fatale' is preoccupied by both those topics, but it feels like Britney manages to sidestep the clublolz trap in the usually awful David Guetta sense or that sometimes awful Ke$ha sense. 'Femme Fatale' is an album with a perfectly defined sound and a clearly established personality. It's a club record in the same sense 'Blackout' was. It hangs together, it makes you feel like having a bit of a dance. It's playful. Gone are the slightly laboured, joyless moments of 'Circus'. Some tracks are fast and some are slow but the nearest 'Femme Fatale'-era Britney gets to a ballad is closing track 'Criminal' (clip here) which has the flavour of 'American Life'-era Madonna - the 'Intervention' and 'Love Profusion' sort of sound. Flute (FLUTE) and guitar are high in the mix here but with hefty, whalloping beats. To these ears it's a darkly comic song about a guy who's basically awful ("he's a killer just for fun fun fun") and whose various character flaws are described all the way through the verses until the chorus arrives with "but... Mama I'm in love with a criminal, and this type of love isn't rational, it's physical; Mama please don't cry i will be alrgiht, all reason aside I just can't deny, I love that guy". Typing those lyrics out it looks a bit bad. But it sounds great. Really great. And when the middle eight swings around we're in classic - and by classic we mean the 'Oops!' album - Britney territory. Coming moments before the album's end it's a brilliantly timed glimpse of the traditional tuneage that put Britney at the top of pop over a decade ago. It doesn't sound much like anything else on 'Femme Fatale', but what's interesting is that it doesn't jar either. Her new album may be stuffed with fantastically aggressive robopop but, at the end of the day, Britney's still Britney.  We'll be able to discuss the album in more detail in coming days via a track by track sort of review but the key points from this overview are: 1. No crap songs. And that, really, is all you need to know. Usual disclaimers apply: we heard it all the way through once, it might sound less amazing on repeated listens but, equally, it might end up getting even better.  This hasn't been a very well written review so apols for that but finally, if you're still reading, we would like to say a thing. From what we've heard from this album (which is the whole thing, bar deluxe edition bonus tracks) and from what we've heard of the Lady Gaga album, they are entirely different bodies of work with entirely different influences and objectives from two entirely different artists at entirely different stages in their respective careers. Between them they offer a fantastic account of pop music in 2011 and should be viewed as complementary, not contradictory. There is room for both. Let's all just try to get along.  And on that note why not pre-order the album here or purchase 'Till The World Ends' here? "Because I am a fool" is the only possible answer.

Read more: http://www.popjustice.com/index.php?option=com_content&task=view&id=5336&Itemid=206#ixzz1GFXywkEW

Britney Spears on Kenan & Kel (1999)

So, what are pyjama girls really like?

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• From Bristol to Dublin: Maya Derrington, director of the Pyjama Girls. Photograph: Eric Luke
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In this section »

• A flame of love never quenched
• On the wings of the Fringe
• Poets on the edge at Picnic and guerrillas in the midst of Tuam
• Oil rigs, dungeons, churches - do strange venues make better gigs?

DONALD CLARKE

They have been caricatured much in the media in the recent past, but a new documentary film looks sympathetically at the lives of working-class girls

THE SENSITIVE viewer could be forgiven for approaching Maya Derrington’s Pyjama Girls with caution. Over the last few years, the wearing of pyjamas outside the house has, for too many mainstream media outlets, become synonymous with social exclusion and loss of self-respect. To listen to the middle-class gripers on the radio, you’d think the donning of terry cotton nightwear is akin to horse theft or benefit fraud.

Happily, Maya’s fine documentary could not be less patronising. A young mother, originally from Bristol, Derrington admits that the initial spur was, indeed, a desire to document the current tendency for working-class girls to keep the jammies on all day. But, as work progressed, the picture developed into a genuinely touching, unusually warm study of two teenage Dublin girls from Ballyfermot. Lauren Dempsey and Tara Sallinger come across as noisy, troubled, smart and an absolute hoot. The film is resolutely on their side.

“I did begin with a fascination for this pyjama phenomenon,” Maya says. “But then, on another level, I was genuinely fascinated with life in the flats. I used to walk past Charlemont Street flats and wonder about the contrast between me walking to work in TV and these snippets of life that I would catch. I wanted to step over this boundary that frightened me. I wanted them to think of me as a person also.”

Initially researching in Basin Street Flats, near Dublin’s James Street, Maya and her team assembled a series of short interviews on the pyjama issue. A few citizens seemed interested, but drifted away as the project progressed. Then, after moving operations several kilometres to the west, Maya bumped into Lauren and Tara.

“We initially had completely different main subjects,” she says. “But we said we’d do a bit of filming with Tara and Lauren because they were interested in talking to us. What we encountered reminded me so much of my own teenage years. They have this love-hate thing. But they give each other so much support. That’s something we don’t give kids credit for.”

You get the sense that the film-makers have delicately tip-toed around certain sensitive issues. Lauren’s mother, who has had serious problems with drugs, is, for instance, an invisible, though unavoidable, presence in the film. We meet Lauren’s grandmother – another raucous character – but the generation in between is conspicuous by its absence.

“We could have had the mother in,” Maya says. “I did meet her and, yes, she was wearing pyjamas. But actually it was important to me that she was an invisible character. She represents a missing generation of parents – my generation, really – that is, the much-documented drug generation. It was important to me that she was notable by her absence.”

While watching a fly-on-the-wall documentary, the viewer is never quite sure to what extent the film-makers are interfering with the action. Surely, the very presence of a camera will cause the subject to behave differently. Extroverts will show off. Introverts will crawl even deeper into their protective shells. Derrington explains that the project took two years to complete. Nonetheless, I can’t imagine that Tara and Lauren ever entirely got over the novelty of being movie stars.

“That’s a good question. You never really know what influence you are having. It was usually just two of us with a small camera, and I do believe that people eventually forget about you. If you are quiet and unobtrusive, you’d be amazed by things that happen in front of you.” And, of course, a movie camera is now a household object. Following advances in mobile phone technology, most teenagers now have such an object in their hip pockets.

“That’s right. Young people today are so engaged with the technological side of the media that they are not even aware of a camera being there. Tara and Lauren are constantly documenting their own lives.” Spend some time with Derrington, and you understand how she gets people to open up. Amiable and unpretentious, she comes across as the sort of person who would be equally happy chatting to a duke or a doorman.

Her route from Bristol to Pyjama Girls is an unlikely one. Derrington studied English at Goldsmiths College in South London – alma mater of Damien Hirst and many of the other “Young British Artists” – but admits that, a scrappy student, she always felt herself “too cool for school”. Following graduation, she worked in the Soho offices of Bloomsbury Books. After two years, she decided, however, that a change of scene was in order. Why Dublin? “It really was completely random,” she says. “Me and my sister decided to do something different. I had been over to Dublin for a weekend recently and we flipped a coin to decide whether we’d move to Dublin or Belfast. This is simply how it worked out.” How bizarre. As things transpired, Derrington found her feet fairly rapidly. She took a job in Arthouse – that ill-defined, now defunct multimedia edifice in Temple Bar – and soon secured work on television documentaries. One of her earliest associates was Nicky Gogan, busy producer and director, and, in 2006, they joined forces with Paul Rowley to form the innovative company Still Films. Among the company’s earliest work was Rowley and Gogan’s Seaview, an eccentric study of the holiday resort turned asylum-seekers’ capmp in Mosney, Co Meath.

Pyjama Girls , playing commercially at the Irish Film Institute, looks set, however, to nudge Still Films’ profile that bit further into the spotlight. Made on a skimpy budget, the picture is never likely to compete with Toy Story 3 on the box-office chart, but it tells a strong, often sad, story that should appeal to a mainstream audience.

Mind you, some fusspots will worry about the whole concept of presenting images of working-class life to a largely bourgeois audience. Is there a danger of the film being seen as vehicle for inter-class tourism? “I suppose I wilfully wanted to draw people in who want to know why people wear pyjamas at all hours and to answer some of their outrage,” she muses. “Then my intention is that they will actually see these engaging characters and sympathise with them. But I really have been surprised by people who come out of the film and find it hard to be sympathetic.” Really? The picture seems so generous to its subjects and, for all their occasional bolshiness, Tara and Lauren come across as decent, engaging people.

“Well, that’s what I’d hoped. But some people felt intimidated. They had flashbacks to scary situations in buses. They identified them as the scary girls on the buses. It’s mainly men who react that way. Women identify with them much more easily. But I read one online review that was outraged the film wasn’t a voice-overed documentary about the pyjama thing. What can you do?” Such criticisms can probably be ignored. But Maya does acknowledge that some viewers may, quite reasonably, object to the film-makers’ decision to subtitle the entire picture. This is a very tricky issue.

We pour scorn on Americans for occasionally subtitling Irish, Scottish or Northern English pictures. Yet, whenPyjama Girls opens in the IFI, the mode of presentation will imply that many punters cannot understand a dialect spoken hundreds of yards from the cinema.

“Initially I was very against it,” she says with a wince. “The whole film works a lot better without it. But, basically, the feedback we were getting was that people plain couldn’t understand it. I could understand it. But even some people from Dublin couldn’t understand it. But obviously there is an offensive element to subtitling.” I get the sense that this issue caused a real brawl in the offices of Still Films.

“We only had the budget for one print and if we were to have any chance of getting it out there internationally, we basically had to subtitle it. We had a long debate, during which we all switched sides many times. It was so hard.” Showing the film to snooty men who have experienced (bless them) scary incidents on buses was one thing. Unveiling it before punters unfamiliar with the Dublin argot must also have been frightening. But I would imagine that the tensest screening was that for Lauren and Tara. The two girls do not appear to be backwards in coming forwards.

“That was the most nerve-wracking bit of the process,” she agrees.

“And I made sure to show it to them before anybody else. The things that troubled them weren’t the things that we thought would trouble them. It was: ‘No. I look awful in that shot.’ But I was impressed they were able to laugh with the film. At the end they were surprised and said ‘You know what? That’s actually quite a good film.’” Quite right too. They should put their quote on the poster.

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Pyjama Girls opens at the Irish Film Institute on August 20th

BLACKOUT'S THREE-YEAR ANNIVERSARY

OCTOBER 30, 2010, 12:39 pm

Three years ago today, Britney Spears released her fifth studio album, Blackout. One of her most raw, controversial albums to date, this album is personally one of my favorites. Click HEREto listen to or purchase this fine piece of work that houses amazing tracks like "Gimme More," "Piece of Me," "Freakshow," "Break The Ice" and more. Also included on the album is one of my very favorite Britney songs, and one that was voted by you B fans that should have actually been a single: "Get Naked (I Got a Plan)." What's your favorite song off of Blackout, if you just had to pick one? xx♥

THE SINGLE THAT NEVER WAS IS...

JANUARY 23, 2010, 12:31 am

After over two months of polls, we finally have a winner of my Search For The Single That Never Was challenge. *drum roll, please* And the Single That Never Was is... "GET NAKED (I GOT A PLAN)" from Britney's fifth studio album, Blackout. "Get Naked" beat out Circus' "Unusual You" by a mere 27 votes! Note that this challenge was just for fun and in no way guarantees that "Get Naked" will be a future single — but imagine how sick the video with Danja would be?! Above cover design by Britney fan Victor. Various "Get Naked" performances from The Circus Starring Britney Spears Tour after the jump. ♫If you like what you see, end your curiosity...♪♫ xx♥

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Cenas marcantes de filmes são recriadas em Lego

Compartilhe66

Usuários do Flickr, site de compartilhamento de fotos, publicam grupo com reproduções da cultura pop

por Redação Galileu

Várias cenas clássicas e marcantes do cinema foram recriadas com peças de Lego. Um grupo do Flickr, site de compartilhamento de fotos, reúne mais de 200 imagens produzidas por artistas amadores que reproduzem cenas da cultura pop.

Veja alguns exemplos abaixo:

Cena de "Querida, encolhi as crianças"

Cena clássica de abertura dos filmes do James Bond

Cena de "Psicose" que entrou para a história

"Pulp Fiction", de Quentin Tarantino

A famosa cena do corredor de "O Iluminado"