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Weezer’s Hurley: Get Back To The Good Life

Band’s latest seems haunted by their seminal Pinkerton album, in Bigger Than the Sound. By James Montgomery The cover of Weezer’s Hurley Photo: Epitaph There is a moment right near the beginning of Weezer ‘s umpteenth album Hurley when Rivers Cuomo declares: “I’m not kidding anymore.” It’s a fairly loaded statement, considering he’s spent much of the past decade doing what could charitably be described as “joking around,” releasing a string of albums each a little more confounding (and a little less satisfying) than the last. To wit: The last truly solid Weezer album (the so-called Green one) was released nearly four months before 9/11, and since then, Cuomo and company have gone progressively further off the rails. Maladroit featured just two songs that cracked the three-minute mark, and even then it felt too long and convoluted (mostly because Cuomo spends a portion of it taking thinly veiled jabs at his fanbase). Make Believe saw Cuomo unsheathe his arena-rock dreams, which is how we ended up with the talk-box solo on “Beverly Hills.” 2008’s Red Album is probably best known for its cover (on which Cuomo sports a cowboy hat and mustache) and the part where MC Rivers gets busy on the mic. Raditude is most notable for the dog on the cover, the bizarre fascination with partying and the Lil Wayne cameo. It’s been a rather grizzly stretch, and one couldn’t be blamed for thinking that perhaps Cuomo had embarked on some Kaufman-esque anti-comedy spree, mostly because the jokes he was telling were all pretty bad. And while it may seem unfair to rehash the past, there are two reasons I’m doing it here. First, when you’re talking about a band with a star-crossed history like Weezer’s, discussing history is sort of inevitable. It informs every opinion you have about them, for better or worse. And second, because on many levels, Hurley (which drops September 14) is about nothing but the past. It is a very backward-looking thing, full of nostalgia and worry and the kind of itchy buzz that once powered this band. And therein lies the charm. Of course, there’s the first single, “Memories,” which Cuomo himself said would appeal to fans of Weezer’s “super-raw, emotional stuff” (i.e. Pinkerton ) and is full of lines that recall the halcyon days “when Audioslave was still Rage” and the band’s blurry, pre-hiatus period, when journalists prodded and the band “didn’t know what we were doing half of the time.” There’s the whinging guitar work and harmonies of “Ruling Me,” which make it sound very much like a Blue Album B-side. “Unspoken” is, in its best moments, like a really killer demo from one of Cuomo’s Alone albums. And, really, the entire concept of “Smart Girls” — Cuomo awkwardly pining for untouchable beauties (untouchable, in this instance, because they only exist on Twitter) — is what drove the entirety of Pinkerton, when you think about it. And sonically, the majority of Hurley seems haunted by that album. Guitars growl and grow acne, Cuomo pushes his voice to the verge of cracking, and even during its prettier moments — the chiming bells that kick off “Trainwrecks,” the distant piano that opens “Run Away” — there’s a gawky undercurrent to the proceedings. Of course, all that awkwardness does lead to some rather unfortunate moments, most notably on “Where’s My Sex?” which goes over about as well as a song in which a 40-year-old man uses socks as a metaphor for coitus could be expected to, and the aforementioned “Smart Girls,” which sorta recalls the Beatles’ “Back in the U.S.S.R.” if Paul McCartney had bad posture and spent his days tweeting. Overall, though, Hurley succeeds because it’s the record on which Cuomo decides to stop kidding around and tries to recapture some of his old magic. It’s not a perfect album, but it’s certainly better than anything they’ve done in a long, long time. Anyone can have a bad decade, but the past is the past. Unless, of course, the goal is to make history repeat itself. And that’s OK too. Are you excited that Hurley conjures up memories of Pinkerton ? Let us know in the comments! Related Artists Weezer

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Weezer’s Hurley: Get Back To The Good Life

10 Most Bizarre Things Available for Rent

10 Most Bizarre Things Available for Rent added by: poojam

3OH!3 Remember Bitter High School Rivalry On ‘When I Was 17’

‘We’d be beating them in basketball really hard, and they’d be chanting ’17-10!’ ‘ says Sean Foreman. By James Montgomery 3OH!3 Photo: Jason LaVeris/FilmMagic The guys in 3OH!3 may be best buddies these days, but back in high school, well, they were bitter rivals. Even though they didn’t really know each other. See, as teenagers, Nat Motte and Sean Foreman attended neighboring schools — Fairview High and Boulder High — in the suburbs of Colorado … two schools that, naturally, competed head-to-head in sports. And though the two didn’t become friends (and subsequently form 3OH!3) until they met at the University of Colorado, they both remembered their high school rivalry and tell us all about it on the next episode of MTV’s “When I Was 17.”

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3OH!3 Remember Bitter High School Rivalry On ‘When I Was 17’

20 Most Bizarre College Sports Mascots

From an angry ear of corn to a banana slug, some college mascots are too bizarre to be believed. Check out this list of the 20 Most Bizarre College Sports Mascots and find out which New England college has an actual penis and scrotum mascot named “Scotie.” You can't make this stuff up. added by: digitalfever

‘Inception’ Hallway Scene: How Filmmakers Pulled It Off

‘I was blown away and also scratching my head,’ recalls DP Wally Pfister of seeing zero-gravity sequence in the script. By Eric Ditzian Joseph Gordon-Levitt in “Inception” Photo: Warner Bros. On the red carpet for “Inception” last week, star Joseph Gordon-Levitt talked at length about one of the film’s most eye-popping visuals: a zero-gravity fight scene in a dream-created hallway that spins in all directions. It’s an astounding bit of moviemaking magic that has you wondering just how director Christopher Nolan and his team were able to do that. We put that question to Nolan’s right-hand man and longtime director of photography Wally Pfister, who revealed the inside scoop about the hallway scene, describing it as the movie’s most technically challenging sequence. “There are always scenes in a Chris Nolan script where I’m wondering how we’re going to pull it off, going all the way back to Guy Pearce shooting Joe Pantoliano in the head in ‘Memento,’ ” Pfister told MTV News. To create the environment, the scene was shot using not CG effects, but rather massive, rotating sets that twisted and turned and forced Gordon-Levitt to maneuver with utmost caution. Five-hundred crewmembers were involved in the scene, which took a full three weeks to complete. In a World War I-era airship hangar just outside London (also home to sets for “Batman Begins” and “The Dark Knight”), Nolan’s crew built a series of different hallway settings: a horizontal one that rotated 360 degrees, a vertical one that allowed actors to wear wires and another on which the actors were strapped to steel trolleys, which were eventually erased using visual effects. “When I was reading those rotating hallway scenes, I was blown away and also scratching my head,” Pfister recalled. Gordon-Levitt trained for two weeks with the stunt department to learn how to negotiate the rotations. When it came time to shoot, the whole crew would rehearse first with no rotation, and then graduate to a slower rehearsal with a little rotation, until it was finally time to roll the cameras. “We run the fight scene for as long as the actors can pull it off,” Pfister explained. “We begin with a camera that’s not fixed to the set and shows a bit of the rotation, and then you quickly jump to where you’re rotating with the set. It creates this bizarre, strange movement. It’s an exhausting process for the actors. Having rotated on that set myself, it’s really quite challenging and a very strange thing to get used to. If you jump at the wrong time, you could be falling 12 feet through the air. “We kept coming back to it,” he added. “We’d shoot out a part of a sequence and then the riggers would have to adjust something. We’d duck out and shoot something else and come back a few hours later and shoot more. The whole thing was spread out over about three weeks. You’ve never seen anything like this before.” Which scene in “Inception” ranks as the most memorable to you? Tell us in the comments! Check out everything we’ve got on “Inception.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos MTV Rough Cut: ‘Inception’ ‘Inception’ Clips Related Photos Leonardo DiCaprio, Ellen Page, More Premiere ‘Inception’ In L.A.

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‘Inception’ Hallway Scene: How Filmmakers Pulled It Off

MSNBC Fill-In Host Absurdly Claims Again: Obama a ‘Republican President’

For the second day in a row, liberal talk show host and MSNBC guest anchor Cenk Uygur pushed the outlandish notion that President Obama is a conservative. Filling in on July 7 for Dylan Ratigan on his 4 p.m. show, Uygur exclaimed, “I didn’t realize we voted for a Republican president!” Uygur preceded this statement with a rant on how ridiculous it is for Obama to express concern about the ever-growing deficit when “60 percent of Americans favor additional government spending to create jobs and stimulate the economy.” Uygur and liberal guest Ryan Grimm of “The Huffington Post” could not understand President Obama’s rationale for focusing on deficit concerns. Grimm argued that, “when people say they are concerned about the deficit” they are just really saying that, “they are nervous about the economy. That’s all they mean. So if you solve the economic problems, you’re going to solve the deficit concerns.” Of course, Uygur and Grimm agreed that the only way to improve the economy was for the president to spend more, neglecting the fact that President Obama has already spent some $3.5 trillion in his first year in office, which more than exceeds any other first-year president. If Obama were a truly fiscally responsible statesman, he would recognize that our nation has a spending problem.  However, with unemployment close to double digits, and in need of a scapegoat, the hosts at MSNBC are growing restless, asking, “when will our president stop adopting Republican talking points and start giving us real change instead of pocket change?”

10 Reasons To End The Wars Now

The long wars in Iraq and Afghanistan have been back in the news recently, and we just had the bizarre spectacle of the Republican National Committee Chairman saying he didn't like Obama's war in Afghanistan, while the DNC chastised him for failing to support the troops. Here are ten reasons to end the wars now. I hope you'll take a look at some of the links. 1. American military and contractor casualties in Iraq and Afghanistan. 2. Iraqi and Afghanistan civilian and military casualties. 3. These wars are a tremendous waste of taxpayer money in a time of extreme deficits, high unemployment and a falling stock market. 4. Invading and occupying Afghanistan and Iraq feeds terrorism. 5. Osama Bin Laden and his co-conspirators who attacked the World Trade Center were Saudi Arabian. 6. As Congressman Ron Paul recently said: “In Afghanistan, we are fighting the Taliban, those dangerous people with guns defending their homeland. Once they were called the Mujahideen, our old allies, along with bin Laden, in the fight to ou http://www.lp.org/blogs/staff/lp-monday-message-10-reasons-to-end-the-wars-now added by: shanklinmike

Jeremy London Files Restraining Orders Against Mother, Brother

Actor wants family members, who expressed doubts about his alleged abduction, to stop talking to the press. By Gil Kaufman Jeremy London Photo: Charley Gallay/WireImage Following their doubts about his alleged abduction and forced drug-taking claims, actor Jeremy London filed restraining orders against his twin brother, Jason, their mother, Deborah Nielsen, and Jason’s girlfriend, Sofia Karstens, on Wednesday, according to People magazine. “Jeremy filed these orders against his family for them to stop giving unauthorized interviews to the press,” the former “Party of Five” actor’s attorney Catherine Lombardo told the magazine. “What they’ve said is false, misleading and harmful to his personal reputation and career.” London’s family has publicly questioned his version of the events that took place on June 10 in Palm Springs, California. The 37-year-old actor, a recovering addict, has claimed that after three men stopped to help him change a flat tire, they abducted him and held him at gunpoint, forcing him to drive around for five hours and smoke crack cocaine and amphetamines and then purchase alcohol and hand it out in a drug-infested area of Palm Springs. Brother Jason issued a public plea shortly after the alleged incident in which he urged Jeremy to get psychological help and drug treatment. Jeremy London admitted to People that he has fought to stay sober and is in the midst of financial troubles as he goes through a bitter custody battle with his ex-wife, Melissa, over their 3-year-old son, Lyrik. “We believe what the family is saying is harmful to the ongoing investigation,” Lombardo said. “The police have already arrested and charged a suspect in the case.” The suspect, 26-year-old Brandon Adams, has pleaded not guilty after being charged with kidnapping, robbery, possession of stolen property, vehicle theft and carjacking. The investigation in the case is ongoing and police have said Jeremy London is not under suspicion. London has vehemently refuted questions about whether the kidnapping and forced drug-taking incident really happened. Radar magazine recently reported that ex-wife Melissa, who has allegedly also struggled with substance abuse, backed him up. “Police told us this is the new thing to do down here,” she said of the bizarre crime. “Rob people at gunpoint and make them do drugs so they won’t be reliable witnesses. It’s happening more and more.” A spokesperson for the Palm Springs police department responded, “We have not had a rash of them — they are not commonplace here.” Jason London told People that the restraining orders won’t stop the family from trying to help his brother, who, according to Jason, has shut out his family for the past six months. “A restraining order isn’t going to make us stop worrying about Jeremy and only wanting the best for him,” he said.

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Jeremy London Files Restraining Orders Against Mother, Brother

Were McChrystal and Staff Talking Off The Record to Rolling Stone?

In the midst of this week’s Gen. Stanley McChrystal controversy, a possibility concerning statements allegedly made by him and his staff has largely gone overlooked: might they have been speaking off the record when they were around Rolling Stone’s Michael Hastings? This certainly would explain some of the bizarre comments allegedly made by military members knowing full well how the chain of command works and that the President is clearly at the top. With this in mind, the Washington Post explored this possibility in a front page piece  Saturday entitled, “Gen. McChrystal Allies, Rolling Stone Disagree Over Article’s Ground Rules”: On Friday, however, officials close to McChrystal began trying to salvage his reputation by asserting that the author, Michael Hastings, quoted the general and his staff in conversations that he was allowed to witness but not report. The officials also challenged a statement by Rolling Stone’s executive editor that the magazine had thoroughly reviewed the story with McChrystal’s staff ahead of publication. A senior military official insisted that “many of the sessions were off-the-record and intended to give [Hastings] a sense” of how the team operated. The command’s own review of events, said the official, who was unwilling to speak on the record, found “no evidence to suggest” that any of the “salacious political quotes” in the article were made in situations in which ground rules permitted Hastings to use the material in his story. The Post elaborated: A member of McChrystal’s team who was present for a celebration of McChrystal’s 33rd wedding anniversary at a Paris bar said it was “clearly off the record.” Aides “made it very clear to Michael: ‘This is private time. These are guys who don’t get to see their wives a lot. This is us together. If you stay, you have to understand this is off the record,’ ” according to this source. In the story, the team members are portrayed as drinking heavily. A U.S. military spokesman in Kabul, Air Force Lt. Col. Edward T. Sholtis, acknowledged that Hastings, like other reporters who have interviewed McChrystal over the past year, was not required to sign written ground rules. “We typically manage ground rules on a verbal basis,” Sholtis said. “We trust in the professionalism of the people we’re working with.” So, you’ve got husbands and wives in a Paris bar celebrating McChrystal’s 33rd wedding anniversary, and comments made during the event — which were supposed to all be off the record — became part of Hastings’ piece. Is that Kosher? Obviously, Rolling Stone thinks it is: The executive editor, Eric Bates, denied that Hastings violated any ground rules when he wrote about the four weeks he spent, on and off, with McChrystal and his team. “A lot of things were said off the record that we didn’t use,” Bates said in an interview. “We abided by all the ground rules in every instance.” But this isn’t the only beef McChrystal supporters have with this piece: Officials also questioned Rolling Stone’s fact-checking process, as described by Bates in an interview this week with Politico. “We ran everything by them in a fact-checking process as we always do,” Bates said. “They had a sense of what was coming, and it was all on the record, and they spent a lot of time with our reporter, so I think they knew that they had said it.” In an interview Friday, the managing editor, Will Dana, said the reporter’s notes and factual matters were exhaustively reviewed. But 30 questions that a Rolling Stone fact-checker posed in a memo e-mailed last week to then-McChrystal media adviser Duncan Boothby contained no hint of what became the controversial portions of the story. Boothby resigned Tuesday. In the e-mail, a copy of which was provided to The Washington Post by a military official sympathetic to McChrystal, Boothby is asked to confirm the makeup of McChrystal’s traveling staff on the Paris trip and the communications equipment they brought with them on an earlier visit to London. “They don’t come close to revealing what ended up in the final article,” the official said. This all raises an interesting question that seemed to elude mainstream media as they quickly attacked the General probably forcing Obama to relieve him of his command: did the Rolling Stone break some journalism rules with this report? As NewsBusters’ Tim Graham pointed out Thursday, this is a FAR-LEFT magazine with strong anti-war convictions.   Is it indeed possible that much of the truly damning comments were made to Hastings off the record, and that he and his editors in their zeal to tear down McChrystal just didn’t care? Is it also possible that the magazine didn’t go through proper fact-checking procedures before it published the piece? If the answer to both questions is “Yes,” then maybe media quickly overreacted to this article before weighing and investigating such possibilities thereby making them complicit in ruining the General’s career while also conceivably endangering the mission in Afghanistan. As the Post has now let this cat out of the bag, it will indeed be interesting to see how this matter is handled on the Sunday talk shows tomorrow as well as in the coming days. Stay tuned. 

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Were McChrystal and Staff Talking Off The Record to Rolling Stone?

‘Dogtooth’: Home School, By Kurt Loder

The kids aren’t all right. No wonder. “Dogtooth” Photo: Boo Productions “Dogtooth” is an art movie from Greece that’s so open-ended, you wonder if whatever it is it’s supposed to mean has dribbled out the back door. For the first 20 minutes or so, anyway. Then a story begins to gather shape, and the picture, already strange, becomes very creepy. Three nameless siblings, two girls and a boy, apparently in their late teens, live in a remotely located house with their father (Christos Stergioglou) and mother (Michele Valley). In the sizable grounds outside, there are palm trees and a swimming pool and a high wooden fence that rings the entire property. The kids, we eventually realize, have never been allowed to venture beyond this barrier. Inside, there’s a television set, but it’s used only to show boring family videotapes shot by their father. There’s one telephone, but it’s hidden at the back of a shelf — the kids have never seen it. Their days pass blandly. They are home-schooled by their mother in a most unusual way. Her vocabulary instruction imparts the information that a carbine is a bird and a zombie is a little yellow flower. Occasionally, the father has his son (Hristos Passalis) and two daughters (Aggeliki Papoulia and Mary Tsoni) get down on all fours and bark like dogs. The father is a boss at a nondescript factory. We see him arriving home in his Mercedes with an employee, a young woman named Christina (Anna Kalaitzidou), who has been blindfolded for the drive. The father takes her into his son’s bedroom and leaves. Christina and the son shed their clothes and have perfunctory sex. (The sex and the full-frontal nudity in the movie have the arousing quality of a calculus lecture.) When they’re done, the father takes Christina back to the factory. The movie offers small islands of incident. When a cat — an alien creature — finds its way onto the property one day, the son responds violently. (PETA people will want to avert their eyes at this point.) The siblings explore each other’s bodies in a bathtub, wordlessly, as if tracing the shapes on statues. When Christina, on another of her regular visits, sneaks into the bedroom of one of the girls, offering a small gift, the girl says, “What do I have to lick?” Is there any escape from this bizarre existence? Theoretically, yes. The children have been told they can leave home as soon as their canine teeth — their dogteeth — fall out. The kids don’t realize that this means never. Not in any natural way. The story is inscrutable. Is it an indictment of home schooling? Of middle-class paranoia? Of what? The distinctively talented director, Giorgos Lanthimos, offers no answers, or even suggestions. He observes the family with placid objectivity. When someone in a facial closeup is doing something with his hands, we don’t see it. When a character stands up out of frame, the camera stays put. (The shots are beautifully composed.) Even at the end, when we’re hoping for a jailbreak moment, the director leaves us hanging in itchy uncertainty. The movie is irritating and disturbing, and when it’s over, we want to put it behind us. It just won’t stay there. For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com .

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‘Dogtooth’: Home School, By Kurt Loder