Tag Archives: careers

Eminem Ruled 2010 — And Here’s How

Rapper rose from ashes of disappointing album to top of the charts and 10 Grammy nominations. By Gil Kaufman Eminem Photo: Kevin Mazur/ WireImage It’s fitting that Eminem is planning to return to the big screen next year in the “8 Mile”-inspired boxing film “Southpaw.” Because like Rocky after he was counted down and out so many times in that famous pugilist movie serial, Marshall Mathers seemed like he’d run out of gas in 2009 only to come storming all the way back, and then some, in 2010 to post one of his biggest and baddest years to date. At a time when younger artists like Justin Bieber, Kanye West and Lady Gaga are relying on social media, a dizzying blitz of promotional appearances and concerts, and a nonstop hype machine to keep their careers stoked, Eminem’s path back to the top of the musical heap was decidedly old-school: He released a great album in Recovery that emotionally connected with fans thanks to some of the most hook-heavy songs of his career while maintaining an elusive persona that kept them guessing. “On Recovery, he was really able to tap into the emotive 2002 stuff that people loved in ‘8 Mile,’ ” said Complex Editor in Chief Noah Callahan-Bever. “And I think that the fact that he’s not tech-savvy or any of that stuff really doesn’t hurt him because he’s able to cultivate a little bit of a mystery about himself and his comings and goings. That exclusivity creates more value to his limited presence.” While songs like mega first single “Not Afraid” and the inescapable Rihanna hookup “Love the Way You Lie” were getting wall-to-wall spins at radio, Em made only a few promotional appearances, played just a handful of dates — including the lauded Home and Home shows with Jay-Z — and managed to keep that air of inscrutability about himself while putting up the best sales figures for any album released in 2010. The less you saw of him, the more you wanted to see him. “I think it kind of benefited because [of] the whole backstory behind the album,” Julianne Escobedo Shepherd, former executive editor of The Fader, said about the drama surrounding Slim Shady’s second comeback attempt after five years in drug-induced exile and 2009’s so-so reception for Relapse. “And his comeback from a bad album … the whole thing with the pills, and I think it kind of lent to his mystery. There’s something to be said for rappers who have a trillion Twitter followers but at the same time you kind of don’t want to be able to say whatever you want to your favorite rapper. I think that he kind of kept his integrity in the way that he needed to as an older rapper.” Putting out a barrage of cameo verses has been the go-to move for up-and-comers like Drake and Nicki Minaj as a way to establish their brand. But Marshall borrowed that same new-school page and made it feel classic by being very selective about which songs he lent his voice to. And, almost without exception, every choice he made was an instant classic, from his killer verse on Drake’s “Forever” to a solid duet with Lil Wayne on “Drop the World,” some tasty bars on B.o.B’s “Airplanes” and a nod to the new kids on the block on Nicki’s “Roman’s Revenge.” Most of his peers seem to believe that more is more — more endorsements, more products, more interviews, more guests on their tracks — even as Em came off as the wily veteran who picks his high-percentage shots while the rest of the squad is firing off endless jumpers. “When Eminem went away, the feeling of like, ‘Well, that whole market’s going away. All those people, they’re just dispersing off into the ether and no one’s gonna be ready for him when he’s ready to come back,’ ” said New York Times music critic Jon Caramanica of the excitement that greeted the rapper’s return to form. “And what I think you realize this year is that all those people are like sleeper cells and all got activated. All of a sudden, ‘Oh, Eminem’s back. It’s OK to buy his CD again. I didn’t have anyone I feel like I wanted to buy for the last two or three years; now I feel like I can commit to Eminem.’ ” What also became clear this year, Caramanica said, is that unlike flash-in-the-pan pop rappers or mainstream acts whose audiences don’t grow with them as they mature, Eminem’s fans have been loyal, even as he’s picked up a whole new generation of followers thanks to his more accessible new songs. The evidence of that trend can be seen in the fact that, months after its release, Recovery was still routinely hanging around the top 20, if not top 10, on the Billboard albums chart, an indication that new fans were being brought onboard every week. That slow and steady, measured approach clearly paid off, as Em won two VMAs (off of eight nominations) in September and ended the year by loading up with a leading 10 Grammy nominations and a #2 spot on MTV News’ Man of the Year countdown. You can be sure when the Grammys are handed out in February, Marshall’s name will be mentioned a few times, because if there’s anything the Recording Academy (and, let’s face it, all of America) loves, it’s a comeback. What did you think of Em’s 2010? Let us know in the comments! Related Videos Stories Of 2010 Related Photos Eminem’s Amazing Year

The rest is here:
Eminem Ruled 2010 — And Here’s How

Eminem Ruled 2010 — And Here’s How

Rapper rose from ashes of disappointing album to top of the charts and 10 Grammy nominations. By Gil Kaufman Eminem Photo: Kevin Mazur/ WireImage It’s fitting that Eminem is planning to return to the big screen next year in the “8 Mile”-inspired boxing film “Southpaw.” Because like Rocky after he was counted down and out so many times in that famous pugilist movie serial, Marshall Mathers seemed like he’d run out of gas in 2009 only to come storming all the way back, and then some, in 2010 to post one of his biggest and baddest years to date. At a time when younger artists like Justin Bieber, Kanye West and Lady Gaga are relying on social media, a dizzying blitz of promotional appearances and concerts, and a nonstop hype machine to keep their careers stoked, Eminem’s path back to the top of the musical heap was decidedly old-school: He released a great album in Recovery that emotionally connected with fans thanks to some of the most hook-heavy songs of his career while maintaining an elusive persona that kept them guessing. “On Recovery, he was really able to tap into the emotive 2002 stuff that people loved in ‘8 Mile,’ ” said Complex Editor in Chief Noah Callahan-Bever. “And I think that the fact that he’s not tech-savvy or any of that stuff really doesn’t hurt him because he’s able to cultivate a little bit of a mystery about himself and his comings and goings. That exclusivity creates more value to his limited presence.” While songs like mega first single “Not Afraid” and the inescapable Rihanna hookup “Love the Way You Lie” were getting wall-to-wall spins at radio, Em made only a few promotional appearances, played just a handful of dates — including the lauded Home and Home shows with Jay-Z — and managed to keep that air of inscrutability about himself while putting up the best sales figures for any album released in 2010. The less you saw of him, the more you wanted to see him. “I think it kind of benefited because [of] the whole backstory behind the album,” Julianne Escobedo Shepherd, former executive editor of The Fader, said about the drama surrounding Slim Shady’s second comeback attempt after five years in drug-induced exile and 2009’s so-so reception for Relapse. “And his comeback from a bad album … the whole thing with the pills, and I think it kind of lent to his mystery. There’s something to be said for rappers who have a trillion Twitter followers but at the same time you kind of don’t want to be able to say whatever you want to your favorite rapper. I think that he kind of kept his integrity in the way that he needed to as an older rapper.” Putting out a barrage of cameo verses has been the go-to move for up-and-comers like Drake and Nicki Minaj as a way to establish their brand. But Marshall borrowed that same new-school page and made it feel classic by being very selective about which songs he lent his voice to. And, almost without exception, every choice he made was an instant classic, from his killer verse on Drake’s “Forever” to a solid duet with Lil Wayne on “Drop the World,” some tasty bars on B.o.B’s “Airplanes” and a nod to the new kids on the block on Nicki’s “Roman’s Revenge.” Most of his peers seem to believe that more is more — more endorsements, more products, more interviews, more guests on their tracks — even as Em came off as the wily veteran who picks his high-percentage shots while the rest of the squad is firing off endless jumpers. “When Eminem went away, the feeling of like, ‘Well, that whole market’s going away. All those people, they’re just dispersing off into the ether and no one’s gonna be ready for him when he’s ready to come back,’ ” said New York Times music critic Jon Caramanica of the excitement that greeted the rapper’s return to form. “And what I think you realize this year is that all those people are like sleeper cells and all got activated. All of a sudden, ‘Oh, Eminem’s back. It’s OK to buy his CD again. I didn’t have anyone I feel like I wanted to buy for the last two or three years; now I feel like I can commit to Eminem.’ ” What also became clear this year, Caramanica said, is that unlike flash-in-the-pan pop rappers or mainstream acts whose audiences don’t grow with them as they mature, Eminem’s fans have been loyal, even as he’s picked up a whole new generation of followers thanks to his more accessible new songs. The evidence of that trend can be seen in the fact that, months after its release, Recovery was still routinely hanging around the top 20, if not top 10, on the Billboard albums chart, an indication that new fans were being brought onboard every week. That slow and steady, measured approach clearly paid off, as Em won two VMAs (off of eight nominations) in September and ended the year by loading up with a leading 10 Grammy nominations and a #2 spot on MTV News’ Man of the Year countdown. You can be sure when the Grammys are handed out in February, Marshall’s name will be mentioned a few times, because if there’s anything the Recording Academy (and, let’s face it, all of America) loves, it’s a comeback. What did you think of Em’s 2010? Let us know in the comments! Related Videos Stories Of 2010 Related Photos Eminem’s Amazing Year

See more here:
Eminem Ruled 2010 — And Here’s How

Eminem Ruled 2010 — And Here’s How

Rapper rose from ashes of disappointing album to top of the charts and 10 Grammy nominations. By Gil Kaufman Eminem Photo: Kevin Mazur/ WireImage It’s fitting that Eminem is planning to return to the big screen next year in the “8 Mile”-inspired boxing film “Southpaw.” Because like Rocky after he was counted down and out so many times in that famous pugilist movie serial, Marshall Mathers seemed like he’d run out of gas in 2009 only to come storming all the way back, and then some, in 2010 to post one of his biggest and baddest years to date. At a time when younger artists like Justin Bieber, Kanye West and Lady Gaga are relying on social media, a dizzying blitz of promotional appearances and concerts, and a nonstop hype machine to keep their careers stoked, Eminem’s path back to the top of the musical heap was decidedly old-school: He released a great album in Recovery that emotionally connected with fans thanks to some of the most hook-heavy songs of his career while maintaining an elusive persona that kept them guessing. “On Recovery, he was really able to tap into the emotive 2002 stuff that people loved in ‘8 Mile,’ ” said Complex Editor in Chief Noah Callahan-Bever. “And I think that the fact that he’s not tech-savvy or any of that stuff really doesn’t hurt him because he’s able to cultivate a little bit of a mystery about himself and his comings and goings. That exclusivity creates more value to his limited presence.” While songs like mega first single “Not Afraid” and the inescapable Rihanna hookup “Love the Way You Lie” were getting wall-to-wall spins at radio, Em made only a few promotional appearances, played just a handful of dates — including the lauded Home and Home shows with Jay-Z — and managed to keep that air of inscrutability about himself while putting up the best sales figures for any album released in 2010. The less you saw of him, the more you wanted to see him. “I think it kind of benefited because [of] the whole backstory behind the album,” Julianne Escobedo Shepherd, former executive editor of The Fader, said about the drama surrounding Slim Shady’s second comeback attempt after five years in drug-induced exile and 2009’s so-so reception for Relapse. “And his comeback from a bad album … the whole thing with the pills, and I think it kind of lent to his mystery. There’s something to be said for rappers who have a trillion Twitter followers but at the same time you kind of don’t want to be able to say whatever you want to your favorite rapper. I think that he kind of kept his integrity in the way that he needed to as an older rapper.” Putting out a barrage of cameo verses has been the go-to move for up-and-comers like Drake and Nicki Minaj as a way to establish their brand. But Marshall borrowed that same new-school page and made it feel classic by being very selective about which songs he lent his voice to. And, almost without exception, every choice he made was an instant classic, from his killer verse on Drake’s “Forever” to a solid duet with Lil Wayne on “Drop the World,” some tasty bars on B.o.B’s “Airplanes” and a nod to the new kids on the block on Nicki’s “Roman’s Revenge.” Most of his peers seem to believe that more is more — more endorsements, more products, more interviews, more guests on their tracks — even as Em came off as the wily veteran who picks his high-percentage shots while the rest of the squad is firing off endless jumpers. “When Eminem went away, the feeling of like, ‘Well, that whole market’s going away. All those people, they’re just dispersing off into the ether and no one’s gonna be ready for him when he’s ready to come back,’ ” said New York Times music critic Jon Caramanica of the excitement that greeted the rapper’s return to form. “And what I think you realize this year is that all those people are like sleeper cells and all got activated. All of a sudden, ‘Oh, Eminem’s back. It’s OK to buy his CD again. I didn’t have anyone I feel like I wanted to buy for the last two or three years; now I feel like I can commit to Eminem.’ ” What also became clear this year, Caramanica said, is that unlike flash-in-the-pan pop rappers or mainstream acts whose audiences don’t grow with them as they mature, Eminem’s fans have been loyal, even as he’s picked up a whole new generation of followers thanks to his more accessible new songs. The evidence of that trend can be seen in the fact that, months after its release, Recovery was still routinely hanging around the top 20, if not top 10, on the Billboard albums chart, an indication that new fans were being brought onboard every week. That slow and steady, measured approach clearly paid off, as Em won two VMAs (off of eight nominations) in September and ended the year by loading up with a leading 10 Grammy nominations and a #2 spot on MTV News’ Man of the Year countdown. You can be sure when the Grammys are handed out in February, Marshall’s name will be mentioned a few times, because if there’s anything the Recording Academy (and, let’s face it, all of America) loves, it’s a comeback. What did you think of Em’s 2010? Let us know in the comments! Related Videos Stories Of 2010 Related Photos Eminem’s Amazing Year

The rest is here:
Eminem Ruled 2010 — And Here’s How

Jon Favreau Explains ‘Iron Man 3’ Departure

Director says he’s looking forward to returning to family fare with ‘Magic Kingdom.’ By Eric Ditzian Jon Favreau Photo: Frazer Harrison/ Getty Images Wherever Tony Stark goes from here, he will be traveling without the assistance of Jon Favreau. The two-time “Iron Man” director walked away from the franchise on Tuesday, choosing instead to direct a family-oriented Disney film and emphasizing that his relationship with Disney-owned Marvel Entertainment and its studio chief Kevin Feige remains strong. “Marvel and I both came of age together,” Favreau said in an interview with the Los Angeles Times. “The years that we shared were a pivotal experience. Kevin has a firm grasp on the many franchises and how they all interweave and I am happy that I had the opportunity to establish the world that these characters can now play in.” Favreau is leaving behind the “Iron Man” franchise, which grossed $1.2 billion worldwide under his guidance, to direct “Magic Kingdom,” a film about a family that gets trapped in Disneyland and has all manner of magical encounters with the park’s attractions. Ditching Tony Stark and embracing Mickey Mouse, Favreau said, gives him the opportunity to “find something that lights a fire” within him and can “blow people away, which is easier to do with a project that isn’t loaded with built-in expectations.” The move marks a return of sorts for Favreau, who directed family-oriented fare like “Elf” and “Zathura” before being recruited, somewhat surprisingly, to direct Marvel’s 2008 “Iron Man” effort. Recapturing those early experiences is an attractive prospect for Favreau. “I can’t begin to tell you how fulfilling the perennial nature of ‘Elf’ on television has been for me,” he said. “It’s great to be able to connect parents with children both emotionally and through humor. I look forward to exploring family entertainment once again and examining the specifics of our day-to-day lives against the backdrop of an extraordinary adventure.” Favreau will remain a producer on Marvel’s 2012 adaptation of “The Avengers,” the all-star comics series in which Iron Man stars. ” ‘Iron Man’ has given me tremendous opportunities and Kevin and I are enjoying a lot of momentum in our careers thanks to the ‘Iron Man’ films,” he said.” I look forward to seeing what others can do playing in the same world.” For breaking news and previews of the latest comic book movies — updated around the clock — visit SplashPage.MTV.com .

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Jon Favreau Explains ‘Iron Man 3’ Departure

‘American Idol’ Competitor ‘The Voice Of America’ Coming Next Spring

Mark Burnett-produced show will pair singers with celebrity mentors. By Gil Kaufman Mark Burnett Photo: Frederick M. Brown/ Getty Images “American Idol” has ruled the TV landscape for almost a decade, drawing the biggest small-screen ratings of any show and quickly dispatching a series of wannabe competitors. But for next season, NBC has teamed up with “Survivor” heavyweight producer Mark Burnett to launch what could be the most serious challenge to the “Idol” throne yet. According to The Hollywood Reporter , NBC is aiming to steal the thunder of both “Idol” and Fox’s other upcoming reality singing show, Simon Cowell’s “The X Factor,” with a singing competition tentatively called “The Voice of America.” The show is based on the #1 program in the Netherlands, “The Voice of Holland,” which has reportedly put up some of the biggest ratings in Dutch TV history, steamrolling that country’s versions of “Idol” and “X Factor.” The new singing program is slated to premiere next spring, potentially going up against “Idol” and getting a jump on the fall launch of the first season of the American version of “The X Factor.” “Voice” will feature a panel of four celebrity coaches, who will sit with their backs to the contestants during the audition rounds in order to focus on their voices, not their looks. If they approve of the performance, they will push a button that will send the singer to the next round, claiming them as one of their students. If more than one judge likes a singer, that singer gets to choose which celebrity will be his or her coach. “Somebody will show up with all the right moves and look like a star, but their voice is only good, not great, and they don’t get chosen,” Burnett explained. “You’re dealing only with your sense of hearing — do you believe this voice is worthy of your commitment? The coaches have skin in the game and will be a part of the careers of these young performers after the show.” After the four teams are set, the coaches will mentor the contestants and pit the teams against one another, with viewers picking the winner. At times, the mentors will also place two team members against each other, giving them the same song to sing in front of the studio audience in order to decide which one they would like to keep developing. The final performance rounds, featuring the top vote getters from each team, will air live. The winner will receive a recording contract. The heat from the new kid on the block comes as “Idol” continues to tinker with its formula. In addition to the previously announced changes to its format, Entertainment Weekly reported on Monday that after the 325 Hollywood-round contenders were whittled down to 60, the whole crew moved to Las Vegas, where the remaining singers have been rehearsing to perform Beatles songs on the stage where Cirque du Soleil performs its Beatles homage, “Love.” New in-house mentor Interscope boss Jimmy Iovine has not only been providing advice on the new “American Idol,” but has brought along a group of mega-producers to guide the singers as well. Among the knob twiddlers offering advice: Alex da Kid (“Love the Way You Lie”), Tricky Stewart (“Baby”), Rodney “Darkchild” Jerkins (“Telephone”), Polow da Don (“Turnin’ Me On”) and Jim Jonsin (“Whatever You Like”). Get your “Idol” fix on MTV News’ “American Idol” page , where you’ll find all the latest news, interviews and opinions.

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‘American Idol’ Competitor ‘The Voice Of America’ Coming Next Spring

Photographer Accuses Tila Tequila of Murder

In October, photographer Garry Sun claimed that Tila Tequila kidnapped his girlfriend. Nothing really came of that allegation, however, except for a restraining order against the man who admits he once dated the pathetic celebrity blogger. Now, Sun has upped his accusatory ante: in an interview with Perez Hilton, he makes it clear that he thinks Tila played a major role in the January death of Casey Johnson . Simply put, Sun says: “Part of the reason why Tila is trying so hard to to have me silenced, jailed, or killed, is because we now know she was responsible for Casey Johnson’s death.” It’s unclear what proof Sun has, but he claims Tequila lied to police when she said she was in Houston during the time of Johnson’s overdose. The photographer details how Tila was in Los Angeles and: “Slipped Casey some pills, possibly OxyContin. Casey immediately began foaming at the mouth and seizing up, and because of the illegal medications, Tila fled the scene.” Sun provides Perez with Tweets that supposedly prove she misled the LAPD concerning her whereabouts. He actually says Joe Francis played a role in helping Tequila concoct her story, arranging for a flight to NYC for the nut job on December 31, 2010. It’s a sordid, confusing story that has us actually believing someone out there might be crazier than Tila herself. We know. We didn’t think it was possible, either.

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Photographer Accuses Tila Tequila of Murder

Zac Efron and Vanessa Hudgens: It’s Over!

I don’t know what it was with Vanessa, but we kind of clicked from the very beginning. – Zac Efron, July 2007 Those words are difficult to read today for fans of the couple known as Zanessa, as E! News has broken the shocking news: Zac Efron and Vanessa Hudgens have split. “They were together for so long. It just ran its course,” an insider says of the break-up, while another source swears the pair remains friends and that “no third party” was involved. As is often the case with celebrity couples, scheduling may have played a role in Zac and Vanessa’s demise. They met on the set of High School Musical and have been together for years, but their careers have taken them to different parts of the world recently. For instance: Efron is currently shooting The Lucky One in New Orleans, while Hudgens is wrapping up Journey 2: The Mysterious Island later this week in Hawaii. It’s a sad day for those of us who believed we’d be celebrating a Zanessa wedding in the near future, but let’s not cry because it’s over. Let’s smile because all of this happened…

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Zac Efron and Vanessa Hudgens: It’s Over!

Tinsley Mortimer is in a Bikini of the Day

I know that nobody cares about Tinsley Mortimer because she’s some Socialite from the South who lives in New York and is only really famous because of a few low level New York society magazines that write about her attending events, since it is all she does….but she’s in a bikini and that’s good enough reason for me to give this bottom feeding rich girl the attention she craves…cuz I figure I like watching Socialite’s fuck in video to launch their careers, and why not use these half naked pics as encouragement for her to get more naked, trust me, when she realizes how many people are posting these pics cuz there is no one else in bikinis to talk about, she’s going to make flying to Miami a weekly event, posing more and more and more until she turns into Heidi Montag or Paris Hilton, cuz that’s what I know she wants…It’s obvious… The funny thing about her is that she says she is from James Madison’s bloodline to make her look more important than she is, while tons of Americans can use that line from people who live in trailer parks to people who live on Park Avenue. To black, white, poor and rich…but here she is playing it the fuck up. It’s funny. Sure she’s not hot, she’s clearly a coked up party girl, at least that’s what her haggard face is telling me, but she’s good enough considering she’s in a bikini. That’s really all it takes cuz I know it’s the gateway paparazzi picture that leads to many more good times I am ready for. To See The Rest of the Pictures – If you Care – Follow This Link GO

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Tinsley Mortimer is in a Bikini of the Day

‘American Idol’ Adds Jennifer Lopez, Steven Tyler As Judges

Randy Jackson will remain on the panel with the two rookies. By Gil Kaufman Steven Tyler, Jennifer Lopez, Randy Jackson and Ryan Seacrest Photo: Kevin Winter/ Getty Images “American Idol” host Ryan Seacrest is a master of suspense, expert at milking a moment for maximum impact during the gut-wrenching elimination episodes of the musical competition. But on Wednesday (September 22) at a press conference to announce the two new judges joining the “Idol” panel for the show’s upcoming 10th season, Seacrest did away with the shenanigans and got right to the point. Just moments after taking the stage, he cued up a montage of clips chronicling the legendary rock-and-roll career of Aerosmith singer Steven Tyler, 62, who, as reported, will be joining the show. Seacrest invited the high-energy singer out onto the stage, and the Rock and Roll Hall of Famer let out one of his signature wails. Asked how it feels to be joining the “Idol” family, Tyler said, “Fabulous. Wonderful. Feels like the perfect feathered nest.” The choice is an odd one, considering Tyler has fronted one of the world’s premier rock bands for nearly 40 years and has a colorful background, to say the least, including recent feuds with his bandmates and a 2008 stint in rehab after decades of sobriety. But despite no formal experience on TV, the singer explained why he decided to give it a try after all those years on arena stages fronting the best-selling American rock band of all time. “It’s being a part of something much bigger than yourself,” he said. “I want to bring some rock to this roller coaster and show you that if you got the heart, you got the talent and you got the feeling to do this, you could be the next American Idol.” Wearing an atypically sedate outfit of black slacks, a velvety jacket and a paisley shirt, Tyler was all smiles during the brief appearance. Moments later, the screen filled with the second introductory montage, this one ticking off the bona fides of singer/actress Jennifer Lopez, including clips from “Selena,” a string of magazine covers and nods to the 55 million albums she’s sold during her career. The show also paid lip service to the frenzy of speculation about Lopez possibly joining the highest-rated program on TV by flashing a series of tabloid reports and TV clips chronicling the rumors of Lopez’s hiring. The singer rose from the stage in a swirl of smoke and bright lights and gave Seacrest a double-cheek kiss as he introduced her to the room. Wearing a shimmering silver jumpsuit, Lopez explained why she, too, decided to join the show and what she thinks she can teach the wannabe singers in the audience in Los Angeles who were gathered to take their shot at the crown. “You have to concentrate on the moment,” she said. “Do the best you can and just live.” Seacrest noted that Lopez had been a mentor on the show and that she and husband Marc Anthony are fanatic “Idol” watchers when he asked Lopez what she was expecting from the upcoming season. “I’m looking for the next Michael Jackson,” she explained. “Like Randy [Jackson] said, we’re looking for the best American Idol ever. I’m really excited. I really am.” And, with that, Seacrest brought out the retooled judges’ panel by intoning his signature phrase: ” This is ‘American Idol!’ ” The announcement, which was also broadcast online, broke a summer’s worth of tension about who would replace departed judges Simon Cowell, Ellen DeGeneres and Kara DioGuardi, killing rumors that had everyone from Elton John to Justin Timberlake, Harry Connick Jr., Usher, former judge Paula Abdul and returning executive producer Nigel Lythgoe possibly taking seats at the table next to the only remaining original adjudicator, Jackson. Though “Idol” brass did not reveal the details of the deal signed by actress/singer Lopez, 41, the former “In Living Color” Fly Girl and onetime “Idol” mentor will reportedly pull down $12 million a year for the job, while rock icon and Aerosmith singer Tyler is rumored to receive an $18 million payday for his first TV gig. As also rumored, the Lopez deal includes some perks, among them a “first-look” film agreement with 20th Century Fox with Lopez’s film company, Nuyorican Productions. “Jennifer is a true entertainment powerhouse who has made a tremendous impact on pop culture,” said Jim Gianopulos and Tom Rothman, chairmen and CEOs of Fox Filmed Entertainment. “Whether as an actress, singer, songwriter or producer, she is a fantastic creative talent, and we’re thrilled to be in business with her.” In a statement, Lopez, whose film career has stalled over the past few years thanks to a string of lukewarmly received romantic comedies, added, “As an artist and producer, I am excited to call Fox my home, and I am looking forward to working with Tom, Jim, Peter and the entire Fox team to create and produce the kinds of film and television projects that reflect my passion for entertaining audiences and telling great stories.” Also joining the show when it kicks off in January will be iconic Interscope Geffen A&M Records chairman Jimmy Iovine, who will serve as an in-house mentor on the show, after decades spent boosting the careers of everyone from U2 and Dr. Dre to Eminem, Lady Gaga and 50 Cent. Throughout the season, the show will go behind the scenes to watch as Iovine works with the contestants as part of a new partnership with Interscope , which will take over the promotion and distribution of albums by the “Idol” finalists. The judges’ panel isn’t the only thing changing for the show’s upcoming season. Last week, it was announced that “Idol” hopefuls could submit online audition videos to MySpace for the first time. The show also dropped its age limit to 15 to make sure it doesn’t miss out on a potential Justin Bieber. Get your “Idol” fix on MTV News’ “American Idol” page , where you’ll find all the latest news, interviews and opinions. Related Videos Your New ‘American Idol’ Judges Are Jennifer Lopez And Steven Tyler Related Photos Before Steven Tyler Was An ‘American Idol’ Judge … Jennifer Lopez: From The Block To ‘American Idol’ Related Artists Jennifer Lopez Steven Tyler

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‘American Idol’ Adds Jennifer Lopez, Steven Tyler As Judges

Hollywood Feminism: Women Smart, Men Dumb

“Feminism is a Crock – and Other True Stories.” That’s the title for a book I’d like to write someday. The reason I say feminism is a crock is because it has morphed from “equal rights for all” to “women are better than men, and if you disagree you’re a sexist pig who should be castrated.” It’s also morphed into a sexual free-for-all: what used to be sauce for the gander (and those ganders were usually considered cads) is now sauce for the goose. This image is being perpetuated by pop culture and entertainment, and women are more and more frequently being portrayed as strong through their sexuality, not through their actual accomplishments. Is this the standard to which we want our daughters to aspire? Early feminists fought against the centuries-old image of a “woman on a pedestal.” Gloria Steinem (she of the “a woman without a man is like a fish without a bicycle” who in later years ended up getting married anyway) once said, “A pedestal is as much a prison as any small, confined space.” I suppose a bra is also a small, confined space, which might explain the bra burnings of the 1960s. But the early feminists had a point – to a point. If a woman wants to be put on a pedestal and admired and adored, fine. But if she doesn’t, she should have the right to do with her life as she chooses. She should be free to pursue any vocation  for which she is qualified,  either as a single or married woman, children or no children. But one of the problems with the new feminism was the annoying little fact that children could get in the way of this brave new world. Having to either stay at home with the little tykes or find daycare for them – not to mention all of the discomfort and disfiguration that comes with pregnancy itself – sure put a damper on Gloria Steinem’s idea of a “liberated woman” being “one who has sex before marriage and a job after.” Unbridled sex does, after all, have consequences. And so,  according to historian Elaine Tyler May, birth control was “an important tool to gain control over their lives.” May touts the contributions of Margaret Sanger, whose group eventually became known as Planned Parenthood, conveniently ignoring – as many do –  Sanger’s devotion to eugenics . Sanger spoke of sterilizing those “unfit” to contribute to the gene pool, a group which included not only blacks and other ethnic minorities but, according to  Sanger associate Dr. Harry Laughlin, the “shiftless, ignorant, and worthless class of antisocial whites of the South.” What a classy group of people. Don’t get me wrong. I’m not against safe, legitimate birth control methods. But when tooting the horn of the likes of Margaret Sanger, we need to be honest about what really drove her pursuit of birth control for women, just as we should be honest about what drives the abortion mills of Planned Parenthood –  profit . And quelle surprise – Planned Parenthood as we know it really  came into its own in the 1960s . In a nutshell: True feminists of the time felt that you could only be a feminist if you rebelled against the natural workings of your body and eschewed marriage and motherhood  for a “higher cause.” There are still many of the old guard around today. But the times, they are a changin’. Fast forward to 2010. Many would say the fight for equal rights has pretty much been won. Girls can dream of going to college and becoming airline pilots, electrical and biological engineers, teachers, doctors – the list is almost endless. In fact,  more women graduate with college degrees than men  – perhaps  due in part  to more focus being put on girls than boys in school to “make up for” previous inequality and also what is being called the feminization of society (what Rush Limbaugh calls “chickification”). And for years, the entertainment industry has done its part for the last 20 or 30 years by portraying men as bumbling but lovable fools who wouldn’t be where they are if it weren’t for the very attractive, smart-as-a-whip women they somehow managed to marry. Television’s  Home Improvement  and King of Queens  are two of the more recent examples. And, of course,  commercials like this one . So even if the woman did commit the sin of marrying, she always had the redeeming quality of having the upper hand in just about any situation. Earlier, I said that unbridled sex without birth control or easy access to abortion has the consequence of pregnancy and childbirth. Today, unbridled sex with birth control and easy access to abortion combined with an increasingly “anything goes” attitude in society and pop culture gets girls who have as their role models the like of Paris Hilton, the Kardashian sisters, Snooki from MTV’s  Jersey Shore  and various other “celebrities.” Their claim to fame is not similar to being the  first woman to fly solo across the Atlantic Ocean  or  receiving the Nobel Prize for pioneering work in radiation , but for on-camera antics like tanning, catfights, and puking after binge drinking, and having their “sex tapes” released to the press for quick and easy profit. Too many are the next target of the creator of the  Girls Gone Wild  video series, which shows images of drunken girls taking off their tops and making out with one another. We also have the likes of Lady Gaga, who makes Madonna look like a choir girl – almost. And those who begin their careers as wholesome young things (Britney and Jamie Lynn Spears, Christina Aguilera, Lindsey Lohan, Miley Cyrus) often decide that “growing up” must mean “giving out” – figuratively speaking in some cases, not so figuratively in others. As the mother of two girls, one just starting college this year and the other starting high school, I find these so-called role models severely lacking. Writing for  Macleans , Anne Kingston also notes this disturbing trend. As those she interviews see it, the fight for women’s equality is not over but has taken a giant step backward because of something called “enlightened sexism”: where women are not only “empowered” by overtly flaunting their sexuality, but are also obsessed with getting married. Certainly this new trend in the entertainment media, which exploits this so-called sexual empowerment for fun and profit, is partially to blame. But what about the parents? Where are they? Sure there are the mothers quoted in Anne Kingston’s article who are upset about this trashy turn of events. Unfortunately, there are plenty of others who are pushing the trend. I was in TJ Maxx some time ago and heard two women talking, excited because the store was finally carrying the tacky  Juicy Couture  clothing line. Yet I had to wonder – were they excited because they could buy it for their children or were they excited for themselves? Just a couple of weeks ago, I saw an older, heavyset woman at the mall who was with a boy who looked like he might be her grandson. She was wearing a tight t-shirt with the word Juicy across the front and it was painfully obvious that she wasn’t wearing a bra. Nothing like mutton dressed like lamb a la  Absolutely Fabulous . Blech. Then there’s the  recent story  about skinny jeans for toddlers. Why anyone would put their two- or three-year-old in an item of clothing usually connected with sexuality is beyond me. But then we have shows like TLC’s  Toddlers & Tiaras , where some think ” beauty pageant stage parents make Jon and Kate Gosselin look like Ward and June Cleaver .” There are notorious stage parents like Dina Lohan, who has  done her best  to  launch her own career  on the back of her daughter, nearly sucking her dry. Double blech. My take? The left tried its hand at social engineering in the name of equality – but rather than focusing on equal rights in education and the workplace,  ended up giving women the same “rights” as men in the arena of sex with no consequences. Religion and morality were for squares, no matter what  Huey Lewis might have said . Yet it has backfired. Girls still like to look pretty and still like to attract boys. However, now they don’t have to worry about public stigma for public misbehavior. A girl who would once be labeled a skank for certain behavior is now celebrated.  Be famous for being a no-talent party girl with an expanding rap sheet ! No need to ” settle with a man just to have that child .” Go back to the creep who  used your face for a punching bag . Turn yourself into a  literal caricature through plastic surgery . You deserve it. You’ve come a long way, baby . Here’s hoping you can find your way home again. Crossposted at Big Hollywood

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Hollywood Feminism: Women Smart, Men Dumb