SLASH, Joan Jett and Billy Corgan were honoured with career achievement prizes at the inaugural Alternative Press Music Awards (APMA) in Cleveland, Ohio on Monday night (21Jul14). The former Guns N' Roses star was presented with the Guitar Legend Award by Aerosmith rocker Joe Perry, Jett accepted the Icon Award, and Smashing Pumpkins rocker Corgan was handed the Vanguard Award during the ceremony at Voinovich Park, behind the Rock and Roll Hall of Fame building.
Corgan said of the awards ceremony, "What's great about Alternative Press is it still kind of stands for the alternative counter culture. Maybe it's not as much of a counter culture as it once... I'm happy to just be part of the alternative culture," while Slash added in a post on Twitter.com, "Receiving the Gtr (Guitar) Legend award from APMA was quite the honour. Receiving it from friend & mentor Joe Perry put it over the top."
Other winners included Panic! At The Disco frontman Brendon Urie, who won the Best Vocalist prize and took to the stage to perform Frank Sinatra classics Luck Be A Lady and Fly Me To The Moon with the Contemporary Youth Orchestra.
The show, hosted by Blink-182 star Mark Hoppus, also included performances from The Misfits, Fall Out Boy and Joan Jett & The Blackhearts.
Folk legend Bob Dylan has unexpectedly released a cover of Frank Sinatra's track Full Moon and Empty Arms. The Like a Rolling Stone singer has followed in the footsteps of artists like Beyonce and has debuted his own version of the 1945 standard on his website without any publicity or prior warning.
On Tuesday (13May14), Dylan's spokesperson told Rolling Stone that fans can expect more of the same from Dylan, as the track is "definitely from a forthcoming album due later on this year (14)."
The music icon also posted a photo of himself with the phrase "Shadows in the Night" written across it, hinting at what might be the title of the new album.
Dylan's last album, Tempest, was released in 2012. He kicks off the European leg of his Never Ending Tour in Ireland on 16 June (14).
Actors John Goodman and Ken Watanabe have signed up to voice Autobots in Michael Bay's upcoming movie Transformers: Age Of Extinction. The Monuments Men star Goodman will provide the voice of Hound, while Watanabe has joined the all-star cast as Drift.
They join Peter Cullen (Optimus Prime) and Frank Welker (Galvatron) among the voice stars of the new blockbuster, which is currently in post-production. Mark Wahlberg, Nicola Peltz, Stanley Tucci, Kelsey Grammer and Sophia Myles are among the human stars of the movie.
Announcing the latest casting news in a statement released on Thursday (08May14), director Bay says, "I am pleased to welcome two gifted and versatile actors, John Goodman and Ken Watanabe, to the world of Transformers. And to re-team with Peter and Frank, who have brought Transformers characters alive from the beginning. "I’ve been fortunate to work with some of the best voice talent in the business, and together we will introduce several exciting new robots to fans of the franchise around the world."
Transformers: Age of Extinction, the fourth installment in the franchise, will be released in cinemas at the end of June (14).
Paramount Pictures via Everett Collection
Will Ferrell will put on the dunce cap once again. According to Deadline, TriStar has purchased The Yank, in which he'll play a mild-mannered insurance courier who finds himself in the middle of a heist to steal the crown jewels. Since the large majority of us don't stumble our way into the middle of gigantic, illicit conspiracies, it's safe to say that Ferrell's latest character won't be the brightest bulb in the box. In fact, Ferrell has made a career of playing dim-witted dunderheads. Even his ostensibly smart characters are clearly lacking a couple thousand brain cells. But which is the dumbest dope that Ferrell has ever played? We've decided to rank all of Ferrell's idiots in ascending order of stupidity.
Megamind (Megamind) Megamind is actually a genius, albeit an evil one, so he gets the top spot. However, he is a dope when he comes to relationships.
Harold Crick (Stranger Than Fiction)Sacrificing your life in the name of great art is quite an academic pursuit, so cheers.
Det. Allen Gamble (The Other Guys) Under a slightly frumpy and dopey exterior is actually the mind of a pretty gifted detective. In any case, you have to be doing something smart to attract Eva Mendez.
Buddy (Elf) Buddy isn't stupid as he is just lost in a world that isn't constantly running in full-on Christmas mode. The North Pole is a long sleigh ride away from Manhattan.
Chazz Michael Michaels (Blades of Glory)It does take some smarts to weasel your way back into a sport you were banned from. Too bad the tapes of him figure skating with Jon Heder will exist on the internet forever. That's quite the oversight.
Dr. Rick Marshall (Land of the Lost)Marshall is actually a gifted scientist, but for all of his fancy book learning, he does lack an incredible amount of common sense.
Phil Weston (Kicking and Screaming)Getting that wrapped up in pee-wee soccer, the least worthy pee-wee sport there is, is almost criminally stupid.
Cam Brady (The Campaign) Cam Brady nearly makes real politicians seem smart...nearly.
Jackie Moon (Semi-Pro)In Jackie Moon's world, wrestling a bear is a good way of promoting your failing basketball franchise.
Mustafa (Austin Powers) He's quite the survivor ("I've been very badly burned"), but if you can only take three questions before spilling clandestine info, then you're the worst henchman possible.
Ricky Bobby (Talladega Nights: The Ballad of Ricky Bobby)Sweet baby Jesus is Ricky Bobby dumb. He's the epitome of every Nascar stereotype every conceived.
Steve Butabi (A Night at the Roxbury) These club-addicted idiots have nothing rattling around their heads beyond velour suits and Haddaway's "What is Love."
Brennan Huff (Step Brothers)Brennan is probably the biggest and most spoiled man-child ever produced by the Ferrell and McKay tag team.
Ron Burgundy (Anchorman)Ron is pretty close to the top. Fortunately enough for him, though, the rest of the world surrounding him is nearly as stupid as he is.
Frank "The Tank" Rickard (Old School)Frank the Tank is definitively the stupidest person Will Ferrell has ever played. He somehow manages to shoot himself with a rhino tranquilizer just in time to ruin a kid's birthday party.
Frank Zappa's daughter Moon Unit has finalised her divorce from her musician husband Paul Doucette. Matchbox Twenty star Doucette will pay $8,000 (£5,000) a month in spousal support for five years and $6,000 (£3,750) a month in child support, according to TMZ.com.
The former couple has agreed to split the earnings from more than 50 songs written or co-written by Doucette, while the divorce documents also reportedly outline details for the upbringing of their nine-year-old daughter Mathilda.
The pair married in 2002, and Zappa filed for divorce in December, 2011.
Columbia Pictures via Everett Collection
Treading water at the very surface of RoboCop, there is an idea. A dense concept, ready and willing to provide no dearth of dissection for any eager student of philosophy, psychology, political science, physics — hell, any of the Ps. To simplify the idea on hand: What separates man from machine? It's a question that is not just teased by the basic premise of José Padilha's remake of the 1987 sci-fi staple, but asked outright by many of its main characters. And then never really worried about again.
We have principal parties on both sides of the ethical quandary that would place the security of our crime-ridden cities in the hands of automatons. Samuel L. Jackson plays a spitfire Bill O'Reilly who wonders why America hasn't lined its streets with high-efficiency officer droids. Zach Grenier, as a moralistic senator, gobbles his way through an opposition to the Pro-boCop movement. We hear lecture after lecture from pundits, politicians, business moguls (a money-hungry Michael Keaton heads the nefarious OmniCorp...) and scientists (...while his top doc Gary Oldman questions the nature of his assignments while poking at patients' brains and spouting diatribes about "free will"), all working their hardest to lay thematic groundwork. Each character insists that we're watching a movie about the distinction between human and artificial intelligence. That even with an active brain, no robot can understand what it means to have a heart. But when Prof. Oldman tempers his hysterical squawking and Samuel L. Hannity rolls his closing credits, we don't see these ideas taking life.
In earnest, the struggle of rehabilitated police officer Alex Murphy (Joel Kinnaman) — nearly killed in the line of duty and turned thereafter into OmniCorp's prototype RoboCop — doesn't seem to enlist any of the questions that his aggravated peers have been asking. Murphy is transformed not just physically, but mentally — robbed of his decision-making ability and depleted of emotional brain chemicals — effectively losing himself in the process. But the journey we see take hold of Murphy is not one to reclaim his soul, although the movie touts it as such. It's really just one to become a better robot.
Columbia Pictures via Everett Collection
Meanwhile, RoboCop lays down its motives, and hard: Murphy's wife and son (Abbie Cornish and a puckish young John Paul Ruttan) lament the loss of Alex, condemning his dehumanization at the hands of Raymond Sellars' (Keaton) capitalistic experiments, and sobbing out some torrential pathos so you know just how deep this company is digging. Weaselly stooges (Jay Baruchel, Jennifer Ehle, and Jackie Earl Haley) line the OmniCorp roster with comical wickedness. Overseas, killer combat bots take down peaceful villages, unable to work empathetic judgment into their decision to destroy all deemed as "threats." And at the top, figures of power and money like Sellars and Pat Novak (Jackson) speak the loudest and harshest, literally justifying their agenda with a call for all naysayers to "stop whining." Clearly, RoboCop has something to say.
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And when it's devoted to its outrage, RoboCop is terrifically charming. The buzzing political world is just a tiny step closer to ridiculous than our own; the pitch meetings at OmniCorp are fun enough to provoke a ditching of all the material outside of the company walls. And one particular reference to The Wizard of Oz shows that the movie isn't above having fun with its admittedly silly premise. But it loses its magic when it steps away from goofy gimmicks and satirical monologues and heads back into the story. We don't see enough of Murphy grappling with the complicated balance between his conflicting organic and synthetic selves. In fact, we don't see enough "story" in Murphy at all. First, he's a dad and a cop. Then, he's a RoboCop. But can he also be a RoboDad? With all of its ranting and raving about the question, the film doesn't seem to concerned with actually figuring out the answer.
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Welsh crooner Sir Tom Jones was warned by Elvis Presley not to cover Frank Sinatra's songs. The Delilah hitmaker was friends with both singers back in his music heyday, and he covered a number of songs previously made famous by Sinatra, including My Way and Fly Me To The Moon, with the blessing of the Rat Pack star.
However, Presley was less enthusiastic about the Welshman's takes on the classic tracks and warned Jones to stay away from the iconic singer's music.
Jones tells British radio station Magic 105.4, ''I knew Frank Sinatra and Elvis Presley very well. I did an album of Frank Sinatra type things and Elvis listened and said, 'Tom I heard that thing' and I said... 'Yeah and?' Elvis said, 'We leave that to Frank Sinatra, we don't go there'.''
However, Jones insists Sinatra enjoyed his crooner style and was concerned when he started releasing more rock-orientated music.
He continues, "When I do something a little more rocky, Frank would say: 'Tom, when I go and they (management) ask me who could replace me, I say you! So don't go making records like that!'.''
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Rapper Drake helped U.S. talk show host Jimmy Fallon beat actress Scarlett Johansson and hip-hop star Black Thought in a game of charades during Friday's (13Sep13) episode of Late Night With Jimmy Fallon. The Best I Ever Had hitmaker successfully guessed the tiebreaker - Frank Sinatra song Fly Me To The Moon - after the TV presenter went head-to-head with Johansson to act out the phrase.
Frank Zappa's widow has opened up about the unusual names the couple picked for its four children, revealing the late rock legend considered calling his eldest daughter Motorhead. The eccentric trailblazer and his wife Gail fell in love after meeting in 1966, and they later became parents to two daughters, Moon Unit and Diva Muffin, and sons Dweezil and Ahmet Emuukha Rodan.
Gail insists the bizarre names all have a special meaning within the family - Dweezil was a pet name which Zappa came up with, while Ahmet was the title of an imaginary butler, and Diva was given her moniker because she was a noisy baby.
Explaining Moon Unit's name, Gail tells Britain's The Times, "He said, 'You can name it Moon or Motorhead.' So of course, I know it's going to be Moon. You know, you're not (truly) related to your partner in life until you have a child together. So we became a family unit and that's the significance of Moon's middle name."
Zappa lost his battle with prostate cancer in 1993 when he was 52.