Country star Dolly Parton has become the latest star to take the ALS Ice Bucket Challenge after pal Kenny Rogers nominated her for the chilly charity task.
The Jolene singer filmed herself bracing for a dousing, and then challenged Rogers to donate more to the ALS Association for "the wet T-shirt contest".
Parton said, "Kenny said, 'You'll never do it with your false hair, your false eyelashes, and your false nails'. Kenny, you'd be surprised at what I do with my falsies for a good cause and a good laugh." She then took the plunge at her Tennessee home, adding, "Although, I didn't challenge anyone, I do challenge everybody to make a generous donation like I did!"
Parton joins an army of celebrities who have taken the plunge to raise cash and awareness for the ALS Association.
Walt Disney Pictures/Marvel
To a large extent, blockbuster movie soundtracks are all the same. There's probably some Kanye, a few dubstep tracks to keep things upbeat, maybe a classic rock song or two, and then some kind of instrumental score meant to add some tension or sentiment at the appropriate moments. And it makes sense — you're not paying for perfectly-scored moments of emotion, you're paying to watch people punch each other and blow things up. So when a blockbuster film manages to match the perfect song to the perfect scene, something special happens. Suddenly, it's not just about the effects. It's about the experience. And even though we've yet to see Guardians of the Galaxy, we can tell that it's going to be that kind of film, thanks to the cheesy classic rock featured in the trailer and the presence of the founding member of Mouserat. In honor of its August 1 release, we've rounded up some of the most iconic blockbuster movie moments in cinema history. After all, what's the point in saving the world if Kenny Loggins isn't singing about it?
“Trouble Man” by Marvin Gaye, Captain America: The Winter Soldier At the start of the film, Sam Wilson makes a tentative attempt at friendship with ol' Steve Rogers by recommending he check out Marvin Gaye’s classic 1972 album; at the end of the film, Steve wakes up in a hospital bed with Sam by his side and the title track playing over the speakers. Because even if you’re unconscious, Sam Wilson is going to ensure that your musical education is complete.
"Non Je ne Rigrette Rien” by Edith Piaf, Inception Primarily used as a way to signal to the people in-dream that the kick is coming, “Non Je ne Rigreete Rien” also warned of a much more dangerous shock headed towards the team: Mal. Sure, it’s a bit on the nose for the recurring dream-ghost of Leonardo DiCaprio’s dead French ex-wife, but finding the perfect movie music moment isn’t necessarily about being clever – it’s about creating a mood. And besides, Christopher Nolan’s not the subtle type.
“Eye of the Tiger” by Survivor, Rocky III It doesn’t matter that Rocky didn’t start training to the sweet, sweet sounds of ‘80s rock until the third installment of the franchise. When you think Rocky, “Eye of the Tiger” automatically starts playing in your head. It might not have been the original music moment of the series, but it’s the most enduring; even the Broadway production couldn’t resist working it into the score. You should hear it in five-part harmony.
“Danger Zone” by Kenny Loggins, Top Gun The love scene scored to Berlin might be a bit more iconic, thanks to its awesomely cheesy use of backlighting, but the best musical moment in Top Gun is, without a doubt, the montage of fighter pilots taking off, scored to what is perhaps Kenny Loggins’ most ridiculous hit of all. Did Berlin give us one of the best running jokes of all time? No. No they did not.
Rogue Pictures via Everett Collection
“Don’t Stop Me Now” by Queen, Shaun of the Dead Edgar Wright’s Cornetto Trilogy is filled with hilarious gags and perfectly-timed music cues but none are more elaborate, ridiculous or more pitch-perfect than the gang’s choreographed attacks on the zombies in the bar, using an assortment of pool cues, a fire extinguisher and a last-minute rifle. The fact that everyone in the film acknowledges the insanity of the situation – and even dance along! – makes it unforgettable.
“Where Is My Mind” by Pixies, Fight Club Fight Club is a weird, twisted psychological thriller that leaves you questioning what was real and what was hallucinated. Therefore, the only appropriate song to end it with is one that asks the core question of the film: “Where Is My Mind?” Just melancholy enough to fit the tone, and just obvious enough to help even the slowest members of the audience make the connection.
“Johnny B. Goode” by Chuck Berry, Back to the Future When you’re tasked with reviving the party at your parents prom, you could go the safe route and play something everyone would be familiar with, or you could invent rock and roll by busting out some Chuck Berry… before he’s even heard it. And then you can make everything awkward by extending a guitar solo for far too long and freaking everyone out, but hey, Marty McFly was ahead of his time. It’s not his fault they didn’t get it.
“You’re the Best” by Joe Esposito, The Karate Kid In the ‘80s, wimpy kids everywhere were inspired to stand up for themselves and find their inner Karate Kid thanks to Mr. Miyagi. But his “wax on, wax off” philosophy would be nothing without the encouraging synth-pop of Joe Esposito telling them that nothing could ever bring them down. How else were they supposed to get pumped up for the biggest karate competition of their life? Or you know, the playground. Both are intimidating.
“Born to Be Wild” by Steppenwolf, Easy Rider Since its release in 1968, “Born to Be Wild” has been the second favorite song of music supervisors looking to indicate someone as a “bad boy” without actually forcing the other characters to say it. (The first, of course, is “Bad to the Bone.”) It might be cliché now, but it all dates back to 1969, when Dennis Hopper and Peter Fonda set off on a road trip and ensuring that any time someone bought a motorcycle, a Steppenwolf reference would be made.
Country music icon Alan Jackson is lending some of his most personal artefacts to the Country Music Hall of Fame for a special exhibit celebrating his 25-year career. The Grammy winner's most notable items will be featured in Alan Jackson: 25 Years of Keepin' It Country at the country music Mecca in Nashville, Tennessee.
Beginning 29 August (14), fans will be able to visit the exhibition chronicling his rise to fame, and view items such as his handwritten lyrics to hits Livin' on Love and Where Were You (When the World Stopped Turning), and various awards he's won throughout the years.
Also on display will be the Harley-Davidson motorcycle featured on the cover of Jackson's A Lot About Livin' (And a Little 'Bout Love) album, the water ski from the Chattahoochee music video, and his childhood bicycle.
In addition, Jackson was also named the Country Music Hall of Fame's Artist-in-Residence for 2014. With the honour, he will perform a number of intimate concerts for fans this autumn (14).
Musicians such as Kenny Rogers, Vince Gill and Kris Kristofferson have previously been named the Hall of Fame's Artist-in-Residence.
This will mark the first time an Artist-in-Residence has a corresponding special exhibition at the museum.
Country music icon Kenny Rogers is recovering after undergoing surgery to remove a skin cancer growth from his face. The 75 year old took to his Instagram account on Wednesday (14May14) and posted a photo of himself with a bandage on the right side of his head.
Eager to tell his fans he's on the mend and ready to head back on the road for his current tour, he wrote, "...but you should see the other guy! Had a bit of skin cancer removed today - I recommend everyone go get checked, especially since May is National Skin Cancer Detection & Prevention Month. Don't worry though, I'm gonna look great in Knoxville (Tennessee) this weekend!"
Rogers isn't the only celebrity who has gone public with a skin cancer scare this month - last week (09May14), Wolverine star Hugh Jackman had his second skin cancer scare in six months after discovering a growth on his nose.
He also took to social media to encourage fans to take better care of their skin and wrote, "Another Basel Cell Carsinoma (sic). All out now. Thanks Dr. Albom and Dr. Arian. PLEASE! PLEASE! WEAR SUNSCREEN!."
"Kenny is one of my favourite people in the whole wide world. Kenny and I have always had that love and that passion (but we've) never been lovers." Dolly Parton insists her longtime friendship with fellow country music icon Kenny Rogers has never turned romantic.
Late singer/songwriter Hank Cochran will be posthumously inducted into the Country Music Hall of Fame as part of the Class of 2014. Cochran, who penned hits for artists like Patsy Cline, Ray Price and Eddy Arnold, will join Ronnie Milsap and Mac Wiseman as the latest additions to the Nashville, Tennessee museum.
Wiseman, who will be inducted as part of the veterans era category, admits the recognition is a dream come true, stating, "I anticipated and hoped for it a long time. This is the biggest thing that's ever happened to me in my 70-odd years. Being in the same categories with all the greats over the years, I'm just really flattered."
Milsap will go down in history as part of the modern era inductions, while Cochran, who lost his battle with cancer in 2010, will be feted in the songwriter category at a ceremony later this year (14).
Last year's (13) inductees were Kenny Rogers, Bobby Bare and the late Cowboy Jack Clement.
Acting icon Robert De Niro and crooner Michael Buble were honoured for their philanthropic efforts at Muhammad Ali's Celebrity Fight Night on Saturday (12Apr14). The 20th annual event attracted stars from movies, music and sports to the Phoenix, Arizona gala, which raises funds in support of the legendary boxer's fight to find a cure for Parkinson's disease.
The Raging Bull star was given the night's big prize, the 2014 Muhammad Ali Celebrity Fight Night Award, which was handed to De Niro by his Analyze This co-star Billy Crystal.
Singer Buble was also presented with the Muhammad Ali Humanitarian Award by country artist Reba McEntire, who served as the host for the evening.
Ali himself was not able to attend his event due to a stomach bug, but other celebrities, including Sex and the City's John Corbett and politician Robert Kennedy, Jr., were on hand to support the cause.
Country music siblings The Band Perry took the stage to entertain attendees, while Buble, McEntire and Kenny Rogers also performed.
A live auction was also held during the event, where a VIP treatment package at the premiere of The Hunger Games: Mockingjay - Part 1 sold for $15,000 (£8,967), while two lucky bidders each paid $500,000 (£298,918) to have dinner with McEntire in her home. But the biggest draw of the night was a dinner with De Niro, Crystal and former New York Yankees general manager Joe Torre, which went for $1 million (£597,836).
Over $8 million (£4.8 million) was raised during the event, boosting the total raised in the 20 years of Celebrity Fight Night to $95 million (£56.8 million). Funds will benefit the Muhammad Ali Parkinson Center and Medical Center's Barrow Neurological Institute in Phoenix, as well as other charities.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Singer Wynonna Judd has stepped in to replace fellow country star Kenny Rogers at his Valentine's Day weekend (begs 14Feb14) concerts after he fell ill. The Islands in the Stream hitmaker was due to perform with the Nashville Symphony in Tennessee, but he had had to bow out because of an undisclosed sickness.
Judd will fill in for the 75-year-old singer on Friday and Saturday (15Feb14) as he recovers.
Rogers two-night stay in America's country music capital was a stop on his Through The Years World Tour, celebrating his 50 years in the music industry.
He is slated to continue his tour in Billings, Montana on 20 February (14).
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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