Electric Daisy Carnival organiser Pasquale Rotella is keen to bring the dance music festival back to California, despite the tragic deaths following the events in Los Angeles in previous years. The popular rave spectacular originally started as a one-day Southern California event in 1997, and it has since expanded to six states, as well as Mexico and the U.K.
However, the festival hasn't been held in Los Angeles since 2010, when a 15-year-old girl died from an event-related drug overdose.
That same year at the EDC, more than 100 revellers were admitted to hospital after fans scrambled to gain access to a gig headlined by Moby. Shortly after, Rotella - the boss of Insomnia Events, which runs the festival - was sued by the City of Los Angeles on multiple counts including civil fraud and unfair business practices.
The controversies led Insomnia executives to move the Los Angeles event to Las Vegas, where it has been for the past three years.
With superstar DJs including Tiesto, Calvin Harris and Avicii on the bill for the 2014 EDC in Sin City, Rotella tells MTV News he is currently working on bringing the festival back to its home state in California, even though he acknowledges it will be an extremely difficult feat to accomplish.
He explains, "I'm looking forward to bringing some of our known festivals back to California. That's where I come from, so it's super exciting to me. There is a huge demand and there is a huge fanbase there - we are in the middle of working that out."
The upcoming festival runs from 20 to 22 June at Las Vegas Motor Speedway.
Tonight is the first of the 2012 Vice Presidential Debates between Vice President Joe Biden and the Republican Vice Presidential Nominee Paul Ryan. The country will watch on — and learn things — as the two share their positions on domestic issues. While Biden and Ryan answer important questions about health care, reproductive rights, and the state of the economy, we at Hollywood.com are staging debates of our own. Today, we decided to tackle the Sophie’s Choice of Teen Comedies: Clueless v. Mean Girls. Which film has influenced our vocabulary more? Writers Shaunna Murphy and Leanne Aguilera square off on this vital issue.
Opening Argument from Shaunna Murphy:
Though Mean Girls is a spectacular film that taught me the importance of wearing pink on Wednesdays, its influence on the public vernacular was not nearly as profound as that of one of its '90s counterparts, Clueless. I mean, as if "fetch" ever reached the cultural ubiquity of Betties and Baldwins. Valley Girl and Heathers may have preceded Clueless in heavy usage of "Valley-Speak," but Clueless took its popularity to a whole new level — by the mid-'90s, everyone in my Jersey elementary school was saying "as if" and using upspeak like they lived in your native Southern California, Leanne. (Come to think of it, maybe that's why you don't understand Clueless' importance — because everyone around you just talked like that to begin with. Ugh. What-ever.) Anyway, before I start buggin, I present to you some evidence:
"Clueless had a dramatic impact on popular culture," said Neil Lumbard, a staff writer at DVDTalk.com "From the young cast of up-and-coming stars, fashion (which made an especially noticeable impact on youth of the time), and the many words that became common usage: Whatever and As If being towards the top (though without actually even scratching on the surface of the film's witty and referential script)." Wisegeek.com agrees: "The film popularized a number of expressions that speakers now consider to be common, including the ubiquitous "Whatever!" With its continuing use amongst teenagers and adults alike, the phrase defies fad status and instead cements its place in American vernacular." That's, like, Shakespearean level of cultural influence, right there.
In fact, Clueless was so popular that it inspired a 1996 spin-off series of the same name. But the film's influence wasn't all positive — especially if you live in the Valley. Lead character Cher Horowitz's profound distaste for the other side of the hill has lived on for decades, with several of my Los Angeles friends (many of whom were teens at the time of its release) still quoting the film whenever a move to, say, Studio City is brought up.
Also, Clueless introduced the world to one of the best movie-insults of all time: "You're a virgin who can't drive." BAM. Outtie.
Opening Argument from Leanne Aguilera:
There is no denying that Clueless is classic and, yes, soon after the movie was released, girls were rushing out to buy knee-high socks, plaid skirts, and doing their best to try and pull off a tank top over a tee shirt. (Alas, it’s nearly impossible unless you’re Cher Horowitz.) Shaunna, that is so flattering that you and all of your little Shore-goers were running around saying “like” and “whatever” in hopes of becoming more like my California friends and me. However, when I was passing notes in school — using my Clueless-inspired fuzzy pen — my friends and I were writing about things like “word vomit,” how cool it would be to have Mrs. George as a mom, and our fears surrounding Coach Karr’s warning: “Don’t have sex, because you will get pregnant, and die.” Clueless may have paved the way for a much-needed fashion revolution, but Mean Girlswas, and still is, the voice of our generation.
“In a wasteland of dumb movies about teenagers, Mean Girls is a smart and funny one,“ praises Roger Ebert, one of the world’s most distinguished movie critics. Of course, this movie’s level of “funny” is a direct result from film’s script. Need I remind you who wrote the dialogue for this 2004 masterpiece? The one and only Tina Fey. (Cue the applause please!) Mark Lee of LC Radar says it best, “Mean Girls might stand forever as Tina Fey’s greatest achievement, though it’s hard to say for sure because that woman can do no wrong.” Preach! Lee continues, “[Mean Girls] honestly says a lot about the culture and interactions of high school girls. There was a message under those army pants and flip-flops. And it doesn’t hurt that it has some of the funniest lines in teen-film history.”
Quoting Mean Girls is skill — an art form if you will — that many have spent countless girls’ night to perfect. True, the amateur quoter will use Cher’s “as if’” or “outtie” in a conversation sporadically, but this blatant use of line-dropping will automatically, reveal the source of your unoriginal thought. Mean Girls, however, has weaved its way so deep into our society’s vernacular that it has now become a friendly little quiz to see just how flawlessly the lines can be tucked into a rapid dialogue. There’s no denying that every time someone says, “Is this seat taken?” an immediate counter is “You can’t sit with us!” Or when a friend says she wants to do “something fun,” your initial suggestion is to go to Taco Bell. And, of course, the ultimate compliment can be derived from saying that girl has “two Fendi purses and a silver Lexus.”
As for your claim regarding one of the best movie-insults of all time, I believe these three words say it best: “Boo, you whore.”
Rebuttal from Shaunna Murphy:
See that's the thing Leanne — of course, for you and I, quoting Mean Girls is an "art form" — the reason being, it came out when you and I were both teens. It's one of the defining films of our high school years (along with Bring it Onand the like), and we'll treasure Tina's precious one-liners forever.
But 20 years from now, teens aren't going to think of Mean Girls as a film with a strong cultural identity, like Clueless. I mean, Clueless affected the way a nation of kids spoke. They weren't just quoting lines from the movie, they were raising their sentences and mimicking characters from that movie — characters who, for most people, lived lightyears away (Beverly Hills). Clueless defined California-cool in the mid-'90s, and people STILL associate upspeak with Cher Horowitz. That's pretty damned impressive.
Look, I'm not denying that Mean Girls will go down in film history as a great high school movie — it's up there in the lexicon with Fast Times, Heathers, Bring it On, Dazed and Confused, etc., etc. And its message was far more inspiring than Clueless' (if Clueless even had a message). But it didn't change the way people spoke — it only gave them more funny things to say.
Rebuttal from Leanne Aguilera:
Well said Shaunna. Clueless, without a doubt, mainstreamed the Heathers-inspired "valley-girl" way of talking. As a current resident of Beverly Hills, I cannot begin to tell you how many times a day I hear, "Like... ummm. Can I get like a tall non-fat, iced vanilla latte...?" It's nauseating for me to hear people trail off the ends of their sentences, but yes, it still happens. And I'm sure that Cluelesshad a large influence on how these 90210 residents, and other "wannabes" in the nation, currently stylize their sentences.
However, the topic of this debate is "Which film has had the biggest impact on teen vocabulary?" Vocabulary. Last time I checked, vocabulary is defined as a collection of words or phrases, not the style in which these words are pronounced. Hence bringing me back to my previous point: Mean Girls as a whole has embedded its quotes deeper into our everyday conversations than Clueless has. Everyone knows know exactly how many candygrams the incredible Glenn Coco received, but off the top of your head, do you know how many tardies Travis Birkenstock earned?
And before you try to remind me that Clueless came out first, thus making it more well-known and/or superior due to seniority, I present to you this comparison: Everyone was Ooh-ing and Aah-ing when the Sony Walkman first came out, saying that it would would go down in history as a classic, a game-changer, something that would always be remembered. But then Apple introduced the iPod.
Closing Remarks from Shaunna Murphy:
Rolling With the Homies. As if. Whatever. Betties and Baldwins. Postal. Monet. Surfing the crimson wave. Though Mean Girls is fresher for us twentysomethings than Clueless — so quotes like "fetch" are currently more popular than the phrases listed above — I maintain that none of the dialogue in Mean Girls will stand the test of time, as Clueless has. Clueless was a defining cultural moment that introduced words, phrases, and, yes, a whole new manner of speaking to an entire nation. Mean Girls was just a really fun movie that pop-culture-philes (mostly female) will fondly remember long past its due date (largely because of Lohan's tragic fall from grace). Ten years from now let's quote some Mean Girlsto teenagers and see what happens, eh? I'm picturing a lot of eye-rolls and blank stares.
Closing Remarks from Leanne Aguilera:
She doesn't even go here!
Who do you think won this debate: Clueless or Mean Girls? Which movie do you continuously quote? Tell us your thoughts in the comments below!
[Photo Credit: Paramount Pictures]
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S1E9: Just because it’s Christmas, that doesn’t mean every show needs to put on a grand, musical spectacular. Some series are perfectly fine with letting Sexy Santa be the only spectacle in a perfectly normal, yet holiday-themed episode. That’s what New Girl did this week. It may be Christmas, but there’s no reason to stop those storylines from rolling right along. Plus, for once, Jess does something other than be cute and lovable. Our New Girl’s getting all grown up.
“I can say that to someone on Christmas…and then it’s New Years and then it’s Valentine’s Day and then whoa it’s President’s Day.” -Jess
“I can’t argue with that logic.” –Nick After giving her roommates matching roller skates and taking pictures of them all wearing them while adorably falling over to stop her from capturing their images with her dreaded tiny camera, Jess asks them to help her find a gift for Paul. This sends them to the mall where her real life alter-ego, Zooey Deschanel, is singing songs from her band’s (She and Him) Christmas album through the loudspeaker. Kind of eerie, no? We like the show, we’ve probably already listened to the album on Spotify. Chill, marketers.
Anyway, Nick sees that Jess is planning on getting him a gift certificate for their own brand of weird nerdy sex and teases her relentlessly – they are really driving this friend-mance into us here. Jess ends up getting Paul a mechanical toy model of a heart – it’s anatomically correct and everything! And Paul gets her two tickets to Vienna and says he loves her. She says “Thank you.” And here comes the end of Justin Long’s short-lived arch on the show. To be fair, I’ve thought he’s too Jess-like for her own good anyway.
It turns out I was actually kind of right, because Jess laments that being the over-interested party is her thing. It’s not said expressly, but I’m pretty sure the reason this little relationship fizzles is because Jess can’t date herself. Nick convinces her to tell Paul the truth, but she ends up hiding in the bathroom with Cece instead, leaving Nick to accidentally spill the beans to Paul. And this is my favorite scene from the episode. Paul accepting the unexpectedly bad news like a little puppy who’s just been spun in circles before being left home alone while its owners go to work. Nick fumbling to try to make it better while digging himself deeper and deeper is no new sitcom stunt, but Jake Johnson’s presence makes these classic bits work.
Finally, Jess yells at Nick for busting her and she and Paul decide to end things – though not before Nick tries to involve himself by saying Paul’s an idiot for not taking up Jess’ offer to just slow things down. It wasn’t exactly an explosive, emotional breakup, but it’s more about the way her friends help her deal with these things than the relationship itself.
”Sexy Santa’s dead. I killed him.” – Schmidt
And just like that, it’s over before it really began. Before Nick misses his flight home (as usual) and Winston heads off to see his family, the gang all gathers at Schmidt’s office Christmas party as a tradition. It’s there that Schmidt dresses up as sexy Santa and lets all the ladies in his office (and his office is all ladies) grind up on him and drunkenly say and do things they’ll regret later so he can hold it over their heads forever. Or he does it because his scary, pushy boss says so.
Before the party, he gives Cece a perfume he created for her, only to witness her latest Fabio-light douchebag licking the roof of her mouth. At the party, she realizes what a sweet guy he is (though he’s a terrible perfumer) and tells him to stop letting his boss push him around, he listens because in the course of her encouraging speech she calls him hot, and tells his boss “no more.” But then he takes it over the line with a sexist remark and gets dropped right back down to copy boy. I’m really loving the little flirtation between Cece and Schmidt. She’s oddly lovable and constantly getting screwed over by bad guys and Schmidt seems vapid, but he’s really a cuddly sweetheart under all of that. I doubt anyone is dying for them to get together, but it’s a cute little background diversion.
Finally, Winston befriends the VP’s son and ends up getting himself a job – though not the 9-5 he was thinking he’d land. The VP wants to pay him stupid amounts of money to watch her son. Well, that was swift and oddly convenient.
With all these stories tied up, they all pile into the car to get Nick to the airport and he takes a detour, meaning he completes the part of his storyline where he misses his flight, yet again. He drives the car (wait, wasn’t he just drunk?) to Candy Cane Lane to cheer up Jess, but all the lights are off so they start yelling to get everyone to turn their lights on. Finally, the nicest neighborhood in all of Southern California turns all the lights on like some sort of Christmas miracle – ended swiftly by a threat to call the police.
It was sort of the perfect end for a New Girl holiday. Just enough of a touch of that magical, childlike wonder, capped off with a grumpy old man swearing and yelling threats as they dash away to more She and Him Christmas music. Yep, that’s about as tailor-made as it gets.