Cher has urged Miley Cyrus to step up the quality of her live show and "be better, do better" after the pop icon was left unimpressed by the 20 year old's sexually-suggestive performance at the MTV Video Music Awards last month (Aug13). The former Hannah Montana star caused a stir after donning a barely-there outfit and showcasing her saucy dance moves while rubbing up against Robin Thicke as they performed his summer smash Blurred Lines onstage in New York.
Her steamy set divided critics, with celebrities like Brooke Shields and Cyndi Lauper urging Miley to put some clothes on, but she remained defiant, insisting she "made history".
Now the Believe hitmaker has become the latest star to weigh in on the controversy, and although she has no problem with Cyrus stripping off onstage, she feels the 20 year old should tone up first and work on her dance moves if she plans on ever repeating her performance.
Cher tells USA Today, "I'm not old fashioned. She could have come out naked, and if she'd just rocked the house, I would have said, 'You go, girl.' It just wasn't done well. She can't dance, her body looked like hell, the song wasn't great, one (butt) cheek was hanging out.
"And, chick, don't stick out your tongue if it's coated. If you're going to go that far, then think about it before you do it."
She adds to Eonline.com, "Maybe she's thrilled and delighted - everyone's talking about it. And so, that's almost as good as it being great, you know. Especially kind of in this day and age. It doesn't make any difference if you're good. It just makes a difference if people are talking about it."
Cher has had her fair share of performance controversies in the past - she upset conservatives by straddling a cannon in a barely-there outfit in her 1989 video for If I Could Turn Back Time, which was filmed onboard the battleship USS Missouri.
MTV bosses initially banned the promo fearing Cher, dressed in a fishnet body stocking under a very revealing black one-piece bathing suit, was showing too much flesh for TV audiences.
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First impressions are everything, and while some artists aren’t successful until their second or third albums, other artists are lucky enough to be in the right place at the right time. Fame isn’t the same thing as influence, though – the chances of Honey Boo Boo actually serving as a role model for anyone are slim to none (hopefully). Influence is usually only seen and appreciated in hindsight, but when it’s finally noticed, its effects are everlasting.
Here’s a look at some of the most influential first impressions of the '80s.
Joan Jett: Bad Reputation (1981) What would rock music be without Joan Jett? Jett had already been establishing herself with the Runaways, but her debut solo album had her kicking serious ass. Jett helped alter the perceptions of women in rock, proving that hot chicks could rock out without having to prance around half-naked. From Courtney Love to Gwen Stefani, Jett is responsible for an innumerable amount of girls picking up a guitar or microphone and rocking the f**k out.
R.E.M.: Murmur (1983) Before they were losing their religion, R.E.M. were making history. Murmur had the band not only ushering a totally new genre, but also helping commercialize it. The band was part of the vibrant college rock scene – most of the bands’ support came from American college radio stations, and after slowly winning over the underground, R.E.M. helped take the genre into the mainstream and college rock turned into “alternative rock.”
Run-D.M.C.: Run-D.M.C. (1984) Run D.M.C.’s ground-breaking self-titled album is known for completely changing the face of hip hop. The group stood out for their sharp raps and sparse production, which was unusual in a time when funk and disco beats dominated the scene. Led by their trademark basic drum-machine, Run D.M.C. pounded out a new, more aggressive form of hip hop that helped commercialize the genre and paved the way for all other rappers to come.
Beastie Boys: Licensed to Ill (1986) The influence of rock and hardcore had slowly been seeping its way into the hip hop scene with Run D.M.C., but it wasn’t until Beastie Boys released Licensed to Ill that rap and rock officially fell in love and got married. Known as the first rap album to ever reach number 1 in Billboard, the superb Licensed to Ill is the sad reason why you can go ahead and blame the Beastie Boys for Fred Durst.
Guns N’ Roses: Appetite for Destruction (1987) Amidst the burgeoning hip hop scene in the 80s was a rather unfortunate music scene of sugarcoated pop that was tinged with remnants of disco – in other words, a whole lotta of crap. That’s why the debut album of Guns N’ Roses was such a massive breath of fresh air, ultimately ending up being the best-selling debut album in America of all time. At their peak, the band had everything – glam looks, aggro music, punk attitudes, and talented musicians, and it’s that combination that helped bring back hard rock to the mainstream. Just like every other good group of drunken mavericks, the band eventually self-imploded, but their influence is still present even today.
Nirvana: Bleach (1989) Before Nevermind, there was the masterpiece that is Bleach. Nirvana’s debut was jam-packed with potential, with each song signaling something huge brewing under the surface. The band’s punk influence is blatant on Bleach, and it stands as the band’s hardest album. Although Nirvana’s contemporaries were already playing what would come to be called “grunge,” Bleach was literally the sonic declaration of a turning point in music, a warning, almost, of something new to come.
The Stone Roses: The Stone Roses (1989) Meanwhile, across the Atlantic, the Stone Roses were getting ready to kick some historical ass. Widely regarded as one of the greatest albums of all time, the Stone Roses’ eponymous debut did for Britain what Bleach did for America – herald the beginning of a new era. Stone Roses still stands as the definition of the Madchester scene and helped create a new genre of music that itself influenced a massive wave of artists: Britpop.
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Musicians like Beyoncé and Kanye West leave the MTV Video Music Awards with straighfroward awards like "Best Female Video" and "Best Hip-Hop Video." If they're lucky, they'll get something a little creative — like "Best Video With a Social Message" (oh, living in the "It Gets Better" age). But, once upon a time, artists could go home with a trophy for "Best Post-Modern Video" or "Monster Single of the Year," which is infinitely more interesting.
In honor of Sunday's VMAs, we're reviving some of the categories from years past that have been put to rest and handing them out to worthy videos from 2013 — because "We Can't Stop" deserves so much more than "Best Pop Video."
MOST EXPERIMENTAL VIDEO (1984-1987)This category was changed to "Breakthrough Video" before it was done away with entirely, but we think "experimental" is more descriptive. And we think this year it should go to Kanye West's "Black Skinhead" (or "BLKKK SKKKN HEAD"). While we don't think his interactive video was entirely successful, it was undoubtedly innovative.
BEST CONCEPT VIDEO (1984-1988)We're guessing this category was nixed because it's a bit vague and hard to define. With that in mind, we're giving it to our girl Miley. "We Can't Stop" is like a crazy, neon-infused 'shroom trip — a concept we're still trying to wrap our heads around.
BEST POST-MODERN VIDEO (1989-1990)This category was only alive as this incarnation for a year — it became Best Alternative Video before dying a slow death. But if David Bowie's gender-bending video for "The Stars (Are Out Tonight)" — in which women play younger versions of Bowie, and Tilda Swinton co-stars — isn't post-modern, then we don't know what is.
BEST ARTIST WEBSITE (1999)In 1999, the World Wide Web was so cool — as such, MTV of course had to honor it. Now that everyone and their grandma (who likes to sell knitted tea cozies on Etsy) has a website, the allure of such an award has waned. That being said, we would love to give a Moonman to Beyoncé's perfectly curated website.
BEST VIDEO GAME SCORE (2006)From 2004-2006 MTV honored the gaming world with nods to Best Video Game Soundtrack, and in 2006 they gave out a trophy for Best Video Game Score. In 2013, gamers were all about BioShock Infinite. Not only does the game have a great score, its musical palette includes classic pop songs, like a barbershop quartet version of The Beach Boys' "God Only Knows," strategically used to evoke an otherworldly Americana that never was.
QUADRUPLE THREAT OF THE YEAR (2007)Justin Timberlake bested Beyoncé, Bono, Jay Z, and Kanye West in this category the one time the award was given out, in 2007. And in 2013, we think he would do it again. Timberlake is already recieving the Video Vanguard award at this year's ceremony — why not throw in one more?
MONSTER SINGLE OF THE YEAR (2007)Now this is a category. Unfortunately, after Rihanna snagged it with "Umbrella" in 2007, it was put to rest. Sorry Mother Monster, but in 2013 we would have to give this one to Robin Thicke. Where did "Blurred Lines" even come from? It burst onto the scene and now we can't escape it (nor do we want to).
MOST SHARE-WORTHY VIDEO (2012)Last year, MTV gave a nod to social media by proclaiming One Direction's "What Makes You Beautiful" the Most Share-Worthy Video (presented by Bing). This year, we would give this award to Taylor Swift — and a certain bleating co-star.
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Rising star Shia LaBeouf accidentally revealed the new Indiana Jones title on Sunday.
The Transformers star was speaking to journalists at the MTV Video Music Awards in Las Vegas on Sunday--when he let slip that the next installment will be called Indiana Jones and the Kingdom of the Crystal Skull.
The title had been shrouded in secrecy since it was announced earlier this year that a fourth installment of the blockbuster adventure series was being made.
The iconic character, played by Harrison Ford, hasn't been seen on the big screen since 1989's Indiana Jones and the Last Crusade.
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