tigerboy

Get Smart tops the US box office while Mike Myers' Love Guru [nude] bombs at the B.O. USA and Canada Weekend Box-Office Summary week of 20 June 2008 Rank Title Weekend Gross 1 Get Smart (2008) $38.7M $38.7M 2 The Incredible Hulk (2008) $22.1M $97.1M 3 Kung Fu Panda (2008) $21.9M $156M 4 The Love Guru (2008) $13.9M $13.9M 5 The Happening (2008) $10.5M $50.7M 6 Indiana Jones and the Kingdom of the Crystal Skull (2008) $8.54M $291M 7 You Don't Mess with the Zohan (2008) $7.45M $84.3M 8 Sex and the City (2008) $6.53M $132M 9 Iron Man (2008) $4.03M $305M 10 The Strangers (2008) $2.12M $49.8M Box office data supplied by and copyright Exhibitor Relations and/or HollywoodReporter.com ©2008 http://blog.news-record.com/staff/culture/Get%20Smart%20poster-thumb.jpg Carell re-creates the Max Smart character created by Don Adams Get Smart, starring Steve Carell and Anne Hathaway, has topped the US box office, early figures suggest. The 1960s spy sitcom made $39.2m (£20m) on its opening weekend, according to box office tracker Media by Numbers, with Kung Fu Panda in second place. Last week's number one, The Incredible Hulk, fell to number three and Mike Myers' new release The Love Guru reached fourth place. Mark Wahlberg's thriller The Happening rounded off the top five. Indiana Jones and the Kingdom of the Crystal Skull fell one place to number six and You Don't Mess With the Zohan followed in seventh place. Sarah Jessica Parker's Sex and the City film was at number eight with Iron Man, starring Robert Downey Jr, at number nine and The Strangers in the 10th spot. In Get Smart, Carell re-creates the bumbling Max Smart character created by Don Adams, with Hathaway playing the capable Agent 99 Mike Myers' Love Guru bombs in US by Ben Child and agencies Monday June 23, 2008 guardian.co.uk It's only been five years since Mike Myers' last live-action film, but Hollywood's former comedy golden boy will have emerged blinking into the sunlight this morning brutally aware that a new era has dawned, after his latest feature bombed at the US box office. The Love Guru, a comedy about an American Hindu self-help specialist who returns from India to the land of his birth, opened in fourth spot with just $14m (£7.5m). By way of contrast, Myers' last outing as Austin Powers, 2002's Goldmember, took $73m on its first weekend. The Love Guru, which has suffered from poor reviews, was beaten to the No 1 spot by another comedy, Get Smart, starring Steve Carell as secret agent Maxwell Smart. The film, which is an update of Mel Brooks' 60s spy satire, took $39.2m on debut. Ironically, it follows a very similar premise to Myers' successful Austin Powers series. In second spot, the Jack Black animated comedy Kung Fu Panda hung on well with another $21.7m in its third weekend. It leapfrogged Louis Leterrier's reimagined superhero tale The Incredible Hulk, which dropped 61% in its second weekend to take another $21.6m. The new Hulk is still running slightly behind its much derided Ang Lee-directed predecessor, but looks likely to overtake it in the next few weeks. The new Marvel studio's other summer superhero hit, Iron Man, passed the $300m milestone at the weekend. The top five was rounded out by the M Night Shyamalan chiller The Happening, which took another $10m in fifth. There were no other new films in the top 10 http://moviesmedia.ign.com/movies/image/article/747/747155/the-pink-panther-20061121031730038.jpg Even if both the Love Guru and Get Smart turn out to be 2 star films - and unlike the Austin Powers films - things you might only watch one or a couple of times - I suppose both will still be better than the forthcoming Pink Panther sequel (or even Inspector Gadget 2!!!)

Yeah man totally true!!! yeah "Gone Baby Gone" was good and just when Ben Affleck might be turning into the new Johnny Drama he might actually be the new Clint Eastwood instead - with yeah obv comparisons with Mystic River (and i guess you can see Remy [Ed Harris] being played by Clint if it was a project done 20 years ago)

http://www.firstshowing.net/img/journey-3d-poster-big.jpg I wonder if this freshman will be the first of a whole new franchize of 3D films with Brendan Fraser, tho imo maybe they should just update Monkeybone next??? btw part of an article from the Guardian about the naming of the film you might like to comment on: Does this spell the end of proper English? Aida Edemariam - The Guardian, Monday June 23, 2008 It's enough to make purists wince. No, not the lurid colours of the poster - that's another wince-worthy issue entirely - but the spelling. It's for a film, coming soon to a cinema near you: Brendan Fraser (yes, I know, who he?) in Journey to the Center of the Earth. Cheerful summer fare it may be, but did it really have to be so cheap and cheerful that they couldn't get someone to switch an r and an e? A publicist for the film says that sometimes these things just can't be changed, but isn't sure why, while the advertising executive responsible is unavailable. Can't be changed? Are we to be overrun, willy-nilly, by American spelling? It seems to be happening in other industries too - Joel Rickett, deputy editor of the Bookseller, sees it, but mainly in "illustrated books - cookery books, and how-to books and things like that, which are more and more pumped out on a global scale with the American spelling". http://upload.wikimedia.org/wikipedia/en/0/0d/Monkeybone.jpg

http://www.buzzjack.com/forums/index.php?showtopic=72424 Obit: Nick Sanderson: Singer with art rockers Earl Brutus, train driver and World Of Twist member yi_mTvH4HMI rgEw_YtfxYM http://www.scottking.co.uk/images/music_8.jpg Wednesday, 18 June 2008 by Roy Wilkinson Nick Sanderson played in post-punk rock groups including The Jesus and Mary Chain, The Gun Club, World of Twist and Earl Brutus. Earl Brutus's chaotic live shows featured a bracing mix of glam-rock and synthesisers – plus wind machines wafting Brut aftershave over the audience and a line of seven big stage-prop plastic wreaths. They spelt two words: "f*** OFF". To a degree, Earl Brutus were rock's answer to Jake and Dinos Chapman, treading a line with conceptual art that resonates even now: the Turner Prize-winning artist Jeremy Deller is currently working on a project that juxtaposes Earl Brutus and the Industrial Revolution. Earl Brutus literally gave Sanderson a voice. Previously, he'd been a drummer, first becoming a professional player in the early Eighties with the Sheffield post-punk group Clock DVA. Earlier, Iggy Pop had made a similar move from drums to vocals. The Detroit provocateur also foreshadowed Sanderson's mix of brutishness and strange sagacity. When Earl Brutus formed in the early Nineties, Sanderson became a lyricist and singer after 10 years on the drum stool. More accurately, he was a mob orator in a band which bellowed terrace-style about the Royal Navy, railway engines and "hair design by Nicky Clarke". Most of all, Earl Brutus addressed the wonder and idiocy of our celebrity-obsessed, consumption-fixated society. http://www.scottking.co.uk/images/crash_13.jpg Sanderson's father held a senior position in what was then British Rail and the nascent musician attended boarding school in Bristol. After school, there was considerable time on the dole, but Sanderson didn't seriously consider any career beyond music. When he joined Clock DVA, the tour crew included the lighting engineer Jim Fry, the younger brother of Martin Fry of the Sheffield pop conceptualists ABC. Jim Fry became Sanderson's co-conspirator. In Earl Brutus, he became his co-vocalist, too. Before and alongside Earl Brutus, Sanderson drummed for the punk-blues group The Gun Club. He also played for The Jesus and Mary Chain on their 1998 album Munki. The Gun Club had a lasting effect – earlier this year Sanderson married the band's Japanese bassist, Romi Mori. But Sanderson's place in these bands was as session musician. http://images.amazon.com/images/P/B00004XNLV.01.LZZZZZZZ.jpg With World of Twist, the Manchester-based group who, in spirit, attempted to restage Roxy Music's art-school pop under Blackpool illuminations, Sanderson was more central. However, when this group failed to make the predicted commercial breakthrough in the early Nineties, Sanderson was left to rethink things – alongside Jim Fry, who'd overseen the group's visuals. Earl Brutus was born. The band's first single, "Life's Too Long", appeared in 1993 on Icerink, a label run by the indie-pop group Saint Etienne. The comedian Noel Fielding is a fan. Jay Jopling, art dealer for Damien Hirst and Tracey Emin, was sometimes seen at shows. Earl Brutus did have some common ground with the conceptualised output of the Brit Art school. But they celebrated the poetry and desolation of contemporary life in a more demotic, populist style. Rather than the gallery, Earl Brutus's natural habitat was the rubbish-strewn rock festival – or, even more, the pub. The band took their name from an imaginary alehouse and were once described by a journalist as "pub-talk made real". This was the essence of Earl Brutus – strange, impassioned snug-bar tirades set loose by alcohol, but this time preserved forever on record. "Our dream," Sanderson once told me, "is to record the perfect song to be played at chucking-out time. That's when music makes most sense." The band eventually signed a substantial deal with the Island Records subsidiary Fruition. The two Earl Brutus albums, Your Majesty. . . We Are Here (1996) and Tonight You Are the Special One (1998) were praised by the press, but didn't trouble the charts. Yet, this "heroic failure" amounted to another facet of the band's celebration of British life. This and the band's relatively advanced years were condensed into one of several captivating slogans: "Pop Music is Wasted on the Young". Eventually, following Earl Brutus's commercial failure, Sanderson was forced to get a job. As documented on the Earl Brutus song "Train Driver in Eyeliner", he became an engine driver on the Brighton to London line. Earl Brutus made powerful future-glam art-pop. It was at once barbaric and poignant – and inseparable from its authors. Sanderson's interests were broad, including ornithology, Manchester United and British history. I remember him describing a birdwatching trip to see some hawfinches in Norfolk. He didn't find the birds, instead ending up drunk in the dark and falling down some coastal bluffs. His clothes torn, his face scratched, he knocked on the door of some remote cottage. Surprisingly perhaps, the stranger who answered let Sanderson in. The pair then spent the rest of the night in high-spirited revelry. Nicholas Robert Sanderson, musician and train driver: born Sheffield, South Yorkshire 22 April 1961; married 2008 Romi Mori (one son); died London 8 June 2008. This is quite shocking to think of even tho i don't really know the band (probs think of an Art Brut franchise) -tho when i have come across the album cover with the cars thats something that i have liked and looked at...(and probs would buy if it was v cheap to investigate further) - but when you read the word World Of Twist and realize that he was a member of that group - aand seeing that the singer of 'World Of Twist' Tony Ogden died a few months back with some say his potential unrealized....and they were supposed to be one of those failed bands who came along at the wrong time, slightly too early in pop history when baggy ladrock vibes were not too friendly for a group of Roxy glamsters... but they were supposed to have kinda acted as a 'cultural lubricant' for the impending britpop success of Pulp a few years later (even tho versions of Pulp had been going since the early 1980s) who started to break thru straight after 'World Of Twist' had imploded and had paved the way with their small chart successes.... http://upload.wikimedia.org/wikipedia/en/c/c0/PulpRazzmatazz.jpg

but do you like that big gay boystown Hi-NRG Disco genre in the first place - not really a traditional shiny happy guitar pop thing is it now - maybe these are more to your tastes... GQtiHcjzEyA Man 2 Man Meets Man Parrish - All Men Are Beasts VP4tj7mdLdU Man 2 Man Meets Man Parrish - Male Stripper (not the extended 12 inch) gRwB1hgGrh8 MAN TO MAN - Energy Is Eurobeat

and maybe a comment needs to be made here in regards to something like this.....??? http://www.buzzjack.com/forums/index.php?showtopic=72424

or maybe just choose from Pete Waterman productions himself... f8gkWWUD1rs Track 11, disc 2 of the 101 Party hits compilation - Piranhas - Tom Hark (yeah its a PWL Record) gv40nwdTfag They Don't Know (tho its the original Kirsty MacColl version here) and as far as the fast food rockers go...DJ Otzi's schlager-house version of the Fast Food Song (the Burger Dance)...much much better as cheese goes :lol: YnanMcLbfks S3dPXxPGbmM

:lol: yeah suppose thats a good point... but with hair like that...not in these shoes...I dont think so!!! :lol: pjvaqVAFuLI well i think maybe we should get away from the list thing as the discussion will just get left behind - and omg! thats such a male thing as well - what is it with men and lists :lol:

I don't subscribe either - alright with my MW subs - it was mentioned by someone elsewhere

think there is more to this record than a 'so bad, it's fantastic' GP historical context and seeing that Bobby Orlando is also involved along the way with Divine's record.... http://www.purplevalleyfilms.com/pvfilms/wp-content/uploads/2008/04/pink-flamingos.jpg on the other hand North & South - no that could be so bad, it's fantastic!!! http://991.com/gallery_180x180/North--South-No-Sweat-98-166169-991.jpg 1qo0vf4_FUw

well that probs because in a time slightly before 2005...Ms Carlsson decided she didnt want to be seen as a Cherion-funk muppet and so decides to be v cool by hanging around people like the Teddybears STHLM...plus weird art-electronic types The Knife who are the producers behind Who's That Girl - tho Robyn hasnt gone as far as to have her image as quite as avant-guard as the knife obv http://www.loudersoft.com/wp-content/uploads/2006/12/knife.jpg http://mog.com/pictures/wikipedia/3214697/TheKnife_promo.jpg i guess you will find their stuff in your local punk-funk/disco-punk/electroclash/art-electronica section now

No surprises that one time darrrrhlings of the indie press The Courteeners get a dreadful review in the NME this week with their single....imo think No You Didn't No You Don't is a good pop single...as jangly pop singles go with a good melodic skiffley hook and sing-a-long-a-ble melody (much radiobility).

Not so terrible its brilliant...just brilliant - its confrontational, fierce and for a fat man in drag - not that camp really :lol: and much much better than the Boys Town Gang and many of the Eurodisco stuff you could find your self with on a DanceStreet/ZYX Video http://www.eurodancehits.com/deepdvd/zyx.html :lol: 3k85q9L8eJI http://img.mp3sugar.com/artist/artist_82.jpg ds5Rcq7TT-E C.C. Catch M5rzLS8d8Ck MODERN TALKING - SEXY SEXY LOVER MZgf9-ByHeU Fancy - Flames Of Love '98 now thats what i call hi-NRG so terrible it is brilliantly p*** funny.

well 1 thing to say...it's good to see a disco artist not being in the commercial dance or pop area

So i guess you aint got the DVD/Album with the other videos from the Knife and maybe coming to it knowing the Sony advert cover - the artist merit of the video work much better in context of those feature - not a video for mass promo play on the hits...tbh having it on Commercial Dance is doing it a dis-service http://upload.wikimedia.org/wikipedia/en/1/12/TheKnifeDeepCuts.jpg

yeah but what? typing bjork is not really helping form a pro-active argument - bjork what?

also think there is a point here about the female = pop male = rock mentailty that seams to be apparent in culture...you might get two singer songwriters doing that FM piano rock of an equal ideology one female one male - the female one (if she not v old) will be mostly thought as pop and so aligned with guilty pleasures, cheesy pop, naff records etc etc while the male artist will be thought as a more rock thing - which even thought as a more artistic thing even tho both will just be mainstrem pop/rock.... even tho they are referenced as a electropop act - i bet theres more luck finding Hot Chip in either Indie or Dance rather than the pop forum....

last nights episode was getting better and back on track - tho George Takei should have been around longer...

http://g8.undercoverhd.com/imgsresized/article/070215lourhodes.jpg just listening to the best of lamb album i got the other day...not going to well with me dad - might have to put the monkees albnum on instead :lol: (tho might complain about the randy scouse git!!)...so what so people think of Lamb and Lou Rhodes

but as the cover's a bit :puke2: maybe better downloading that one :lol: well seeing she's had popular success - either (tho she will be probs also put into Pop due to her gender :lol: and not put with any David Gray threads - well seeing as they are both signed to the Dave Matthews Band 's ATO Records and are targeting a similar audbase)...she's a singer-songwriter and obv Trip hop, Folk and New Wave-styled electronica are respresented in here.... Jem (singer) From Wikipedia, the free encyclopedia Jem Birth name Jemma Griffiths Born June 18, 1975 (1975-06-18) (age 33) Origin Penarth, Wales, UK Genre(s) Trip hop, Pop-Rock, Folk, New Wave Years active 2002 — present Label(s) Sony BMG/RCA/ATO (2003-present) Jemma Griffiths (born June 18, 1975 in Penarth, Wales), better known as Jem, is a Welsh singer-songwriter known for her eclectic musical stylings. Her debut album, Finally Woken, includes elements of rock, New Wave-styled electronica and trip-hop. Along with electronic producer Guy Sigsworth (Björk, Frou Frou), she wrote the song "Nothing Fails", which was later reworked by Madonna and appeared on her 2003 American Life album. Her second album Down to Earth is to be released in September 2008

gets one star out of five in the paper!!!... ...however as this is te daily mail - this might be a good omen (paper came with free dvd - mum said there were no copies of the independent at the shop)

firstly have a quick look at this feature from the independent? Think you love shopping? It's the marketing scam of the century US author Benjamin Barber explains how buying things ceased to be a chore and became a fun day out Interview by Sophie Morris - © The Independent Thursday, 19 June 2008 Barber says obsessive 'hyper' consumption is leading democratic societies towards an early grave © Carlos Jasso The folly of rampant consumerism as resources grow scarcer is lost on no one, least of all the marketing community. Still, desperate to maximise profits, manufacturers and marketing men are targeting very young children, buying their loyalty almost from birth, and infantilising adults, to deter them from making considered decisions about what they buy. This way, adults and children will be attracted to the same product, and buy it for most of their lives, trapped in a Peter Pan cycle of consumption, constructed by branding supremos. For many, shopping changed from chore to leisure pursuit long ago. You will be hard pushed to find a British consumer who hasn't, at least once, gone out street with the intention of finding something they want to buy, rather than buying something they need. This behaviour contrasts not only with that of consumers in developing countries, but also with the Europe and US of just 60 years ago. The exact point at which a life of frugality – led by most people until the 1950s – developed into one of comfort, before slipping into absurd excess, is impossible to determine, admits Benjamin Barber, author of the best-selling Jihad Vs. McWorld. His new book, Consumed, tackles obsessive, "hyper" consumption. This trend, predicts Barber, is leading democratic societies towards an early grave. "It struck me that a lot of what makes up McWorld is superfluous," he says of his inspiration to analyse this hyper-consumerism, which is most acute in Barber's US. "An awful lot of products are not necessary, whether fast food or gadgets or games," he explains. "I can't tell you where the tipping point is, but we're way over it." Since basic human needs – food, shelter, clothing – have long since been met for most people in the developed world, marketing professionals now bang their heads together to reinvent and recreate goods in order to sell more stuff. Barber is far from the first to draw attention to the fact that consumers are very often attracted by the image of a product, rather than its function, and that we would all benefit from consuming less. Yet he goes one further, blaming hyper-consumption for the current economic crisis. He also believes the anti-consumer movement lacks the wherewithal to address the problem. "I love the anti-consumer movement temperamentally, but it risks turning these issues into minority problems," he says. Consumption is not only out of control at the shops. Barber uses television watching as an example: there is nothing wrong with reaching for the remote after a long day at work, he says. But 60 hours – the time each week an average American spends watching television – is way too much. "It's a little like pornography," says Barber. Watching TV is just part of the problem. What we are choosing to watch has changed considerably over the years and now resembles a homogenous lowbrow pulp designed to appeal to children and adults alike. Barber's book is subtitled "How markets corrupt children, infantilise adults and swallow citizens whole". Commentators have been documenting the rise of the scooter-pushing, iPod-toting kidult for a number of years now, but in Barber's opinion, the "40 is the new 20" spirit does not mean that people are retaining their youthfulness and energy for longer, but that they are not growing up at all. Why not? Because marketers desperate for instant profits are cutting corners by lumping child and adult tastes and products together, instead of building a sustainable market. This then reduces diversity and threatens to eliminate choice altogether. The success of films such as Shrek and Spider-Man, aimed at all ages, illustrate this. "If you want to see the future of Britain, don't look at what 40-years-olds are buying, look at what 15-year-olds are buying and watching and what their music tastes are," predicts Barber. For anyone who has sat next to a gang of schoolgirls playing Pussycat Dolls loudly on mobile phones, the idea that their musical tastes will never mature and that the shade of their nail varnish will never be toned down is sobering. But why can't adults enjoy the nuances of an episode of The Simpsons, say, or a Harry Potter film? Does growing up mean becoming boring? "I'm not saying that when we grow up we lose all pleasures," insists Barber. "But growing up means becoming more complex and that you require greater stimulation. If you can be pleased and satisfied with comic books, it means you've kept yourself as a kid. I'm not saying there's something wrong with people who have fun, but I have fun in a different way from how I did when I was 12." Barber buried his head in marketing textbooks to try to make sense of why we buy more and more stuff we don't need, and often do not want or enjoy having, either. Saatchi & Saatchi chief executive Kevin Roberts, the man who loves Head & Shoulders so dearly he continues to use it despite the fact he is now bald, receives frequent scoldings in Consumed. It is Roberts and his ilk who are driving our impulse to buy. These big guns are only too aware that most of our needs were met long ago, and it is with this in mind that they have set about eternalising childhood desires and fabricating new adult ones. In Consumed, the merchandising guru Gene del Vecchio explains: "the demand for adult goods and services has proved not to be endless," he observes. This must be tackled with a "kidquake of kid-directed goods and services". Del Vecchio also worked out that if you want to sell goods globally, you can't sell to adults who belong to distinct cultures. But children are the same everywhere, and if you get adults to behave like children, you can sell the same products to any generation, anywhere. Hyper-consumerism is a major contributor to environmental problems, yet so-called green marketers are as guilty as your average marketing man. "Don't fool yourself," warns Barber. "Green consumerism is still consuming. The simplest way to go green is not to consume, or to consume less, but these people want you to consume their way, because if you stop consuming they don't make any money." When Barber bought his last car he was tempted by a Lexus hybrid, until a friend pointed out that the hybrid's powerful engine used more petrol than many non-hybrid vehicles. Last year, a magazine advertisement for Lexus hybrids was banned in the UK, for misleadingly implying that the car caused little or no harm to the environment. Barber records a moment when he orders bottled water in the bar of his London hotel, during a visit in his capacity as president of CivWorld, an international political NGO. Bottled water, in a country where clean water flows straight from the tap, is perhaps the ultimate in manufactured need. "Over a billion people are without drinking water," says Barber. "Why don't we find out ways to get the water they need to them, instead of new ways of getting water to us?" All this makes Consumed sound like depressing reading. In many ways, it is, and the idea that Western shoppers are to blame for environmental degradation, even if they have been hoodwinked into buying unnecessary products, is a heavy cross to bear. Is capitalism eating itself? Barber is optimistic. "Capitalism has a tendency to overdo itself," he says. "It destroys everything in its path. This is a strategy for saving capitalism. There are deep, pressing human needs that still need to be met and capitalism is the perfect thing to meet them." 'Consumed' by Benjamin R Barber, Norton, £9.99. To order for the special price of £9.49, including post and packing, call 0870 079 8897 or visit www.independentbooksdirect.co.uk To what extent can the points argued here can be applied to rock music?

think you have to subscribe to Charts Plus website - dont know if any one has posted thjem

yeah...& actually there has been a similar discussion happening in teletext - but conserning fellow piano-rock types Keane: "Middle-aged housewives have as much right to buy records as anyone else. Music fans like to present themselves as terribly right-on, but the fact is many of them are terribly elitist snobs". New European "I see Keane are as popular as ever among Voiders. "Middle-aged housewives" like them? I'm not one of those, so Tony Vegas shouldn't generalise. Nor am I stuck on one genre. My MP3 includes Metallica, Georgia Satellites, Johnny Pearson and Depeche Mode. Keane, however, are more than a bit special. I'm impatiently awaiting Keane's third album, out this autumn, and I can guarantee I won't be buying it from Tesco". Dawn Walsh oh and btw The Police were on that ITV1 Fest coverage last night - and yeah very much the term 'Oldplay' could be used there (tho me mum thinks she's already seen them described as 'Oldplay' in the press :lol: )

http://upload.wikimedia.org/wikipedia/en/6/64/The_Invasion_film_poster.jpg http://upload.wikimedia.org/wikipedia/en/4/4b/TheEyePoster.jpg Maybe we should not get our hope up high then for greatness :lol: :lol: - however i suppose if it turned out to be just Adolf Hitler taking a dump in a sewer for a least an hour - at least it would be about 25% better then these films mentioned about :lol: but seeing as it supposed to be Mark Millar with Derek Haas and Chris Morgan - you don't know if much of Mark Millar still remains (if hes just on there because it was his thing) with further uncredited work from random people like Bekmambetov... and Edward Norton :lol: