Tag: celebrity posters
Born: Vanessa Anne Hudgens
Date of Birth: 14 December 1988
Birth Place: Salinas, California, USA
Height: 5′ 1″ (1,55 m)
Vanessa Hudgens was born in Salinas, California. Her family moved to San Diego whilst she was still a toddler. She has a younger sister, Stella Hudgens, who is also an actress. Her mother, Gina (Guangco), an officer worker, is from the Philippines. Her father, Gregory Hudgens, a firefighter, has Irish and Native American ancestry.
Vanessa was interested in acting and singing at a young age, inspired by her grandparents who were musicians. At the age of 8, she started appearing in musical theatre. She briefly attended Orange County High School of the Arts. She began auditioning and was successfully cast in a TV commercial. This prompted her family to move to Los Angeles. She started homeschooling so she missed out on the high school experience, until she landed her breakthrough role in High School Musical (2006).
In 2003, Hudgens played a minor role in the independent drama film Thirteen, where she plays Noel, a friend of a lead character (Tracy, played by Evan Rachel Wood). The film was critically successful, receiving generally favorable reviews, and its receipts surpassed its $4 million budget. Hudgens subsequently landed a role in the 2004 science fiction-adventure film Thunderbirds as Tintin. Unfortunately, the film was commercially and critically unsuccessful, and received heavy criticism through the Internet prior to its release.
In late 2005 Hudgens appeared in television shows such as Quintuplets, Still Standing, The Brothers García, Drake & Josh, and The Suite Life of Zack & Cody.
In late 2005 she landed her breakout role of shy and meek Gabriella Montez in High School Musical, opposite to Zac Efron. Her performance received numerous nominations and awards. With the success of the film, the BBC predicted that Hudgens would be a “household name” in the US.
In 2007, Hudgens reprised her role as Gabriella Montez in the sequel of High School Musical, High School Musical 2. Virginia Heffernan of TV Review described Hudgens in her performance in the movie as “matte” as she “glows like a proper ingénue”.
Hudgens reprised her role as Gabriella Montez in High School Musical 3: Senior Year. Her performance in the film made her win favorite movie actress in the 2009 Kids Choice Awards.
Post-High School Musical, Hudgens remarked that she will focus in her acting and films, while “taking a break” from her music career as a solo artist. She played a supporting role in a musical comedy Bandslam, which was released theatrically on August 14, 2009. Hudgens plays “Sa5m”, a 15-year-old awkward freshman with untapped talents.
Although Bandslam was commercially unsuccessful, Hudgens’s performance received praise from critics. David Waddington of the North Wales Pioneer noted that Hudgens “outshines the rest of the cast, failing to fit in with the outcast narrative and making the inevitable climactic ending all the more expected,” and Philip French of The Guardian compared her acting to Thandie Newton and Dorothy Parker.
Hudgens performed a musical number with other artists during the 81st Academy Awards. Hudgens later provided voice roles in an episode of Robot Chicken. Hudgens’ involvement in Beastly, a film based on Alex Flinn’s novel of the same name, was announced in early 2009. She played one of the main characters in the film as Linda Taylor, described by Hudgens as the “beauty” of the story but not the stereotypical beauty everyone thinks of. Along with Beastly co-star, Alex Pettyfer, Hudgens was recognized as ShoWest stars of Tomorrow. Hudgens was later cast in an action film directed by Zack Snyder, Sucker Punch, playing Blondie, an institutionalized girl in an asylum, which was released in March 2011.
After so many years, Hudgens returned to theater productions wherein she starred in the musical Rent as Mimi. The stage production ran from August 6–8, 2010 at the Hollywood Bowl. Her involvement in the production drew negative comments, but director Neil Patrick Harris defended his decision with casting Hudgens by saying, “Vanessa [Hudgens] is awesome. She’s a friend. I asked her to come in and sing to make sure she had the chops for it. And she was very committed and seemed great.”
In October 2010, it was announced that Hudgens will be joining the sequel to the 2008 film Journey to the Center of the Earth alongside Dwayne Johnson and Josh Hutcherson, playing Hutcherson’s love interest. In April 2011, it was reported that she would star in an indie film, Gimme Shelter with Brendan Fraser, written and directed by Ron Krauss.
Ernesto Che Guevara was born on June 14 in Rosario, an important town in Argentina. At the age of two Che had his first asthma attack, a disease which he later suffered a great deal while fighting against Batista troops in Sierra Maestra, and which did not let go of him till he was shot to death by Barrientos’ troops in the forests of Bolivia.
His father Ernesto Guevara Lynch, an engineer, was from a family of Irish descent, and his mother, Clia dela Sena, was an Irish-Spanish descent. When Che was three his family moved to Buenos Aires. Later, his asthma attacks had gotten so worse that the doctors advised him for a drier climate. Hence once again Guevara family moved, this time to Cordoba.
Guavaras were a typical bourgeois family, and in terms of their political inclinations they were known to be liberal closer to left. During the Spanish civil war they had supported the Republicans. In time their financial situation worsened. Che started Dean Funes high school where he was being educated in English. In the meanwhile, he was also learning French from his mother. At the age of fourteen Che started reading Freud, he especially loved French poetry, and he had a great passion for Boudelaire’s works. When he was sixteen, he became an admirer of Neruda.
In 1944 Guevara family moved to Buenos Aires. They were having serious financial problems. Che started working while he was a student. He registered to medical school. In the early years of his study at the medical school he traveled throughout the northern and western Argentina, studying on leprosy and tropical diseases in the villages.
In his last year at the school, Che went on trip through the Latin America by motorbike with his friend Alberto Granadas. This gave him the chance to get to know better the exploited villagers of the Latin America. Che graduated from medical school as a doctor in March 1953 and decided to work in a leper colony in Venezuela. He was on his way to Venezuela when he was put to jail in Peru because of his earlier publication on the natives. When got out, he stayed in Ecuador for a while, where he met Ricardo Rojo, a lawyer.
Meeting Ricardo turned out to be a turning point in Che’s life. He changed his mind of going to Venezuela, and instead went to Guatemala with Ricardo Rojo. When revolutionary Arbenz government was overthrown by a rightist coup, he took refuge in Argentina embassy. Soon afterword he joined the resistance he was forced to leave the Embassy. When it became too dangerous for him to stay in Guatemala, he went to Mexico. During his stay in Guatemala he had met Fidel Castro’s brother Raul as well as many Cuban exiles. In Mexico, he met Fidel Castro and his friends, and joined the Cuban revolutionaries.
Later, he left for Cuba onboard the ship Granma and took part in the front lines till the end of the war. After the Revolution he, Colonel Ernesto Che Guevara, was assigned to the command of fort la Cabana in Havana. In 1959 he was given Cuban citizenship. Later he married a fellow comrade Aleida March. He was assigned to the presidency of the Institute of National Agricultural Reform, and of the National Bank of Cuba in 1959, by which he was given the financial responsibilities of the country.
In February 23rd, 1961, the Revolutionary Government of Cuba assigned Che as the head of newly established Ministry of Industry. However, during the Playa Giran battle he was again called for the command of the fort.
In the following years, his many visits to underdeveloped countries provided Che with a closer understanding of the exploited nations and the imperialists. This awakened the rebel in him. He decided to organize the peoples of other Latin American countries. In September of 1965, he left for the unknown countries. In October 3rd, 1965, Fidel Castro read Che’s famous farewell to the people of Cuba.
And the death caught up with him near Higueras in Bolivia. He was surrounded by Barrientos’ troops on the night of October 7th, 1967. Heavily wounded from his leg, and he was locked up in a school in Higueras. Never he bowed to anyone. Nine bullets fired by Mario Turan, a murderer for Barrientos. Che died on October 9th, 1967.
Birth Name: Nelly Kim Furtado
Birth Date: December 2, 1978
Birth Place: Victoria, British Columbia, Canada
Nelly Furtado is the daughter of ethnically Portuguese parents. Growing up, Nelly Furtado was musically gifted and began learning trombone and ukulele at the age of 9. She learned keyboards at age 11 and was composing her own songs by 13. In addition to supporting her musical ambitions, Nelly Furtado’s parents instilled an ethic of hard work that has served her well. After graduating from high school, Furtado moved to Toronto to pursue her musical dreams.
Speaking to the BBC about her musical influences and interests: “I’ll always love hip hop, I love the art of turntabling and freestyling and MCing… things like that. But I also really love rock music, I love Britpop and I love rock music, I love Brazillian music and I love Portugese music, it is a mix of everything truly!”
In Toronto Nelly Furtado joined a trip hop duo called Nelstar and contributed vocals to a track recorded by her musical partner Talisman and his band Plains of Fascination. While performing in Toronto Nelly Furtado came to the attention of Gerald Eaton, lead vocalist of the Philosopher Kings. He helped her sign a contract with Dreamworks Records and co-produced Whoa Nelly!, Nelly Furtado’s first album, released in the fall of 2000.
Whoa Nelly!, a mixture of pop, hip hop, soul, and folk, was an instant critical success. Music fans liked it as well. It’s first single “I’m Like a Bird” climbed into the pop top 10 and helped take the album to the top 25. A second single, “Turn Off the Light,” made it to #5 on the US pop singles chart. Nelly Furtado capped her success with a Grammy Award for Best Pop Female Vocal for her performance on “I’m Like a Bird.”
By 2003 and the release of her second album Folklore, Nelly Furtado was an international pop star. “Forca,” a song from the album, was selected as the official theme for the 2004 European Football Championship. Unfortunately, the album’s commercial success was muted. It’s highest charting single, “Powerless (Say What You Want),” only made it to #39.
For her third album Loose released in June 2006, Nelly Furtado turned to top hip hop producer Timbaland for artistic collaboration. The result was a much more dance and hip hop oriented album than in the past. She released two different first singles from the album initially. “Maneater” was the lead single in Europe and the UK while “Promiscuous,” which features rapping from Timbaland, was the opener in the US.
This allowed Nelly Furtado to achieve the unusual feat of having #1 singles on both sides of the Atlantic but with different songs. A third single “Say It Right” was another top 10 smash in the US. In 2007 Nelly Furtado collaborated with Timbaland and Justin Timberlake on the score settling hit single “Give It To Me.”
For her next musical project Nelly Furtado turned to Latin style pop. Mi Plan, her first Spanish-language album, is due out in September 2009. The first single is “Manos Al Aire.”
Birth Date: November 8, 1935
Birth Place: Sceaux, Hauts-de-Seine, France
The product of a broken home, Alain Delon had a stormy childhood. He was frequently expelled from school. During the early 1950s he was a paratrooper with French Marines in Indochina. In the mid-’50s he worked at various odd jobs including waiter, salesman and porter in Les Halles market. He decided to try an acting career and in 1957 made his film debut in Yves Allégret’s Quand la femme s’en mêle (1957). He declined an offer of a contract from producer David O. Selznick, and in 1960 he received international recognition for his role in Luchino Visconti’s Rocco e i suoi fratelli (1960).
In 1961 he appeared on the stage in “‘Tis a Pity She’s a Whore”, directed by Visconti, in Paris. In 1964 he formed his own production company, Delbeau Productions, and he produced a short film directed by Guy Gilles. In 1968 he found himself involved in murder, drug and sex scandal that indirectly implicated major politicians and show-business personalities, but he was eventually cleared of all charges. In the late 1960s he formed another company. Adel Film, and the next year he began producing features. In 1981 he directed his first film, Pour la peau d’un flic (1981).
Delon was a sensation early in his career; he came to embody the young, energetic, often morally corrupted man. With his breathtaking good looks he was also destined to play tender lovers and romantic heroes, and he was a French embodiment of the type created in America by James Dean. His first outstanding success came with the role of the parasite Tom Ripley in ‘Rene Clement”s sun-drenched thriller Plein soleil (1960). Delon presented a psychological portrait of a murderous young cynic who attempts to take on the identity of his victim. A totally different role was offered to him by Visconti in Rocco e i suoi fratelli (1960). In this film Delon plays the devoted Rocco, who accepts the greatest sacrifices to save his shiftless brother Simon.
After several other films in Italy, Delon returned to the criminal genre with Jean Gabin in Mélodie en sous-sol (1963). This work, a classic example of the genre, was distinguished not only by a soundly worked-out screenplay, but also by the careful production and the excellent performances of both Delon and Gabin. It was only in the late 1960s that the sleek and lethal Delon came to epitomize the calm, psychopathic hoodlum, staring into the camera like a cat assessing a mouse.
His tough, ruthless side was first used to real effect by Jean-Pierre Melville in Le samouraï (1967). In 1970 he had a huge success in the bloodstained Borsalino (1970)–which he also produced–playing a small-time gangster in the 1930s who, with Jean-Paul Belmondo, becomes king of the Marseilles underworld. Delon later won critical acclaim for his roles, against type, in Joseph Losey’s Mr. Klein (1976) in which he played (brilliantly) the icily sinister title role, and the art-movie Un amour de Swann (1984). He has an older son Anthony Delon (who has also acted in a number of movies) from his first marriage to Nathalie Delon, and has a young son and daughter, Alain-Fabien and Anouchka with Rosalie.
Cavalcade of bling owned by late film-star makes UK stop on world tour that finishes with an auction in New York in December.
Even in death, it seems, Elizabeth Taylor knows how to put on a show. Her legacy rolled into Britain on the second leg of a world tour to regale fans via the medium of diamonds, pearls and outrageous haute-couture.
Inside auctioneers Christie’s London HQ, reporters jostled with photographers and the dignitaries tripped over the TV cables. It was part showcase and part circus. All that was missing was the woman herself.
Highlights from the Elizabeth Taylor collection plays to the public this weekend before moving on to Paris, Dubai and Hong Kong before a grand, everything-must-go auction in New York in December. The collection includes paintings by Degas, Renoir and Van Gogh and dresses by Valentino and Versace. All in all, it paints a vivid picture of a person with expensive tastes and the means to sate them.
“Elizabeth Taylor was the last great movie star, the queen of Hollywood,” explained Jonathan Rendell, deputy chairman of Christie’s Americas. “She was – can we say? — an enthusiastic collector of couture, of paintings and, most of all, of jewels. What all this reveals, I think, is a woman who understood her contract with the public. She knew she had to provide them with glamour. She never left the house without looking perfect.”
The two-time Oscar-winner died in March at the age of 79, leaving behind a vast array of personal effects, including 269 individual jewels and a wardrobe bulging with an estimated 400 outfits. December’s four-day auction is expected to fetch upwards of $50m (£32m), with a portion of the proceeds earmarked for the Elizabeth Taylor Aids Foundation. Rendell could not say where the rest would go. “I’m not privy to the wishes of the trustees,” he said.
Whether mounted behind glass or draped on mannequins, the items serve as an index of a life lived in the limelight. The couture section contains the black velvet evening cape, emblazoned with giant silver scorpions, that Taylor wore to the 40th-birthday party of Princess Grace of Monaco, together with the silk chiffon wedding dress from the first of her two marriages to fellow actor Richard Burton. Pride of place goes to the luxuriantly beaded Tiziani kimono that enthusiasts may remember from the 1960s melodrama Boom. While Joseph Losey’s film bombed at the box office, the kimono, praise be, emerged unscathed.
The collection also finds room for Taylor’s personal art collection, where a Van Gogh landscape (estimate price $5m-$7m) sits cheek by jowl with a Degas self-portrait and a scene of rustic France from the Fauvist artist Maurice de Vlaminck. A separate room is given over to Andy Warhol’s classic silkscreens, together with a letter of thanks from the subject herself. “Dearest Andy,” it reads. “I’m so proud I finally have your ‘Liz’ and thank you for signing it so sweetly to me. I do love you. Elizabeth or Liz (of Andy Warhol fame).”
For most visitors, however, the highlight is likely to be the jewellery. There, glittering under glass, lies the Mike Todd diamond tiara which sat atop the actor’s head at the 1957 Oscars. The 33.19-carat Elizabeth Taylor diamond was her personal favourite stone and one that she wore every day. Viewed from a distance, the JAR sapphire earclips might be a pair of especially gaudy Christmas baubles, while legend has it that the ping-pong diamond rings were Taylor’s reward for besting Burton in a game of table-tennis. According to Christie’s, the jewellery alone is expected to fetch between $35m and $40m when it goes under the hammer. “But we’re known for being quite conservative with our estimates,” said Rendell. “It’s going to be a popular sale.”
As visitors shuffled between the display cases, the late actor beamed down on them from a series of arty black-and-white posters, each adorned with a pithy quotation. “The more the better has always been my motto,” said Taylor in one.
Over by the exit, another poster struck a cautionary note for any millionaire magpie who is tempted to throw open their chequebook. “You can’t possess radiance,” it warned. “You can only admire it.”
Love finds when you least expect it.
When a young American (Amanda Seyfried) travels to the city of Verona, home of the star-crossed lover Juliet Capulet of Romeo and Juliet fame, she joins a group of volunteers who respond to letters to Juliet seeking advice about love. After answering one letter dated 1951, she inspires its author (Vanessa Redgrave) to travel to Italy in search of her long-lost love and sets off a chain of events that will bring a love into both their lives unlike anything they ever imagined.
The film is based on the compilation of missives that lovelorn people all over the world have written to storied star-crossed lover Juliet Capulet. The letters find their way to Verona, Italy. Book explains who are the volunteers who’ve been answering the missives for 70 years.
A tale of encountering new sparks and rekindling old flames. When Sophie (Amanda Seyfried), a young American, travels to Verona, Italy — the romantic city where Romeo first met Juliet — she meets a group of volunteers who respond to letters written to Juliet seeking romantic advice. Sophie finds and answers a letter that has been lost for 50 years, and is stunned when its author Claire (Vanessa Redgrave) arrives in Italy with her handsome but overprotective grandson (Christopher Egan) to find the fiance she left decades before. Fascinated by Claire’s quest, Sophie joins them on an adventure through the beautiful hills of Tuscany searching for Claire’s long lost Lorenzo. The journey will change their lives forever, as they discover it’s never too late to find true love.
Letters to Juliet
Directed by: Gary Winick
Starring: Amanda Seyfried, Marcia DeBonis, Vanessa Redgrave, Gael Garcia Bernal, Franco Nero, Luisa Ranieri, Marina Massironi
Screenplay by: Jose Rivera, Tim Sullivan
Production Design by: Stuart Wurtzel
Cinematography by: Marco Pontecorvo
Film Editing by: Bill Pankow
Costume Design by: Nicoletta Ercole
Set Decoration by: Alessandra Querzola
Music by: Andrea Guerra
MPAA Rating: PG for brief rude behavior, some language and incidental smoking.
Studio: Summit Entertainment
Release Date: May 14, 2010
Related Link: Read the Full Production Notes for Letters to Juliet
“Man, when I was nine, I couldn’t imagine anyone not wanting to be Elvis Presley,” Springsteen remembers.
The first two Elvis Presley albums, both on RCA in 1956, neatly illustrate the basic dichotomy: Elvis Presley shows him onstage, eyes shut and mouth wide open, with his guitar thrust in the air, while Elvis has him seated in a staged pose, strumming his guitar. Here is the musician, they seem to say, and here are his musical instruments, his primary materials: his voice and his guitar.
In the 1960 songs in which women are part of the continuing love relationship, the male is clearly the dominant figure. Elvis Presley in “It’s Now or Never” best exemplifies this theme:
It’s now or never.
Come hold me tight.
Kiss me, my darling.
Be mine tonight.
Tomorrow will be too late.
It’s now or never.
My love won’t wait.
Alan Freed and others only played original black rhythm & blues /r ock’n’ roll, but most disk jockeys gave the cover version for more exposure, usually omitting to mention the original. Covers by leading white perforrners such as Pat Boone consistently outsold the originals over the country as a whole. To same people only the original black music had the necessary connotations of non-conforrnity, but for many middle-class teenagers clean-living Pat Boone’s perfectly enunciated version of Little Richard’s Long Tall Sally offered enough assertiveness without too much risk of overstepping the social and moral mark.
The lyrics of Sh-Boom were unaltered in the Crew Cuts’ cover version, but that was an exception; in many cases wholesale changes were made to cope with lyrics of unaccustomed frankness and innuendo. The music of the covers was also often toned down. These changes, undertaken partly to avoid incurring society’s wrath, partly to ensure good sales, could not disguise the fact that penetration of the mainstream by black and black-derived approaches was taking another, decisive step. The interplay between the offbeat and heavy, insistent rhythm were different from anything the white popular music scene had heard before. In introdueing new elements, mostly derived from the blues, cover versions unwittingly helped to prepare a wider audience for the music that foilowed.
The cover version remained the basis of the white rock’n’ roll of Bill Haley, Elvis Presley and others, but a different approach can be detected between these and the version of the Pat Boone school. In place of the attempt to divert rhythm & blues into more broadly acceptable channels of sound, the country-bred musicians and their producers sought to develop a new style, based on a dynamic encounter between black and white.
Notice that Blood Sweat and Tears and the Ides of March have names that come at the end of a quotation, so that to get it you have to know the first part as well. Since almost all American kids have to read Julius Caesar in high school, that Shakespearean tag is especially indicative. Furthermore, these names as well as that of Big Brother promise something threatening. Music was so loud and so heavy that it did have an aggressive quality—so that it is no surprise that in 1969 a group formed that called itself War.
The Fame Monster is the third extended play (EP) and second major release by American recording artist Lady Gaga. Released on November 18, 2009, the album’s eight songs were initially intended to be part of a re-release of Gaga’s debut album The Fame. However, Gaga announced that the new songs would be available as a standalone album, as she thought the re-release was too expensive and that, as the piece represents a separate conceptual and musical body of work, it does not need the songs of The Fame to support it. A Super Deluxe Fame Monster pack containing the two releases as well as additional merchandise, including a lock of her wig, was released on December 15, 2009.
The album deals with the darker side of fame, as experienced by Gaga over the course of 2008–09, while travelling around the world. They are expressed through a monster metaphor. Gaga compared the feel of her debut album and The Fame Monster with the Yin and yang concept. Cover artwork was done by Hedi Slimane and has a gothic look which Gaga had to convince her record company to allow her to shoot. The composition takes its inspiration from Gothic music and fashion shows. Contemporary critics gave the album positive reviews, with the majority of them complimenting the songs “Bad Romance”, “Telephone” and “Dance in the Dark”.
In some countries, the album charted together with The Fame. In other countries – such as the United States, Canada and Japan – it charted as a separate album. The Fame Monster has reached the top of the charts in Australia, Germany, Ireland, New Zealand, Poland and the United Kingdom, while reaching the top ten in other major markets. “Bad Romance” was released as the album’s first single, topping the Canadian, United Kingdom and Irish charts, while reaching number two in Australia, United States and Sweden.
Further singles released were “Telephone” and “Alejandro” with both of them reaching the top ten in the United States and the United Kingdom. Gaga embarked on The Monster Ball Tour to promote the album. The tour started on November 27, 2009 and will continue through May 2011. On February 13, 2011, the album and its songs received three Grammy Awards; the set as a whole was nominated for Album of the Year and won for Best Pop Vocal Album.