Tuesday, November 30, 2010



After a seven-year absence, Cher returns to the silver screen this week in "Burlesque," joined by pop songstress Christina Aguilera in her film debut. The razzle-dazzle musical, which boasts plenty of original songs, sequins and spotlights, divided reviewers resulting in a score of just 51 at MetaCritic.
One can sense Razzie voters sharpening their knives. But did anyone really expect the critical establishment -- dominated by stodgy straight guys -- to dare to admit they might enjoy a movie toplined by Cher in all of her scenery-guzzling glory? This kind of cinematic bonbon could be just the antidote a recession-weary moviegoing public needs right now.
As for its awards pedigree, Cher snagged the Best Actress Oscar in 1987 for "Moonstruck," preceded four years earlier by a Supporting Actress bid for "Silkwood." However, musical turns such as in "Burlesque" rarely earn attention from Oscar (an exception being those "Chicago" dames in 2002).
Academy voters generally prefer their female nominees and winners to be wreathed in misery, not squeezed into fishnets and stilettos. However, the "Burlesque" divas have a shot in the Comedy/Musical category at the Golden Globes. After all, Cher won that award for "Moonstruck."
The "Burlesque" soundtrack contains many original songs performed by Cher and Aguilera, with the latter even co-writing several of her numbers. The film's writer-director, Steven Antin, is listed as a writer on one track. John Patrick Shanley -- who won the Oscar for his "Moonstruck" screenplay -- contributed to the title tune belted out by Cher in the video below while six-time nominee Diane Warren penner her power ballad "You Haven't Seen the Last of Me." It's not yet clear which tunes will be submitted for consideration to the Academy by the deadline of Dec. 1.

Source: GoldDerby


Editor's Note:
This brings Burlesque's total gross income to $18,176,460. Incredible!
Source: BoxOfficeMojo



Christina Aguilera sat down and told us why she immediately signed on to her new hit film, 'Burlesque,' alongside Cher.

Click through to watch today's Fuse Noise.

Source: FuseTV


Editor's Note:
The 'BURLESQUE' OST has more than doubled the predictions of 25-30k that was initially assumed for the intitial first week sales.

Congrats, X & Cher!

Source: HitsDailyDouble


Newport's been abuzz the past few days as locals have spread the news of Christina Aguilera sightings throughout the city.

The singer and actress, who is currently promoting her movie Burlesque, in which she co-stars with Cher, was reportedly spotted up and down Thames Street Monday night, including in Panera Bread, Goodies by the Sea, Life is Good, The Music Box and more. She also reportedly spent Sunday evening in The Fastnet Pub.

According to People Magazine, Aguilera is in Rhode Island visiting the family of her new boyfriend, Matt Rutler.

She, Rutler, a bodyguard and one other man shopped for about 10 minutes in The Music Box Monday night. In addition to purchasing several toys (which one could assume are for her young son, Max), she also walked out with Mariah Carey, Bing Crosby and Frank Sinatra holiday albums, and with releases from Jay Z, Eminem and Rihanna. As is customary at the store, her pricey purchase earned her four free Rhode Island scratch-off lottery tickets.

Celebrating its celebrity customer, The Music Box staffers reportedly put on Aguilera's Christmas album, My Kind of Christmas, after she left.

We're not sure if she's still in town, but we'll certainly be keeping a lookout.

Source: MiddleTownPatch


1We No Speak AmericanoYolanda Be Cool & DCUP
2El DoctoradoTony Dize
4Danza KuduroDon Omar con Lucenzo
5Cuando Me EnamoroEnrique Iglesias con Juan Luis Guerra
6La DepedidaDaddy Yankee
7AlejandroLady Gaga
8DynamiteTaio Cruz
9Love The Way You LieEminem con Rihanna
10DJ Got Us Fallin' In LoveUsher con Pitbull
12Aléjate De MíCamila
13Mi Corazón Se FueDiego Torres
14Stereo LoveEdward Maya con Vika Jigulina
15Labios De MielLuis Miguel
16Amor GenuinoZion & Lennox
17Mi Niña BonitaChino Y Nacho
18Break Your HeartTaio Cruz con Ludacris
19Nada De MásBelanova
20Get Outta My WayKylie Minogue
21Teenage DreamKaty Perry
22Si No EstásChayanne
23Take It OffKe$ha
24Monday MorningChristina Aguilera
25Tu BocaChayanne


Source: AmericaTop100


Not As Disastrous As It Appears.
Ali (Christina Aguilera) leaves her small Iowa town for the bright lights of Los Angeles. She discovers a little cabaret bar called Burlesque that features beautiful girls dancing beautifully. While Ali works her way up from waitress to star attraction the club owner, Tess (Cher), struggles to keep the place open. Not only will Ali have to find a way to achieve her dream she’ll also have to figure out how to keep the wrecking ball from reducing her dream to rubble.

When the previews for Burlesque hit the scene my friends and I were convinced this movie musical would be a genuine stinker. It just looked like one of those tired flicks about a simple girl fighting her way to become a glamour queen and then getting wrapped up in the usual clichés such as letting her ego drive away all those who genuinely care for her and choosing the rich and abusive jerk over the humble good guy. Burlesque looked like a quick paycheck for Cher and an easy acting debut for Christina Aguilera where she could act a part that would require her to do the stuff she already does for her day job. Oh, I was going to see it but I already had the preconception that Burlesque was going to be a limp and loose remake of A Star Is Born (1976).

On 11/28/10 my friend and I attended a viewing of Burlesque and afterwards we were both pretty satisfied with our ticket purchase. Granted, I did walk in with very low expectations for the film so part of that elation might be related to the film turning out to be better than cinematic garbage. I still liked the movie, though. I liked it a lot. I liked it so much I have already set in mind to get the soundtrack (available now) and the home release (available later). One of the things I liked about Burlesque is that it actually avoids a lot of the clichés that these kinds of movies constantly fall into.

Yes, Ali is a fresh young thing from Iowa but she’s no dumb blonde. Oh, what a wonderfully earnest, honest and headstrong character Ms. Aguilera got to play. I wonder if Britney Spears is shredding her Crossroads (2002) posters in envious disgust somewhere. Anyway, Ali is a character that believes in achieving her dreams without backstabbing, lying or relying solely on the charity of strangers. She does it the honest way by working hard and when she gets to a high level it just makes her work even more diligently so she doesn’t get trapped or tripped up by those who would use her for their own selfish goals.

Tess is not the typical bitter and faded starlet who looks at Ali with jealously and disdain. Actually, Tess sees herself in Ali; a female spitfire who knows what she wants and will get it on her own terms. Once Ali proves that she is not just an ordinary wannabe performer Tess gives Ali the opportunity to strut her stuff and it pays off in a variety of ways. And when Tess isn’t putting on the show she’s squabbling with her ex-hubby (Peter Gallagher) about his desire to sell the club to an eager real estate hotshot (Eric Dane). It was great to see a genuine diva like Cher play a fictional diva on screen who, like Cher, isn’t crying about aging but rather reveling in her maturity and refusing to let two little numbers stop her from doing what she wants to do.

I also liked that Ali’s friendship with Jack (Cam Gigandet) was truly a friendship for most of the film. Since Jack has a long distance fiancée Ali and Jack get to have an amusing platonic relationship with an undercurrent of sexual tension. Then Ali starts hanging out with Marcus (Eric Dane) and Jack starts to seriously question what he wants in his romantic life.

And Marcus turns out not to be the stereotypical rich sadist that lives to entice a woman with his wealth and then toss her in the dumpster when he’s had his fill. He realizes that Ali is a strong character and actually develops a genuine respect for her. Though he poses a potential threat to the club it was another refreshing twist on the typical rich guy character that is usually devoid of compassion and tenderness.

Feather Boa = Fabulous! - Sean (Stanley Tucci)

The musical numbers are wonderful and will probably remind most of past movie musicals such as Fame (2009), Moulin Rouge (2001) and Nine (2009). The dance elements are lavish, sultry and fun. The final dance sequence left me drooling for more. Aguilera and Kristen Bell look pretty good with the pros but let’s be honest; the dancer most of us wanted to see was Julianne Hough.

The Dancing With The Stars alum not only gets to dazzle the audience with her slick moves on the big screen but her character, “Georgia”, also gets a small yet notable piece of the plot pie when she learns of her unexpected medical emergency. Just keep in mind, fans, that Julianne went red-head for the flick so if you see a smoldering brunette in the kick-line that kinda looks like Lindsay Lohan that's Julianne.

Along with the hot hoofing are a couple of poignant solo song pieces for Cher and Christina Aguilera that might drop a jaw or two. Again, I loved the music so much that I will definitely add the soundtrack to my music collection. As a fan of Aguilera’s vocals it was great to hear and watch her belt out vintage jazz numbers, that powerful ballad “Bound To You” and a couple of club-ready dance beats. Those who were turned off by her work on her 2010 album “Bionic” might enjoy the return to the kind of music that Ms. Aguilera’s voice really shines in. I kept thinking that it would’ve been great if she was able to release her “Back To Basics” album along with the Burlesque movie stuff. Both projects served as tributes to styles of the past and would’ve made for a great combination. Oh, well.

Can You Burlesque As Good As Tess? - Tess (Cher)

While there was stuff about Burlesque that truly pleased me there were a couple of things that left me with mixed emotions. I would’ve liked a little more coverage of Nikki (Kristen Bell), the star dancer at the club until Ali gets her big break. The rivalry between Nikki and Ali is downplayed, I guess, to keep the story from going into terribly familiar territory but I still would’ve liked to hear more from Nikki. It also would’ve been nice to see what made Nikki the lead dancer at the club. Poor Ms. Bell only gets one full dance scene. I mean, was Ms. Bell’s footwork that bad that they had to chop it up so much? On the other hand, I guess enough was revealed about Nikki so that I could understand her character just enough so that it didn’t make the movie thirty minutes longer than it needed to be.

However, I am miffed that Alan Cumming got such an itty bitty part in the flick. It was perfect casting to have him play “Alexis”, the maitre d of the club, since he did such an outstanding job playing “The Emcee” in the 1998 Broadway revival of Cabaret but he’s barely a blip in Burlesque. It would’ve been great if the quirky comments could’ve been divvied up between Mr. Cumming and Stanley Tucci’s stage director character, “Sean”. Well, at least Mr. Cumming got a chance to perform a really nifty musical moment in the film but wanted more of Mr. Cumming in the movie. Like with “Nikki”, there was just enough of each character to keep the movie from going into overtime. As much as I enjoy Alan Cumming his character in Burlesque didn’t need as much attention as “Ali”, “Tess” or “Jack”.

Ali's Gimmick Makes Her More Than A Mimic - Ali (Christina Aguilera)

Overall, Burlesque was a lot better than I thought it would be. The musical numbers were fantastic and should be seen on the big screen and with surround sound. The story isn’t too flat footed either. There are enough fresh takes on the archetypal characters to keep Burlesque from being a complete retread. Though the story had a simplistic nature the characters were interesting enough to keep me attentive even when they weren’t singing and dancing. I don’t think Burlesque belongs in the “bad taste pool”. The film constantly runs to the diving board and then quickly pulls back before taking the plunge into the muck. For me, Burlesque managed to skate along that fine line between good entertainment and bad art. It isn’t completely horrible but it isn’t a contender for “Best Picture” either.

I enjoyed Burlesque so much that I am recommending it to my friends and will probably end up seeing it a few more times with other friends. I recommend Burlesque for those who like movie musicals and especially for those who like Cher, Christina Aguilera and Stanley Tucci. I’m not saying it was the best movie of the year but it was certainly one of the most entertaining.

Source: FireFoxNews



Editor's Note:
I've had some technical difficulty this morning...the file upload to 4shared cut the file in half, and the download link was broken. Rest assured, the download link is in fact working and you can hear the full 4 minute and 10 second fan made edition once the file is downloaded! I apologize for any inconvenience.


Christina Aguilera Soars On T.I.’s “Castle Walls”

Christina Aguilera can feel pretty good about Burlesque’s decent opening weekend, but the singer should feel a whole lot more confident about her new song with T.I., the beautiful “Castle Walls.” As we mentioned before, this honest, introspective No Mercy track has the potential to become a huge hit for T.I., on par with Alex Da Kid’s previous smash rap song he produced for Eminem and Rihanna, “Love The Way You Lie”. Listen below.

“Observing the estate through the gate thought the outside looking in / Bet you would think I got it made, better look again / Got a butler, got a maid and a mansion / The belief is that I’m living out a millonaire’s fantasy, ” raps T.I., explaining that his life seems a lot more glamerous than it really is. (Or at least how it used to look before his recent depressing blog entry detailing how horrible prison is.)

We’re loving this tune, a bright spot for both T.I. and Xtina after the not-so-great years both artists have had. (Divorces, arrests, Bionic, etc.) Unfortunately, Tip won’t be able to star in the inevitable single’s music video, unless, of course, he filmed his scenes before surrendering himself, Lil Wayne-style. Actually, it’s fine by us if T.I. sits the video out, as we think the clip for “Castle Walls” should be cast with some high-profile movie stars like Em and RiRi’s vid.

Who do you see starring in the video? How about future Oscar hosts Anne Hathaway and James Franco? And what do you think of the song itself? Do you hear a hit?

Source: Idolator


As if T.I. didn’t make it clear enough in “Get Back Up,” his half apology to his fans, half oddly angry bid at sympathy, life isn’t perfect just because he has a big house, piles of money, and fast cars. Behind those castle walls is a man struggling to overcome demons, be they in the form of the acid-tongued media or a drug addiction.

T.I. focuses on the subject even further in the Christina Aguilera-assisted “Castle Walls,” the next single from his album No Mercy.

“Everyone thinks I have it all, but it’s so empty living behind these castle walls,” Xtina croons softly as the track opens. “If I should tumble, if I should fall, would anyone hear me screaming behind these castle walls? There’s no one here at all, behind these castle walls.”

Tip tries putting his real life in perspective for those who can’t see beyond the fame in the first verse. “Observing the estate through the gate from the outside looking in/Bet you would think I got it made/Better look again,” he raps. “It surely seem like the King’s life seems glamorous if seen through the eyes of untrained amateurs because the camera doesn’t seen beyond the walls or the smiles on the castle until in falls in a pile.”

In the second verse, T.I. realizes everything he’s accomplished won’t mean anything if his children don’t grow up to become good people. So while critics are focused on his rap beefs or hit records, he’s dealing with the monumental challenge of how to be a good father.

All of this from T.I. is well and good, though, as mentioned earlier, isn’t really new territory for the rapper, but the real star of this track is Christina Aguilera, who shines brightly by pulling back her usual big belting for a softer, more somber tone befitting the song’s mood.

Source: NeonLimelight

Monday, November 29, 2010




The new musical Burlesque, about a small-town girl looking to make it big, has been a passion project for writer/director Steven Antin. Wanting to remain true to the spirit of the art form that he loves so much, he gave the film’s Burlesque Lounge a rich personality and history of its own, with a playfulness and sexiness befitting of the era it became famous.

To bring Burlesque to life on the big screen, with all of its songs, performances and flash, the filmmaker knew it would take megastar Cher and someone with the talent of Christina Aguilera. In this exclusive interview with Collider, Steven Antin talked about collaborating with both women on the development of their roles, being involved with designing everything from the costumes to the look of the club to the song-and-dance numbers, and his plans for extended and deleted scenes on the DVD. Check out what he had to say after the jump:

Question: How did this project come to be? What was the development process for it?

STEVEN ANTIN: I’ve been involved in burlesque for a really long time and I’ve always been really interested in burlesque, and I was writing musicals for different studios. I wrote a musical for Disney that was actually greenlit the same week that Burlesque was greenlit. The studio was aware that I was writing musicals for other studios, and I had written a musical, called Mash Up, 10 years ago, for Columbia, that actually never got made. That was in the vein of “Meet Me in St. Louis,” where people broke into song.

So, there was a lot of awareness that I wanted to explore this world of musicals. Screen Gems and Clint Culpepper said to me, “Write this movie about the world of burlesque. You keep saying you want to write a movie about it, so write it.” He kept pushing me to write it, but I wasn’t sure what the story was. Once I came up with the story, I pitched it to him, wrote a treatment and gave it to him. I wrote the script on spec for the studio. I wasn’t even paid for it. I really believed that this was a movie that should be made, and the studio really believed in it and they greenlit it, which was great.

How difficult was it to get Cher and Christina Aguilera to sign on? Were they the only two people you wanted for these roles?

ANTIN: It wasn’t that they were the only two people I thought could do this. They were the only two people I really wanted in the movie and I knew they could do it. I really wanted them. Christina came on board first. It was a long process, getting Christina to say yes. It was many dog-and-pony shows, on my end, and auditions for me. There were discussions of story, and walking her through the entire world of what the movie was going to look like. I had endless amounts of references, all over my office walls, and I had storyboards, books and images of what the photography and lighting would look like because that was so important to me. It was a long process, and I had to do the same thing with share. Christina loved the idea, she loved the world and she was really interested, but she wasn’t 100% sure. She had said no, many times, to movies. Through great perseverance, she finally said yes. And then, I did the same thing with Cher. It was not without a lot of just refusing to take no for an answer and persevering.

As the writer as well, were you open to making changes and collaborating with them on their characters?

ANTIN: Yes. This is such a cliche, but I feel like filmmaking is a collaborative experience. I’m not Shakespeare. I have no delusions of who I am, as a writer. I wrote a simply beautiful script that’s a fun-filled, joyous fantasy, and I was fine with making changes for the actors that made them comfortable. Nothing was that incredibly dramatic, as far as the changes went. The story was the story, and the characters were the characters. Often, actors have thoughts about character and what makes them comfortable. I wanted everybody to feel good about what they were doing and I wanted them in the movie, so it was a collaborative experience, all around, with everybody.

Was it intimidating at all to walk on set with Cher and Christina Aguilera for your first feature film?

ANTIN: Yeah, but by the time I walked on set the first day, Cher wasn’t there for the first month of shooting, and I had gotten to know Christina very well. I had many meetings with them, and I had been in many dance rehearsals and acting rehearsals with Christina. It wasn’t like I didn’t know either of them. I knew them. We had a good working relationship and I had their support. I never knew what was going to happen when I was behind the camera and said, “Action!,” but they were really malleable and incredibly supportive of me and what I wanted, and I was incredibly supportive and malleable with them and any ideas that they had to interject.

Having worked so closely with both of them, are there things that you think people would be particularly surprised to know about Christina Aguilera and Cher?

ANTIN: Personally and professionally, Christina is very private, but an incredibly nurturing and soulful woman who’s a mom. Seeing her hold her baby in her kitchen and make a cup of coffee moved my spirit. She’s very, very, very, very easy to work with and really open to suggestions and ideas, and really threw herself into my hands and completely trusted me 100%. Of course, she had a lot of ideas along the way, which I was always open to, and I had a lot of ideas and changes, and we would just work through them. It was different than I thought it was going to be.

Cher is the same way. Cher is really down-to-earth, very nurturing, incredibly funny and fun, a great storyteller, and creates a great environment on the set. She was really supportive of me, as a director and a filmmaker, and was supportive of my vision. Whatever I wanted or needed, she was really willing to go there, so that I was happy. She often said to me, “Did you get what you want?” And I’d say, “Yes, do you feel good with what you did? If you didn’t, let’s do it one more time.” They would say, “No, I feel good. Do you feel good?” I’d say, “I’m happy,” and we would move on. We really had that, quite a bit.

Was it difficult to find the men to play opposite such strong women?

ANTIN: Yes, it was. There was a big question mark about who they were going to be. I knew of Cam Gigandet. I had seen him in several movies. I wanted somebody who was a great actor, was capable of comedy, had a lot of charisma and was criminally sexy, and that was Cam Gigandet. When he came in and I met with him to talk to him about the movie, I had to convince him to do this movie and that this role was right for him. We had some changes in his role too, but I know he’s so happy that he did it now. He came up and hugged me after he saw the movie. Christina did the same thing. She jumped on me and jumped into my arms after she saw the movie, she was so happy. All the actors are really happy with the movie, and I’m so relieved and happy about that.

This is a musical that seems evenly focused on the performance numbers and the acting. Was that intentional?

ANTIN: Yeah, we spent a lot of time on both. But, I didn’t have very much time to shoot this movie. I shot 136-page movie in 71 days, which is very tight. I couldn’t go over, and I only shot five-day weeks. We had to tech musical numbers on Saturday and Sunday, so we weren’t shooting then. I had five very tight days of the week with which to shoot, and I couldn’t shoot 17- and 18-hour days. The studio wouldn’t let me and the actors wouldn’t have survived it. It was a grueling shoot that was really, really difficult.

With as big a part of the story as the club is in the film, how important was it to you to have The Burlesque Lounge be its own character and for it to have the look that it does?

ANTIN: It was so enormously important, I can’t tell you. An incredible amount of time went into building, designing and developing that space. There was drawing after drawing, and many models were made. We had endless samples of paints. There was a specific way I wanted the floorboards to be laid. I wanted the sides to be herringbone. I wanted the floor of the club to be a railroad in another direction, and then I wanted the stage floorboards to go in another direction. We talked about all of the colors and glosses on the walls, the aging on the walls, the curtains in the club, the lightbulbs, the chandeliers, all of the different backdrops and textures, how big the thrust stage was going to be and what the detail around that was going to look like. We went through endless amounts of research. Even the tables and chairs in the club, the trim around the tables, the sheen on the tables and every single lamp on the tables was discussed. There was an incredible amount of detail. The design for this movie was incredibly detailed, and had to be detailed, finished and worked out before we started production because I had a really tight production schedule and I had to stick to it. I pre-lit everything because we were on soundstages, so I was really ready to go, at the beginning of every day. That helped me get through the day, make those beautiful shots the way I wanted to make them, and tell the story of this club with this beautiful club being a character in the movie.

Do you already have plans for extended and deleted scenes for the DVD?

ANTIN: Yeah, you’re going to see it all. There’s going to be extras on the DVD that are great. There’s a number that Alan Cumming did, that so sadly didn’t make it into the movie. I’m so sad about that. He’s so fabulous. Wait until you see him do this musical number. He sang “That’s Life” on the bar with the bartenders, and it was so great. We couldn’t make it work within the body of the movie, but on its own, it’s so beautiful and spectacular. We had to cut things from the movie ‘cause the movie was getting really long. There’s also musical numbers in their entirety, that you don’t see in the movie. Kristen Bell did “Dr. Long John,” and you’ll see that whole number in its entirety. You’ll see different dance pieces that never made their way into the movie. You’ll see Christina Aguilera doing “Something’s Got a Hold on Me,” all by itself, without the inter-cutting of the burlesque girls. There’s a lot of stuff.

In doing a first feature like this, with so many different elements, did it help that you have a background in acting and know how to deal with actors to get the performance that you’re looking for?

ANTIN: Yeah. In a huge way, everything that I’ve done in my life has helped inform my ability to communicate with actors and direct them, and have that dialogue. It’s specific, and each actor is so different and requires a different dialogue. A huge part of it is wanting to do it. I love actors. I love working with actors. I really enjoy the process. I love having those in-depth discussions about the interior of their character, and actors really love to discuss that too. I could talk about that for days with them. They love that, and I love that. I love the exploration. For me, it’s an exploration into the human spirit and what makes us tick, and it gives us a better understanding of the character, who we are, who the character could be and the potential for the character.

When you were acting, had you always known that the goal for you was to get behind the camera?

ANTIN: I knew it from pretty early on, yeah. I always wanted to direct. I always saw myself as a director. I know that I’ve definitely found what I should be doing with my life. In my life, as far as my career goes, I always felt, as an actor, that it was something that would just be a temporary thing that would get me to what I wanted to do next. That’s what my acting did. I really feel that I’m a much better director than I was an actor. Everything that I’ve done in my life has become a dictionary of information and has helped inform what I do next. The experience of Burlesque informed so much, as did all the music videos I’ve done and producing TV shows and movies, and just being involved in the entertainment industry and really being a sponge for information.

Do you have any idea what you want to do next?

ANTIN: I just don’t know yet. I really don’t. I need a day to clear my head and think about it ‘cause I haven’t been able to think about it. This train has been moving so fast. But, I want to do something that lays on the page really well. I know that. I want to do something where the script is there. That doesn’t mean that I won’t need to come in, or be asked to come in, and help develop something. Things can always get better. There’s always room for improvement. But, I want to do something that’s the best version of whatever it’s supposed to be. The script will be really important. I want to tell beautiful stories. I know I want to tell stories that appeal to a large audience. I want to make movies that appeal to mass culture, for now. At a certain point, I’m sure I’ll go off somewhere and make my little wonderful, beautiful art film, but right now, I want to make big movies that appeal to a lot of people. That’s satisfying to me.

What happened to Mash Up? Is that something that you might still do?

ANTIN: Disney was kind enough, thoughtful enough and believed enough in me, as a director, to wait for me to be available. Now, it’s been two years and it’s still in the pipeline there, so let’s see what happens with it.



Off T.I.’s album “No Mercy”. Produced by Alex Da Kid. Album drops December the 7th. Make sure you BUY the album to have the song.

Source: KillerHipHop


Credits: HighHeeledHO



Christina Aguilera Meets New Guy's Mom

Christina Aguilera has been spending time with her new guy Matt Rutler – and his family.

Aguilera, who recently filed for divorce from husband Jordan Bratman, had a festive night out with Rutler at the Abbey in West Hollywood on Nov. 24. The couple were seen dancing, according to an onlooker, who added: "Christina was in a great mood and seemed very into Matt."

Aguilera, 29, spent Thanksgiving in Los Angeles with friends. Then after the holiday, the singer and Rutler, who worked as a set assistant on her film Burlesque, jetted to New York, while her son Max stayed with his dad for the holiday weekend.

"This is the first Thanksgiving she was without Max," says a source. "It was really hard for her and she was feeling sad, so she decided to go to the East Coast with Matt and a group of friends."

On Saturday, Aguilera, Rutler and a few pals went to Rhode Island for a spontaneous visit to Rutler's family home where they spent time with his mom, Kathleen.

"Since his family lives so close, they decided to drop in for a few hours," says the source.

But the source insists that meeting the family doesn't mean Aguilera and Rutler are getting more serious. "They’re still getting to know each other better," says the source.

That night, the couple partied at the Boom Boom Room atop the Standard Hotel together in New York City.

• With reporting by PERNILLA CEDENHEIM

See what other readers have to say about this story – or leave a comment of your own.





This list was sent to me by a publicist but I think it’s a pretty good compilation. A couple of things to note – the Gwyneth Paltrow song is here but it isn’t Country Strong (above). There are two songs performed by Paltrow, and Tim McGraw. I’d also like to give a shout out to the Made in Dagenham song which was written by Billy Bragg and sung by Sandy Shaw.

For song, it used to be that any celebrity name attached would get nominated – and eventually win. But at some point the voters got a little weird about it and decided that the song had to be integral to the plot and worked into the film, rather than merely tacked onto the end; we know this is silly and random on their part, as they still choose plenty of tacked-on songs.

At any rate, here is a rough list….

How To Train Your Dragon / “Sticks & Stones” – Performed by Jónsi
Jónsi Iceland’s biggest pop star and lead singer of the international chart topping group Sigur Rós performs the end title song “Sticks & Stones” from the DreamWorks 3D Animation blockbuster, How to Train Your Dragon, one of the years best reviewed films. The song is also featured on the film’s soundtrack.

Why Did I Get Married Too? / “Nothing” – Performed by Janet Jackson
Janet Jackson does not disappoint on the lead track “Nothing” from hit-maker Tyler Perry’s latest relationship drama in which Jackson also stars. The airy ballad is vintage Janet Jackson with emotional lyrics delivered in a soft, but telling way. This multiple award winner co-wrote the song with Grammy winner Jermaine Dupri, Johnta Austin, and Bryan-Michael Cox.

Burlesque / “Bound to You” – Performed by Christina Aguilera
Referred to as the “voice of her generation,” Christina Aguilera makes her theatrical film and musical debut as the lead character in Burlesque. Her electrifying vocals on the films track “Bound To You” will remind you why this starlet is a 5-time Grammy winner!

127 Hours / “If I Rise” – Performed by Dido
Grammy nominated English singer/songwriter Dido, who shot to success after her debut album sold 21 million copies worldwide, displays her unique vocal abilities on “If I Rise”. Dido collaborated with 2-time Oscar winner A.R. Rahman on the song, which is featured in the climax of this compelling film.

Country Strong / “Coming Home”, “Me and Tennessee” – Performed by Gwyneth Paltrow
This compelling film about a troubled country superstar attempting a comeback features two major songs; Gwyneth Paltrow performs “Coming Home,” a powerful ballad written by Bob DiPiero, Tom Douglas, Hillary Lindsey and Troy Verges. Paltrow also joins with superstar Tim McGraw for a duet on the original song “Me and Tennessee,” composed by A. Martin. This show stopping number is one of the film’s dramatic and musical highpoint s.

Waiting For Superman / “Shine” – Performed by John Legend
John Legend, the recipient of six Grammy Awards wrote and performs the powerful anthem “Shine” for the critically acclaimed documentary Waiting For Superman. This moving song is sure to be a classic from this landmark film about America’s education system.

Burlesque / “You Haven’t Seen The Last Of Me” – Performed by Cher
Music has very few living legends, but Cher is one of them. She commands the screen in her first starring role in a decade, performing “You Haven’t Seen The Last Of Me” written by the incomparable hit maker and six time Oscar nominee Diane Warren (acclaimed writer of Cher’s past megahit “If You Could Turn Back Time”). This ballad is a true show stopper in this film.

Source: AwardsDaily


Screen Gems' "Burlesque," with Sony distribbing, closely followed "Megamind" in standing, tallying an estimated five-day total of $17.6 million for a cume north of $130 million.

"Burlesque" received an overall A- aud appraisal but scored better with the under-35 crowd, which gave the pic an A rating. Male auds, who made up 31% of the film's opening demo, even gave "Burlesque" an above-average rating. Sony, however, expected the film to appeal heavily to gay men.

The film's marketing materials hyped stars Cher and Christina Aguilera, as well as the music, in trailers and online videos.

Rory Bruer, Sony prexy of worldwide distribution, credited stars Cher and Aguilera as the pic's primary draws. "Cher has a knockout song where even she said she hit a few notes she's never hit before."

Like "Burlesque," Fox's "Love and Other Drugs" tapped into a primarily female base, with 63%, and drew 60% of its aud over 25. The R-rated film, toplining Jake Gyllenhaal and Anne Hathaway, repped a significant marketing challenge for Fox as it isn't a typical romantic comedy. Pic got a B- CinemaScore rating, which could reflect audience confusion.


Best Musical Since Funny Girl, 28 November 2010


Author: rblayer from San Antonio, Texas

Growing up in the 60's I went to see "Burlesque" because of Cher. I walked out hopelessly in love with Christina Aguilera. For over a decade now I have wrongfully categorized this beautiful and talented young women in a group with the likes of other blonde paparazzi favorites like Britney Spears, Jessica Simpson, Lady Gaga, et al. To atone for this sin, I immediately ordered three of her albums. I can add little to the earlier rave reviews of this film, other than to say it was 100 minutes of sheer joy. Anyone complaining about this movie's plot should never, ever be allowed into a musical. I wouldn't be surprised to see numerous Oscar nominations for musical score, art direction, editing, costumes, and yes, even acting. We can only pray for more of these "Cabaret" and "Chicago" type films.

Sunday, November 28, 2010


High School Musical 3 (TOTAL US GROSS:$90,559,416)

Mamma Mia! (TOTAL US GROSS:$144,130,063)

Hairspray (TOTAL US GROSS: $118,823,091)

Burlesque (TOTAL US GROSS: _________ )

Dreamgirls (TOTAL US GROSS: $103,365,956)

Moulin Rouge! (TOTAL US GROSS: $57,386,369)

Evita (TOTAL US GROSS: $50,047,179)

Chicago (TOTAL US GROSS: $170,687,518)

Grease (TOTAL US GROSS: $153,097,492)

Showgirls (TOTAL US GROSS: $20,254,932)

Nine (TOTAL US GROSS: $19,676,965)

The Phantom of the Opera (TOTAL US GROSS: $51,225,796)

Glitter (TOTAL US GROSS: $4,273,372)




Source: BoxOfficeMojo


1. Harry Potter/Deathly Hallows, Pt 1 (Warner Bros) Week 2 [4,125 Runs]
Wednesday $14.4M, Thursday $11.5M, Friday $20.7M, Saturday $18.5M
3-Day Weekend $52M, 5-Day Holiday $78M, Cume $222.5M

2. Tangled 3D (Disney) NEW [3,603 Runs]
Wednesday $11.8M, Thursday $8.1M, Friday $19.7M, Saturday $18.8M
Estimated 3-Day Weekend $47M, 5-Day Holiday $67M

3. Megamind 3D (DreamWorks Animation/Paramount) Week 4 [3,401 Runs]
Wednesday $2.6M, Thursday $2M, Friday $5.3M, Saturday $4.7M
Estimated 3-Day Weekend $12.6M, 5-Day Holiday $17.3M, Cume $130M

4. Burlesque (Screen Gems/Sony) NEW [3,037 Runs]
Wednesday $2.4M, Thursday $2.4M, Friday $4.5M, Saturday $4.6M
Estimated 3-Day Weekend $11.5M, 5-Day Holiday $17M

5. Unstoppable (Fox) Week 3 [3,183 Runs]
Wednesday $1.9M, Thursday $2.5M, Friday $4.5M, Saturday $4.5M
Estimated 3-Day Weekend $11.5M, 5-Day Holiday $16M, Cume $60.5M

6. Love And Other Drugs (Fox) NEW [2,455 Runs]
Wednesday $2.1M, Thursday $1.9M, Friday $3.8M, Saturday $3.6M
Estimated 3-Day Weekend $9.4M, 5-Day Holiday $13.6M

7. Faster (CBS Films/Sony) NEW [2,454 Runs]
Wednesday $1.6M, Thursday $1.9M, Friday $3.2M, Saturday $3.3M
Estimated 3-Day Weekend $8.2M, 5-Day Holiday $11.8M

8. Due Date (Warner Bros) Week 4 [2,455 Runs]
Wednesday $1.3M, Thursday $1.7M, Friday $2.8M, Saturday $2.8M
Estimated 3-Day Weekend $7.1M, 5-Day Holiday $10.2M, Cume $84.8M

9. The Next Three Days (Lionsgate) Week 2 [2,564 Runs]
Wednesday $760K, Thursday $1M, Friday $1.8M (-15%)
Estimated 3-Day Weekend $6M, 5-Day Holiday $7.8M, Cume $15.8M

10. Morning Glory (Paramount) Week 3 [2,441 Runs]
Wednesday $610K, Thursday $840K, Friday $1.6M
Estimated 3-Day Weekend $4.5M, 5-Day Holiday $5.9M, Cume $26.9M






Saturday, November 27, 2010


1. Harry Potter/Deathly Hallows, Pt 1 (Warner Bros) Week 2 [4,125 Runs]
Wednesday $14.4M, Thursday $11.5M, Friday $23M (-63% from a week ago)
Estimated 3-Day Weekend $55M, Estimated 5-Day Holiday $81M, Estimated Cume $225.4M

2. Tangled 3D (Disney) NEW [3,603 Runs]
Wednesday $11.8M, Thursday $8.1M, Friday $22M
Estimated 3-Day Weekend $53M, Estimated 5-Day Holiday $73M

3. Megamind 3D (DreamWorks Animation/Paramount) Week 4 [3,401 Runs]
Wednesday $2.6M, Thursday $2M, Friday $6.3M
Estimated 3-Day Weekend $15M, Estimated 5-Day Holiday $19.7M, Estimated Cume $132.6M

4. Unstoppable (Fox) Week 3 [3,183 Runs]
Wednesday $1.9M, Thursday $2.5M, Friday $4.8M
Estimated 3-Day Weekend $12M, Estimated 5-Day Holiday $16.5M, Estimated Cume $61M

5. Burlesque (Screen Gems/Sony) NEW [3,037 Runs]
Wednesday $2.4M, Thursday $2.4M, Friday $4.5M
Estimated 3-Day Weekend $11.5M, Estimated 5-Day Holiday $17M

6. Love And Other Drugs (Fox) NEW [2,455 Runs]
Wednesday $2.1M, Thursday $1.9M, Friday $3.8M
Estimated 3-Day Weekend $9.5M, Estimated 5-Day Holiday $13.7M

7. Faster (CBS Films/Sony) NEW [2,454 Runs]
Wednesday $1.6M, Thursday $1.9M, Friday $3M
Estimated 3-Day Weekend $7.5M, Estimated 5-Day Holiday $11M

8. Due Date (Warner Bros) Week 4 [2,455 Runs]
Wednesday $1.3M, Thursday $1.7M, Friday $2.8M
Estimated 3-Day Weekend $6.5M,Estimated 5-Day Holiday $9.6M, Estimated Cume $84.2M

9. The Next Three Days (Lionsgate) Week 2 [2,564 Runs]
Wednesday $760K, Thursday $1M, Friday $2.3M

Estimated 3-Day Weekend $6M, Estimated 5-Day Holiday $7.8M, Estimated Cume $15.8M

10. Morning Glory (Paramount) Week 3 [2,441 Runs]
Wednesday $610K, Thursday $840K, Friday $1.7M


Singer-actress Christina Aguilera has revealed she is filled with pride because of being a mother.

The Burlesque actress, who recently split with her husband Jordan Bratman after nearly five years of marriage, loves being a mother to their two-year-old son Max, reports contactmusic.com.

'Being a parent allows you to beam with pride on a daily basis. Even the little things bring us so much joy like singing as I put Max to bed or going trick-or-treating and seeing Max dress up on Halloween,' she said.

'Max and I go to Disneyland often. It really is the happiest place on earth,' she added.

Friday, November 26, 2010



The Burlesque soundtrack Album has burnt up the iTunes chart and is currently holding at the number 2 position. Fans are loving the soundtrack from the movie and discovering it after they see the movie.

The album highlights the music of the film sung by Christina Aguilera and Cher. The album is said to not only compliment the experience of the movie but could be a stand alone piece that any fan would appreciate. According to the Amazon description, Aguilera took a big part in the performance and behind the scenes efforts:
Burlesque, the soundtrack to the Sony Pictures film Burlesque, starring Christina Aguilera and Cher. The highly anticipated soundtrack features new recordings performed and co-written by five time Grammy winner Christina Aguilera, with production by Tricky Stewart, Linda Perry and Ron Fair and songwriting by Claude Kelly, Tricky Stewart and Sia. The soundtrack also features two brand new tracks performed by the legendary Cher, including "You Haven't Seen The Last Of Me", a powerful Diane Warren penned ballad which was produced by Matt Serletic. This marks Cher's first new original song in seven years as well as her first movie musical. The soundtrack also includes remakes / covers of classic songs such as Etta James' "Something's Got A Hold On Me" and "Tough Lover" and Mae West's "A Guy What Takes His Time" all performed by Christina Aguilera.
Source: Examiner



Behind-the-scenes video footage from the feature film "Burlesque."

Ali is a small-town girl with a big voice who escapes hardship and an uncertain future to follow her dreams to LA. After stumbling upon The Burlesque Lounge, a majestic but ailing theater that is home to an inspired musical revue, Ali lands a job as a cocktail waitress from Tess, the club's proprietor and headliner. Burlesque's outrageous costumes and bold choreography enrapture the young ingenue, who vows to perform there one day. Soon enough, Ali builds a friendship with a featured dancer, finds an enemy in a troubled, jealous performer, and garners the affection of Jack, a bartender and fellow musician. With the help of a sharp-witted stage manager and gender-bending host, Ali makes her way from the bar to the stage. Her spectacular voice restores The Burlesque Lounge to its former glory, though not before a charismatic entrepreneur arrives with an enticing proposal.

"Burlesque" opens in theaters nationwide on November 24.



Source: VH1


Finally, the guilty pleasure event of the year has arrived in Burlesque. Glitter and Showgirls are shaking in their butterfly tattoos. Highly dangerous drinking games will soon be spawned. Theme parties will eventually be thrown for the DVD release. Aspiring sluts you know will dress up as these characters for Halloweens to come. It is, to put it mildly, a major pop cultural deal. Or maybe not! Who knows if anybody will even see it? It could be the Snakes on a Plane of whore movies -- bloggers obsess over it, but nobody else in their right mind gives a hell about it. All I know is that I saw it, and it melted my face off with an atomic blast of Tucci-scented Lucite. So let's discuss all the ways in which this movie does not disappoint.

The most consistently impressive quality Burlesque possesses is its unyielding self-awareness. It knows we're here for camp, slutty outfits, dance sequences and to watch Cher's synthetic excuse for a face war with itself to express emotions, and minute-for-minute, that's exactly what it delivers. For example, Christina Aguilera's character goes from being fed up in her small town somewhere to working in Cher's L.A. club with strippers doing gymnastics around her within the first 10 minutes of the movie. There's no time wasted anywhere, and though the movie is a little longer than I expected (it's about two hours long), that's only for the sake of more scenes involving Stanley Tucci making cracks about Kristen Bell drunkenly gyrating to the classics in a body stocking and a wig. So, it's two hours, but it's two hours of sheer entertainment!

This movie does warrant all the comparisons to Glitter, Showgirls and Crossroads before it, but the difference is that those movies, as wonderfully lovable as they are, took themselves incredibly seriously. They were earnest attempts to get the women in them taken seriously as actors, and the results were laughable. Burlesque is gleefully light-hearted and self-deprecating, without being cloyingly meta or eyeroll-inducing. When you laugh at Burlesque, you're laughing with it. Those other movies? Quite the opposite is the case.

I've been describing it to friends as Showgirls, minus all the brutal rape and period humor. It's like if Showgirls took a mega dose of antibiotics, entered into a witness protection relocation program, met Julianne Hough (who is somehow adorable in this movie) and took a crapload of dance lessons. It's just so great. Earlier this week I was joking that Burlesque might be so good it could possibly kill me, and while that was just a joke at the time, there was one moment where Cher attacked Kristen Bell's car with a crowbar and it was so awesome I experienced a little bit of heart failure, but luckily I gathered my wits and recovered in time for the pivotal "everyone's-jealous-of-Xtina's-sequin-feather-shoes" scene that followed it.

Oh, and Alan Cumming has a spectacular series of little cameos as basically the Emcee from Cabaret, and Christina Aguilera didn't even annoy me one bit -- in fact, I'd actually describe her as endearing and well-cast in the role. I mean this movie is just an anomaly on every level. You simply have to see it.

Source: TelevisionWithoutPity