Monday, November 2, 2009

[American_Idol_Extra] Dancing's Derek Hough: I Didn't Mean for Mambo Move to Look So Sexual







 
Story photo: Dancing's Derek Hough: I Didn't Mean for Mambo Move to Look So Sexual
 
The Lambada Strip Finish

Dancing's Derek Hough: I Didn't Mean for Mambo Move to Look So Sexual
 
etitive head-in-the-crotch move on Dancing with the Stars that left even Tom Bergeron flummoxed. But to hear the Season 7 pro champ tell it, the risqu move was just part of his improvised plan of attack to win the mambo marathon — and they did. Find out what else the 24-year-old has to say about their stellar week, why it would be "mind-blowing" to win and what special performance he has in store for the results show.

TVGuide.com: We have to first talk about the mambo marathon and that head-bobbing move you guys did.
Derek Hough:
[Laughs] Everybody's like, "What the heck is that? It's so sexual!" Well, I didn't mean for it to look that way! There's a move in the mambo where she hinges back and you go down, flip your leg over and bring her back up. But as I was looking around, I was like, "Oh, we can't just do our routine. We've got to do something different, something that kind of eggs the audience on a little bit." So I did that move and just kind of kept her down there and she kept trying to come back up and I was like, "Nope!" It was pretty funny. She did an amazing job.

Dancing's Joanna Krupa strips down for Playboy

TVGuide.com: How much of those four minutes was improvised and how much was choreographed?
Hough:
I did a minute-long routine and then we just repeated it. When it was getting closer [to the end], we knew we really had to up our game, so I just started doing the most exciting parts. It was a total freestyle. She just starting grooving out and I was like, "OK, I'll groove out with you." So I grabbed her and started shouting out stuff: "OK, here comes the pretzel! Here comes the dip!" It was all out of order, but she was wanting it and just did a great job.

TVGuide.com: How are the rumba and Team Tango routines going? Is it fair to do the team dances with an uneven number of couples left?
Hough:
The rumba's going good. It's a really tough dance. The slower the dance, the harder it is. [Krupa]'s handling it very well. The Team Tango, we've all done a great job. Me, Louis [van Amstel] and Kym [Johnson] came together and choreographed it up. Donny [Osmond]'s great and Kelly [Osbourne]'s fantastic. I think we have a good team and I actually think we have an advantage [over Team Paso Doble, which is four couples] because the less people you have, the less margin of error there is. The other team has more possibilities for formation and we're kind of limited, but we're creative and we've got some cool ideas.

Dancing's Joanna Krupa: "People will see the real me"

TVGuide.com: Joanna has been a surprise this season. Models don't have a great track record and everyone was on her case about her Superstars tantrum, but she's been doing so well.
Hough:
When I first started dancing with Joanna, I knew we had an uphill battle. She came in with, you know, not the best reputation. Getting to know her, she's a really amazing person. I think models in general have a certain insecurity about themselves because they're known for being beautiful, so they have to prove to everybody they have personality and they are intelligent. ... One thing I love about Joanna too is that she's very thankful to be on the show. She's not taking it for granted whatsoever. Some people come on and are like, "All right," and do their thing, but she really understands that she's fortunate to be on such an amazing show and really wants to work hard.

TVGuide.com: Do you feel like a lot of people have a different opinion of her now than they did when she was on Superstars?
Hough:
Yeah. When we're in the studio, people go, "Give it up for Donny!" and the crowd goes crazy. "Give it up for Kelly!" and the crowd goes nuts. "Give it up for Joanna!" and everyone's like, [muted] "Yay." Her fan base is not as big as Donny Osmond's or anyone like that and she knows that. But during the mambo marathon, when we were left dancing, the audience went insane — totally rooting for her. They were 100 percent on her side. She told me later, "Oh my gosh, I've never had so much support in my entire life." It was so, so nice to hear that. She's definitely earned her place on the show. I'm really proud of her.

Read Maks' Dancing blog

TVGuide.com: People are talking about you guys winning now. What do you think your chances are of becoming a two-time champ?
Hough:
You never know. It would be very, very unexpected and would be a huge surprise to me! We're going to do our best and take it one week at a time. It would be mind-blowing to win with Joanna. With Brooke [Burke], I was surprised, not because I didn't think she deserved it, but because there were so many other factors. With Joanna, it would be crazy, unbelievable, because I don't think it would be as expected. To even make the final would be unbelievable for her and for me.

TVGuide.com: You're pulling double duty this week too: You and Mark [Ballas, with whom he formed the Ballas Hough Band] are performing a song, "Move," on the results show. What can we expect?
Hough:
It's going to be a duo thing. It's going to be a full-on performance with dancers and stuff like that. We've been rehearsing and choreographing it. The performance is going to be available on iTunes. It's going to be a little different from what people have heard from us before. It's going to be more like something you would hear in a club, something that you would say, "Oh, I want to choreograph to that" when you hear it. We wanted to show a dance club vibe. It's going to be a very three-dimensional show. We're really excited.
 

Related Articles on TVGuide.com

More:
 
Watch on YouTube Here:
 
Dancing With The Stars - Mambo Marathon
 
 
 
The Shirtless Lambada Strip, Week 4
 
Week 4 - Joanna Krupa - Dancing With The Stars
 
 
 
 
 

--
Together, we can change the world, one mind at a time.
Have a great day,
Tommy


--
Together, we can change the world, one mind at a time.
Have a great day,
Tommy

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Sunday, November 1, 2009

[American_Idol_Extra] Sing Along Sunday: "Witchcraft" for Samhain






Sing Along Sunday: "Witchcraft" for Samhain
 
File:Baldung Hexen 1508 kol.JPG
 
Hans Baldung Grien - Hexen (Witches; woodcut, 1508)
 
 
 

Witchcraft, in various historical, anthropological, religious and mythological contexts, is the use of certain kinds of supernatural or magical powers. Witchcraft can refer to the use of such powers in order to inflict harm or damage upon members of a community or their property. Other uses of the term distinguish between bad witchcraft and good witchcraft, the latter involving the use of these powers to heal someone from bad witchcraft. The concept of witchcraft is normally treated as a cultural ideology, a means of explaining human misfortune by blaming it either on a supernatural entity or a known person in the community.[1] A witch (from Old English wicce f. / wicca m., also compare hag) is a practitioner of witchcraft.

Belief in witchcraft, and by consequence witch-hunts, are found in many cultures worldwide, today mostly in Sub-Saharan Africa (e.g. in the witch smellers in Bantu culture), and historically notably in Early Modern Europe of the 14th to 18th century, where witchcraft came to be seen as a vast diabolical conspiracy against Christianity, and accusations of witchcraft led to large-scale witch-hunts, especially in Germanic Europe.[2]

The "witch-cult hypothesis", a controversial theory that European witchcraft was a suppressed pagan religion, was popularised in the 19th and early 20th centuries. Since the mid-20th century, Witchcraft has become the self-designation of a branch of neopaganism, especially in the Wicca tradition following Gerald Gardner, who claimed a religious tradition of Witchcraft with pre-Christian roots.[3]

Source:
 
 
Samhain
 
 
Celtic design featuring three intertwined dogs
 

Samhain (pronounced /ˈsɑːwɪn/, /ˈsaʊ.ɪn/, or /ˈsaʊn/ in English[1] — from Irish Samhain [ˈsˠaunʲ], cf. Scottish Gaelic Samhuinn [ˈsavɯɲ], Manx Gaelic Sauin and Old Irish Samain [ˈsaṽɨnʲ] — roughly translated as "summer's end" — is a festival held on October 31–November 1 in Gaelic cultures. A harvest festival with ancient roots in Celtic paganism, it was linked to festivals held around the same time in other Celtic cultures, and continued to be celebrated in late medieval times.

Samhain marked the end of the harvest, the end of the "lighter half" of the year and beginning of the "darker half". Many scholars believe that it was the beginning of the Celtic year.[2][3][4] It has some elements of a festival of the dead. The Gaels believed that the border between this world and the otherworld became thin on Samhain. Bonfires played a large part in the festivities. People and their livestock would often walk between two bonfires as a cleansing ritual, and the bones of slaughtered livestock were cast into its flames.[5]

The Gaelic custom of wearing costumes and masks, was an attempt to copy the spirits or placate them. In Scotland the dead were impersonated by young men with masked, veiled or blackened faces, dressed in white.[6][7] Samhnag — turnips which were hollowed-out and carved with faces to make lanterns — were also used to ward off harmful spirits.[7]

The Gaelic festival became associated with the Christian All Saints' Day and All Souls' Day, and has hugely influenced the secular customs now connected with Halloween. It continues to be celebrated as a religious festival by some Neopagans.[3][4][8]

Samhain and an t-Samhuinn are also the Irish and Scottish Gaelic names of November, respectively.More:

 
 
 
 
Witchcraft (song)
 

"Witchcraft" is a popular song from 1957 composed by Cy Coleman with lyrics by Carolyn Leigh. It was released as a single by Frank Sinatra, and reached number twenty in the U.S., spending sixteen weeks on the charts.[1]

Composed as an instrumental piece by Coleman for the revue Take Five, lyrics were added by Leigh, and "Witchcraft" was subsequently recorded by Sinatra in May 1957, in an arrangement by Nelson Riddle.[2]

Versions

Sinatra recorded "Witchcraft" three times in a studio setting. The first recording was in 1957, for his single release, and was later released on his compilation album All the Way (1961). Sinatra re-recorded "Witchcraft" for 1963's Sinatra's Sinatra, and finally recorded it as a duet with Anita Baker for Duets (1993).

Grammys

At the 1st Grammy Awards, Frank Sinatra was nominated for six Grammy awards, with Sinatra's recording of "Witchcraft" being nominated for the Record of the Year, Song of the Year, Best Vocal Performance, Male, and Nelson Riddle's arrangement nominated for the Grammy Award for Best Arrangement. Sinatra had two albums nominated for the Grammy Award for Album of the Year, and won the Grammy Award for Best Album Cover.

Source:
 
 
 
Bell Book and Candle
 
 
Witchcraft  The Lyrics
 
Those fingers in my hair
That sly come hither stare
That strips my conscience bare
It's witchcraft.

And I've got no defense for it,
The heat is too intense for it.
What good would common sense for it do?

'Cause it's witchcraft,
Wicked witchcraft,
And although I know it's strictly taboo

When you arouse the need in me,
My heart says yes indeed in me,
Proceed with what your leading me to

It's such an ancient pitch,
But one I wouldn't switch,

'Cause there's no nicer witch than you

**Instrumental break**

'Cause it's witchcraft,
That crazy witchcraft,
And although I know it's strictly taboo

When you arouse the need in me,
My heart says yes indeed in me,
Proceed with what your leading me to...

It's such an ancient pitch,
But one that I would never switch,
'Cause there's no nicer witch than you

Click These Links and Sing Along:

Frank Sinatra - Witchcraft
 
 
 
Witchcraft - Frank Sinatra & Anita Baker HD
 
 
 
James Marsden singing Witchcraft (Frank Sinatra) Ally Mcbeal
 
 

--
Together, we can change the world, one mind at a time.
Have a great day,
Tommy


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Thursday, October 29, 2009

[Fox_American_Idol] AI9: Seacrest talks about the future of Idol

 

This is a video of an interview Ryan did in Atlanta (his hometown) last weekend.  He talks about the upcomping AI season among other things.
 

 
"They don't know what it's like to be a fan, ya know, to truly love some silly piece of music or some band so much that it hurts." ~ Almost Famous

"It's nice to stay in that semi-informed fantasy land where [he] is just real enough to have a personality and just unreal enough to be perfect." ~ Me

The Carter Factor        Obsessed with Seacrest        All About Josh        Ace-Young.Net 

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Sunday, October 25, 2009

[American_Idol_Extra] SING ALONG SUNDAY: "Masquerade" from "Phantom of the Opera" for Halloween




SING ALONG SUNDAY:
"Masquerade" from "Phantom of the Opera" 
 
Have a happy, fun, safe, and blessed Halloween
With love,
Tommy
 

File:Phantom.jpg

The Phantom of the Opera is a musical by Andrew Lloyd Webber, based on the French novel Le Fantôme de l'Opéra by Gaston Leroux. The music was composed by Andrew Lloyd Webber, with lyrics by Charles Hart and additional lyrics by Richard Stilgoe. The musical focuses on a beautiful soprano, Christine Daaé, who becomes the obsession of a mysterious, disfigured musical genius known as "The Phantom of the Opera".

Phantom is the second longest-running West End musical in history and the longest-running Broadway musical. According to its official website, it is the most successful entertainment project in history, grossing more than US$5 billion worldwide by 2007.[

 

The Phantom of the Opera opened in London's West End in 1986. The production was directed by Hal Prince, choreographed by Gillian Lynne, designed by Maria Björnson, with lighting by Andrew Bridge.[citation needed]

In 2004, the musical was made into a film, directed by Joel Schumacher, and produced by Andrew Lloyd Webber.

In 2008, the West End production surpassed its nine thousandth performance.[citation needed]

In March 2010, a musical sequel is expected to open entitled Phantom: Love Never Dies. It was delayed from its original date of November 2009. The first act was staged at Andrew Lloyd Webber's country home, Sydmonton.[citation needed]

 

Source:

Score

Lloyd Webber's score is sometimes operatic in style but he maintains the form and structure of a musical throughout. The fully-fledged operatic writing is reserved principally for the subsidiary characters such as the theatre managers, Andre and Firmin; their Prima Donna, Carlotta; and principal tenor, Piangi. Fittingly, it is also used to provide the content of the fictional "operas" that are taking place within the show itself. i.e.; Hannibal, Il Muto, and the Phantom's masterwork, Don Juan Triumphant. Here, Lloyd Webber affectionately pastiches various styles from the grand operas of Meyerbeer through to Mozart and even Gilbert and Sullivan (Coveney, 1999). These pieces are often presented as musical fragments, interrupted by dialogue or action sequences in order to clearly define the musical's "show within a show" format. The musical extracts we hear from the Phantom's opera, "Don Juan Triumphant", during the latter stages of the show, are much more dissonant and modern – suggesting, perhaps, that the phantom is ahead of his time artistically (Snelson, 2004). This is also displayed when The Phantom makes his entrance on the show's title song. Andrew had said himself that the title song was "Rock n' roll merely masquerading as opera". For the characters of Christine, the Phantom, and Raoul, the direct and "natural" style of modern song is used rather than the more decorative aspects of aria; their material provides the musical centre of the piece

http://en.wikipedia.org/wiki/The_Phantom_of_the_Opera_(1986_musical)

File:PhantomoftheOpera-BoatScene.PNG

Michael Crawford and Sarah Brightman performing the title song of The Phantom of the Opera at Her Majesty's Theatre.

Act II

Everyone is in attendance at the masquerade ball ("Masquerade"). The Phantom has not shown himself for six months. Christine and Raoul are now engaged. To Raoul's dismay, Christine insists on hiding her ring, which is on a chain around her neck. The Phantom enters, dressed as the title character from Edgar Allan Poe's "The Masque of the Red Death". He announces that he has written an opera, and that he expects the managers to produce it ("Why So Silent?"). He also confronts Christine and takes her engagement ring from her, shouting that she belongs to him.

 

Masquerade

"Masquerade" is a song from the Andrew Lloyd Webber musical The Phantom of the Opera. It is sung at the beginning of the second act where a New Year's masquerade ball is held at the Opera House. Several months have passed since the end of the first act and the cast and crew of the Opera House have heard nothing of the Phantom for that period of time, thus assuming that he had left them for good. The owners of the Opera, Andre and Firmin, are determined to celebrate this, as well as the "new chandelier" installed after the Phantom fell the last one (although this is changed to "our friends who are here" for the film, where the falling chandelier is moved until a later scene). Christine and Raoul also mention their secret engagement, each expressing doubt and that they need not be so silent about it.

[edit] Themes and metaphors

The song begins in a bright, cheery, and perhaps innocently sinister manner, with all people dancing and swirling about in costumes. The lyrics, though, reveal that there is something strange about the song. They describe the power of masks and their ability to conceal one's persona, which may seem like a game—but the words reveal the dangerous side of hiding away. As the revelers sing, "You can fool any friend who ever knew you!" Indeed, Firmin and Andre begin the song by tentatively approaching one another in skeleton costumes, uncertainly whispering one another's names and only breaking into a self-congratulatory conversation once they have established their identities.

The song also acts a strange parallel to the Phantom himself. The lyrics of the song boldly state:

Masquerade!
Paper faces on parade...
Masquerade!
Hide your face so the world will never find you...

This mirrors not only the fact that the Phantom wears a mask to conceal his disfigured face, but also the fact that he hides himself away from the world. By turning his daily practice into a fun but dark game for the patrons and workers of the opera, the song suggests that all social interaction requires one to metaphorically conceal oneself. One can only enjoy perfect liberty while in disguise. This is driven home when the Phantom disrupts the song by arriving in an elaborate Red Death costume and mask, bullies and taunts the managers and wrenches the chain Christine wears her engagement ring on from around her neck.

It should also be noted that "bal masques" were popular middle-class entertainments held at the Palais Garnier and elsewhere throughout the latter quarter of the nineteenth century, and did not necessarily have any connection to other events or performances at the Opera.

"Masquerade" is usually viewed as the show's theme (alongside the "Phantom of the Opera" melody), mainly because it is the first song that the audience hears throughout the whole play, even before the overture begins. It is the song that plays from the mysterious monkey and barrel organ music box that eventually becomes a symbol of the Phantom's and Christine's love. In the play's final scenes, the Phantom, unmasked, observes the music box in his lair. It comes to life by magic, and tinkles out its tune across a vast, silent stage. The Phantom sings the lines quoted above while staring at his mask, reflecting on his life of hiding away and perhaps on his impending need to secure himself from his pursuers. He finally whispers, "Christine...I love you...," echoing Raoul's identical declaration several scenes before, before preparing to disappear. Perhaps significantly, he leaves his mask on his chair.

Source:

http://en.wikipedia.org/wiki/Masquerade_(song)

 

Masquerade

The Lyrics

THE STAIRCASE OF THE OPERA HOUSE
(A gauze half conceals the tableau of guests at the
opera ball. The guests (whom we cannot yet see
clearly) are in fancy
dress a peacock, a lion, a
dragon, Mephistopheles, a highwayman, a clown,
knights, ladies, an executioner. M. ANDRE enters.
He is dressed as a skeleton in an opera cape. Almost
immediately M. FIRMIN arrives.He is also dressed
as a skeleton in an opera cape. The two skeletons see
each other and approach nervously)
ANDRE
M'sieur Firmin?
FIRMIN
M'sieur Andre?
(Each raises his mask to the other. They recognise each
other.)
FIRMIN
Dear Andre
what a splendid party!
ANDRE
The prologue
to a bright new year!
FIRMIN
Quite a night!
I'm impressed!
FIRMIN
Well, one does
one's best . . .
ANDRE/FIRMIN (raising their glasses)
Here's to us!
FIRMIN
I must say, all the same, that
it's a shame that 'Phantom'
fellow isn't here!
(The gauze lifts fully to reveal the staircase of the
opera house. The opera ball begins. Among the
GUESTS are four carrying strange percussion
instruments: a monkey with cymbals, a toy soldier
with a drum, a triangle, bells. Together they play
weirdly throughout)
CHORUS
Masquerade!
Paper faces on parade . . .
Masquerade!
Hide your face,
so the world will
never find you!
Masquerade!
Every face a different shade . . .
Masquerade!
Look around -
there's another
mask behind you!
Flash of mauve . . .
Splash of puce . . .
Fool and king . . .
Ghoul and goose . . .
Green and black . . .
Queen and priest . . .
Trace of rouge . . .
Face of beast . . .
Faces . . .
Take your turn, take a ride
on the merry-go-round . . .
in an inhuman race . . .
Eye of gold . . .
Thigh of blue . . .
True is false . . .
Who is who . . .?
Curl of lip . . .
Swirl of gown . . .
Ace of hearts . . .
Face of clown . . .
Faces . . .
Drink it in, drink it up,
till you've drowned
in the light . . .
in the sound . . .
RAOUL/CHRISTINE
But who can name the face . . .?
ALL
Masquerade!
Grinning yellows,
spinning reds . . .
Masquerade!
Take your fill -
let the spectacle
astound you!
Masquerade!
Burning glances,
turning heads . . .
Masquerade!
Stop and stare
at the sea of smiles
around you!
Masquerade!
Seething shadows
breathing lies . . .
Masquerade!
You can fool
any friend who
ever knew you!
Masquerade!
Leering satyrs,
peering eyes . . .
Masquerade!
Run and hide -
but a face will
still pursue you!
(The ENSEMBLE activity becomes background, as
ANDRE, FIRMIN, MEG, GIRY, PIANGI and CARLOTTA
come to the fore, glasses in hand)
GIRY
What a night
MEG
What a crowd!
ANDRE
Makes you glad!
FIRMIN
Makes you proud!
All the creme
de la creme!
CARLOTTA
Watching us watching them!
MEG/GlRY
And all our fears
are in the past!
ANDRE
Six months...
PIANGI
Of relief!
CARLOTTA
Of delight!
ANDRE/FIRMIN
Of Elysian peace!
MEG/GIRY
And we can breathe at last!
CARLOTTA
No more notes!
PIANGI
No more ghost!
GIRY
Here's a health!
ANDRE
Here's a toast:
to a prosperous year!
FIRMIN
To the new chandelier!
PIANGI/CARLOTTA
And may its
splendour never fade!
FIRMIN
Six months!
GIRY
What a joy!
MEG
What a change!
FIRMIN/ANDRE
What a blessed release!
ANDRE
And what a masquerade!
(They clink
glasses and move off RAOUL and
CHRISTINE emerge. She is admiring a new acquisition:
an engagement
ring from RAOUL, which she has
attached to a gold chain around her neck.)
CHRISTINE
Think of it!
A secret engagement!
Look - your future bride!
Just think of it!
RAOUL
But why is it secret?
What have we to hide?
CHRISTINE
Please, let's not fight . . .
RAOUL
Christine, you're free!
CHRISTINE
Wait till the time is right . . .
RAOUL
When will that be?
It's an engagement,
not a crime!
Christine,
What are you
afraid of?
CHRISTINE


Let's not argue . . .
RAOUL
Let's not argue . . .
CHRISTINE
Please pretend . . .
RAOUL
I can only hope I'll . . .
CHRISTINE
You will . . .
BOTH
. . . understand
in time . . .
(Dance section, in which CHRISTINE, almost
coquettish almost jittery, goes from man to man. But too
many of her partners seem to be replicas of the
PHANTOM, and each spins her with increasing force.
Eventually RAOUL rescues her and holds her tightly. He
whirls her back into the dance, as the music heads
towards its climax.)
ALL
Masquerade!
Paper faces on parade!
Masquerade!
Hide your face,
so the world will
never find you!
Masquerade!
Every face a different shade!
Masquerade!
Look around -
There's another
mask behind you!
Masquerade!
Burning glances,
turning heads . . .
Masquerade!
Stop and stare
at the sea of smiles
around you!
Masquerade!
Grinning yellows,
spinning reds . . .
Masquerade!
Take your fill -
let the spectacle
astound you.

 
Click these links and sing along:
 
Masquerade with lyrics:
 
 
 
Masquerade and Why So Silent from The Phantom of the Opera US Tour
 
 
 

 
Phantom Of The Opera The Movie - Masquerade
 
 

--
Together, we can change the world, one mind at a time.
Have a great day,
Tommy


--
Together, we can change the world, one mind at a time.
Have a great day,
Tommy

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Saturday, October 24, 2009

[American_Idol_Extra] In Fond Memory of Soupy Sales on YouTube: "Hey, Do The Mouse, Yeah!"





In Fond Memory of Soupy Sales
 
on YouTube
 
 
"Hey, Do The Mouse, Yeah!"
 
 
 
Soupy Sales with Pookie and White Fang
 
 
 
SOUPY SALES/Come Pie With Me
 
http://www.youtube.com/watch?v=sT5TKTt5BeA

--
Together, we can change the world, one mind at a time.
Have a great day,
Tommy


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Tuesday, October 20, 2009

[American_Idol_Extra] Adam Lambert 'Time for Miracles' Music Teaser From '2012': Exclusive Sneak Peek




Adam Lambert 'Time for Miracles' Music Teaser From '2012': Exclusive Sneak Peek
Adam Lambert
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Adam Lambert'American Idol''s resident guyliner-wearing showman Adam Lambert is back with his first song since nabbing runner-up honors on the show last season. Not surprising to anyone who saw Lambert's rendition of Johnny Cash's 'Ring of Fire,' his new song, entitled 'Time for Miracles,' is extremely theatrical ... which makes sense, seeing as it's the theme song for disaster-movie auteur Roland Emmerich's latest end-of-the-world extravaganza '2012.'

Moviefone has an exclusive sneak peek at the song, featuring clips of Lambert belting out the tune in the studio, as well as providing the backdrop for plenty of eye-popping apocalyptic footage from the film.

Lambert's spine-tingling -- and never-pitchy, dawg -- vocals provide the perfect musical accompaniment to scenes of cities blowing up, international landmarks crumbling like sandcastles, the ocean swallowing Hollywood, and divorced dad John Cusack racing around the globe to save his ex-wife (Amanda Peet) and their fam from the Mayan-predicted apocalypse on Dec. 21, 2012.

The '2012' soundtrack hits stores Nov. 10, followed swiftly by the end of the world, er, release of the movie in theaters on Nov. 13.

Watch Adam Lambert's 'Time for Miracles' Music Video Sneak Peek:

 

http://insidemovies.moviefone.com/2009/10/09/adam-lambert-time-for-miracles-music-video-2012-movie/



 
'2012' trailers and clips
'2012' showtimes and tickets
Adam Lambert costume for Halloween
 
 

--
Together, we can change the world, one mind at a time.
Have a great day,
Tommy


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Sunday, October 4, 2009

[American_Idol_Extra] SING ALONG SUNDAY: "We Shall Be Free" in honor of the National Equality March Oct. 10-11th




 SING ALONG SUNDAY: "We Shall Be Free"
in honor of the National Equality March Oct. 10-11th
 
 
 
About Equality Across America
 
 
The National Equality March
 

We are guaranteed equal protection by the 14th Amendment of the US Constitution. Free and equal people do not bargain for or prioritize our rights, so we are coming to DC this October 10-11 to demand equal protection in all matters governed by civil law in all 50 states. Now.

The march is not our final destination. It is our first step toward building a national grassroots network that will continue organizing until we have achieved full equality.

Our One Single Demand:

Equal protection in all matters governed by civil law in all 50 states. We will accept no less and will work until it is achieved. Equality Across America exists to support grassroots organizing in all 435 Congressional Districts to achieve full equality.

We are guaranteed equal protection under the 14th Amendment of the US Constitution. Free and equal people do not bargain for or prioritize our rights. Full equality necessarily includes all members of the LGBT community and encompasses, but is not limited to:

  • The right to work our jobs and go to school free of harassment and discrimination.
  • The right to safety in our daily lives, and protection from hate crimes.
  • The right to equitable healthcare, and the right to donate blood.
  • The right to equitable immigration policies.
  • The right to marry.
  • The right to serve in the military openly.

Many bills currently exist to address some of these issues, but we do not support a piecemeal strategy. We seek one federal solution to full equality.

 

Our strategy:

Equality Across America is a network of decentralized organizers in every one of the 435 Congressional districts. These organizers form Congressional District Action Teams (CDATs) that will do the work on the ground in their own communities to achieve full equality.

Each CDAT works not only toward national equality, but participates in their local and state struggles for equality in areas like marriage, adoption, and work-place discrimination. Equality Across America connects organizers from around the country so we can support one another in all of our work, focusing energy and resources in battlegrounds when needed.

Our philosophy:

As members of every race, class, faith, and community, we see the struggle for LGBT equality as part of a larger movement for peace and social justice.

How to get involved:

Start by signing our pledge. On the sign-up page you can indicate if you want to want to join your local Congressional District Action Team and if you want to participate in the National Equality March in October. After you sign up, you'll receive information about the team in your area. If there is no team in your Congressional District, we can help you start one.

Equality Across America exists to serve the Congressional District Action Teams. Each Team will be self-organized, led by local organizers who know their community and the local issues best.

What is the National Equality March?

The National Equality March is an important event to show support for full equality on the door step of those who can make that happen: the Congress of the United States. It will be held October 10-11, 2009 in Washington, DC and each Congressional District Action Team will mobilize its community to go to DC. For more information, read About the March.

More Here:

http://equalityacrossamerica.org/

 

We Shall Be Free
 
by Garth Brooks and Stephanie Davis
 
 
 

"We Shall Be Free" is a song released by American country music artist Garth Brooks. It debuted on his fourth studio album The Chase and also appears on The Hits, The Limited Series, Double Live, and The Ultimate Hits. It reached #12 on the Billboard Country Charts in 1992. A song under the same name was written by Brooks and Stephanie Davis. A song with the same name was recorded by Woody Guthrie, Leadbelly, Cisco Houston & Sonny Terry (year unknown).

Story

An ordinary man imagines a world where all human beings are free from earthly oppressions. Topics covered in this social commentary include: world hunger, freedom of speech, homelessness, racism, and freedom of religion.

According to Garth, he was inspired to write this song after being in Los Angeles where the ACM Awards were being held during the 1992 L.A. Riots: "The night the riots hit we watched it all on TV on the bus leaving LA. And as you drove out of LA you could see the buildings on fire. It was pretty scary for all of us, especially a bunch of guys from Oklahoma. Ya know this is intense out here."[2]

The music video

The music video for "We Shall Be Free" was directed by Timothy Miller. The video is filled with much powerful (disturbing to some) imagery. In the ending, the following statement is shown: This video is dedicated to the human spirit. Unbreakable. Relentless. Free. The music video for "We Shall Be Free" won Video of the Year at the 1993 Academy of Country Music awards.

Source:

http://en.wikipedia.org/wiki/We_Shall_Be_Free

File:Garth Brooks - We Shall Be Free.jpg

 

The Lyrics

We Shall be Free


This ain't comin' from no prophet,
Just an ordinary man.
When I close my eyes I see,
The way this world shall be.
When we all walk hand-in-hand.

When the last child cries,
For a crust of
bread.
When the last man dies,
For just words that he said.
When there's shelter over,
The poorest head.
We shall be free.

When the last thing we notice,
Is the
color of skin.
And the first thing we look for,
Is the
beauty within.
When the skies and the oceans,
Are clean again.
Then we shall be free.

We shall be free.
We shall be free.
Stand straight.
Walk proud,
'Cause we shall be free.

When we're free to
love
Anyone we choose.
When this world's big enough,
For all different views.
When we all can
worship,
From our own kind of pew,
Then we shall be free.


We shall be free.
We shall be free.
Have a little faith.
Hold out.
'Cause we shall be free.

And when money talks,
For the very last time.
And nobody walks,
A step behind.
When there's only one race,
And that's mankind.
Then we shall be free.

We shall be free.
We shall be free.
Stand straight,
(Walk proud.)
Have a little faith.
(Hold out.)
We shall be free.
(Oh-oh-oh.)
We shall be free.
We shall be free.
(Stand straight,)
Stand straight.
(Have a little faith.)
We shall be free.
[Fade.]
(Oh-oh-oh.)
We shall be free.
We shall be free.
Stand straight.
Walk proud.
We shall be free.

 

 



Click these links and sing along:

 
 
We Shall Be Free (video)
 
 
 
Happy Road in Concert (We shall be free)
 
 
 
Bonus Video:
 
1993 March on Washington News Report
 
 
 

--
Together, we can change the world, one mind at a time.
Have a great day,
Tommy


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