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Rip Offs
Topic Started: May 6 2010, 05:43 PM (2,209 Views)
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Rock Star From Mars

The 5 Most Famous Musicians Who Are Thieving Bastards By Rohan Ramakrishnan
  • #4.
    The Black Eyed Peas

    If you don't know who the Black Eyed Peas are, you're either a time traveler or have recently woken up from a coma (and in either case, congratulations!).

    The rest of you already know how insanely successful they are, despite having some of the worst music imaginable.

    What you probably don't know is that very little of that music is actually theirs.

    For instance, a young rapper named Phoenix Phenom recently accused the Peas of ripping off her song "Boom Dynamite" and calling it "Boom Boom Pow."

    On the one hand, the only similarities are with the beat and the "boom boom" part. On the other hand, the beat and the "boom boom" part is as much of the Black Eyed Peas that we can listen to before our souls begin to atrophy.

    In hip-hop, there are two schools of thought when it comes to sampling. Some people follow the P. Diddy method, which does involve spending a f**k-ton of money, but the upside is you get to take a huge, steaming, shiny-suited sh** all over pretty much any beloved song of your choosing.

    But it's not for everybody. The Vanilla Ice method of blatantly stealing a song and hoping nobody notices may work better for the cash strapped.

    Apparently, the Black Eyed Peas are an impoverished bunch.

    Shortly after they released the song "Party All the Time," a band called Freeland suddenly realized that their song "Mancry" had been sampled--unfortunately, the Peas had neglected to inform them of this fact.

    We tried to chalk all this up to an overworked will.i.am, who "makes" most of the beats for the group.

    Writing original songs is hard enough, imagine having to do it while also balancing the daunting task of finding something for those two weirdoes who aren't Fergie to do.

    But no, even solo they can't be trusted. For instance, back in 2007 will.i.am grabbed a hefty chunk of Daft Punk's "Around the World" (without asking) to use in his first single. For some reason, Daft Punk wasn't too happy about the whole deal.

    But by far the worst example of song plagiarism is Fergie's hit single "Fergalicious," which is pretty much just J. J. Fad's "Supersonic" with slightly altered lyrics and a remarkably amped up realization that you're listening to all that is wrong with music when you hear it.

    This isn't sampling so much as stealing an entire g*ddamn song, and since (as usual) the original artists got screwed over, Fergie's now facing a lawsuit of her own.
    #1.
    Andrew Lloyd Webber

    Andrew Lloyd Webber is the closest thing the theater world has to a superstar. He has six Tony Awards, three Grammys, an Oscar and the longest-running musical in Broadway history. And he probably doesn't deserve any of it. Why? Check this out.

    [snip video]

    Yeah, that was the opening theme from Phantom of the Opera sounding a whole lot like Pink Floyd's "Echoes." After finding out about the theft, Floyd frontman Roger Waters took immediate legal action... oh, wait, says here he actually just said "life's too long to bother with suing f***ing Lloyd Webber." But he did toss this line into his song "It's a Miracle."

    "Lloyd Webber's awful stuff/Runs for years and years/An earthquake hits the theatre/But the operetta lingers/Then the piano lid comes down/And breaks his f***ing fingers."

    Surely that's just as satisfying as collecting on unpaid royalties. But anyway, this sort of thing isn't what Webber really makes his money with. No, his real M.O. is ripping off classical composers.

    For example, his critics point out that very little of the music in Requiem was actually made by Webber, while even his supporters reluctantly admit that "I Don't Know How to Love Him" from Jesus Christ Superstar was a reworked version of Mendelssohn's "Violin Concerto." However, the most appalling theft is of Puccini's "La Fanciulla del West" in Webber's "Music of the Night":

    [snip video]

    When we heard the similarities, we were like, "Why, that cad!" and then we was all, "Clearly the chromatic scale of the adagio movement was transposed into pianoforte" before adding, "this is tomfoolery!" as a fine mist of steam coated our monocles. OK, you got us. We have no idea what was going on in those two songs. We don't even know if we're listening to the right part.

    But the Puccini estate could hear it just fine, and leveled a lawsuit against Webber; more importantly, Webber heard it too and settled out-of-court, the universal message for "guilty."
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Rock Star From Mars

Ke$ha or a neon David Lee Roth?

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Tonygirl
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I think all sampled music is a rip off, even if the people pay the original writers. I mena, come up with something original. If you have to take someone else's music and then rap over with stupid lyrics, you're not much of an artist.
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This article says that Gaga stole a song/video (Telephone) from another singer.

Other singers have used phones in their songs before.

Cyndi Lauper had a dial tone effect in one song called "911," and sometime around the mid 1980s, New Edition had a song about trying to phone up a girl.

I don't remember all the lyrics, but part of it went,
'Mr telephone man, there's something wrong with my line
every time I dial my baby's #, I get a click every time...'


Lady Gaga is a phone-y
  • Whether or not a local performer's claims against Gaga hold any water, they still carry a lot of truth.

    By the riff chris riemenschneider

    It's a pretty clever idea for a song: Use telephone metaphors to describe a relationship that has been hung up on, getting a busy signal, etc. Throw in such visual accessories as a bulkily shaped phone, color-coordinated hat, body-wrapping telephone cords and a booth from which to bust out.

    These ideas are so great, they were apparently thought up twice -- once by current mega-superstar Lady Gaga, and before that by Minneapolis electronic performance artist Brooke Aldridge.

    Gaga's 2010 single and video "Telephone" bears a surprising if not uncanny resemblance to the 2004 single "Life on Hold" and accompanying artwork by Aldridge's group, Lolly Pop -- who also coined the term "electro-pop opera" long before Gaga used it for her tour coming Monday and Tuesday to Xcel Energy Center.

    Aldridge's supporters are openly accusing 2010's biggest pop music star of stealing her ideas. There's even a Facebook page called "Lolly Pop Has Been Knicked by Lady Gaga." They can point to an early Gaga producer who may or may not have exposed Lolly Pop's work to Stefani Germanotta, the clubhopper who would bleach her hair and shed a lot of clothing to become Gaga.

    "People sometimes just want validation for their hard work, and I think that's what Brooke is hoping for," said Monte Moir, Aldridge's producer/mentor, who was a bit of a fame monster in the '80s as keyboardist with the Time. Addressing the specific allegations, Moir said, "Speculation? Yes. Proof? No."

    At this point, I should point out that I believe these claims are about as cuckoo as a coat made out of stuffed Kermit the Frogs. Aldridge has done some clever and fun work, but you'd be hard-pressed to find Minnesotans who have seen or heard it, much less a New Yorker.

    That said, it's hard to dismiss the notion -- perhaps not even a criticism -- that Gaga is indeed a copycat who freely lifts her outrageous style, mostly vapid songs and club-girl personality from other performers.
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Angelina Jolie sued, accused of plagiarizing movie
  • Angelina Jolie and the producers of her directorial debut, “In the Land of Blood and Honey,” plagiarized the work of Croatian journalist and author Josip J. Knezevic to create the film’s screenplay, Knezevic claims in a lawsuit in U.S. District Court in Chicago.

    The local law firm of Belongia Shapiro & Franklin filed the suit last week using Knezevic’s Anglicized name, Joseph J. Braddock.

    Knezevic did meet with Jolie’s producer, Edin Sarkic (also named in the suit), but Jolie told Sun-Times contributor Cindy Pearlman that the film’s script was totally her work.

    “I sat down one day frustrated, having met so many people in post-traumatic stress situations, and wrote a story reflecting on it. I didn’t plan on writing a script or a movie. I wanted to put my thoughts on paper regarding a situation not discussed enough. This was my story ... a love story that I wrote,” said Jolie.

    † A source close to the Academy Award winner said Tuesday, “When Angie sets her mind on doing something — like this extremely challenging project — she will charge ahead. She will not be deterred by something like this [lawsuit].”

    While Jolie’s camp claims Knezevic’s allegations are meritless, Showbiz 411’s Roger Friedman points out it is unusual for someone to sue over a film before it opens (Jan. 6 in Chicago) when its financial profitability is unknown.

    In the case of this movie — shot both in the Bosnian language and in English — it’s assumed it will have limited appeal and make relatively little money.
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This reminds me of articles I put in to the "Madonna - Musical Rip Offs" thread months ago, about how so many song writers write the songs that sell millions, but they never get credit - the singer's name gets slapped on the album instead.

Woman behind ‘Sandra Lee Kwanzaa Cake’ Explains Debacle

Excerpt:
  • In my defense, I must start at the beginning. I’ve been developing recipes for cookbook authors and food companies for over twenty years. At least twenty of the fifty cookbooks I’ve ghostwritten or contributed to have ended up on the New York Times Best-Seller List. Many celebrities or TV chefs hire me because they are too busy to write their own recipes. This is not unusual.

    In some cases, the “talent”, as they are known in the business, have no talent. They do not know how to write a recipe or even cook, for that matter. Therefore, as a trained chef, food stylist and recipe writer, I come in handy.

    I sell recipes from $100-$400 dollars apiece plus the cost of groceries. I love it. Not only is it fun, creative and challenging, I get to study all kinds of food. Most projects are just plain terrific. I’m humbled by the amazing people I’ve gotten to write and work for.
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How Will Google Handle YouTube Copyright Violations in Search Results?
  • By David Murphy
    August 12, 2012

    Google's new search algorithm penalty process for sites found to have a massive number of copyright complaints against them comes with one important caveat: It doesn't appear to have any bearing on YouTube-related copyright violations.

    In other words, Google isn't going to penalize its own property should the domain rack up a number of copyright complaints. And that's partly because Google makes it impossible to use its standard "copyright removal notice" form against infringing YouTube content – there's no way to YouTube to rack up a tally of removal notices, as it's just not plugged into Google's system in that way.

    Search Engine Land's Danny Sullivan took a close look at just how one goes about reporting infringing YouTube content using Google's copyright removal notice form – the same form one would use to report, say, a BitTorrent link that's hosted on a third-party site and served up within Google's search results.

    First off, the form warns you – right at the top in nice, red text – that you shouldn't use it to report, "issues that relate to YouTube." Attempting to select YouTube as an option on the form itself brings up a box that instructs you to head on over to YouTube's "Legal Issues" page to report your problem there.

    If you're a copyright holder, you'll eventually make it to YouTube's "Resources for Content Owners" section, which allows you to pick from one of three options as it relates to copyright content on the site: Filing an infringement notification, signing up for a content verification program to make infringement notification submissions even easier, or signing up for YouTube's "Content ID" program to make money on, get stats from, or block copyright content that's found on the site.

    According to Google, it plans to treat YouTube similarly to any other site in its search rankings – a bit of a vague and unclear way to suggest that perhaps there's more to YouTube content within Google's search rankings than meets the eye. However, said a Google representative to Sullivan, "We don't expect this change to demote results for popular user-generated content sites."

    So, er, how does YouTube then fall under Google's new search-penalty process? Google doesn't clarify the answer at all; perhaps individual videos, found to have violated copyright, will automatically be pulled from Google's search rankings in some undisclosed capacity.

    With the new copyright penalty rolling out to Google's search results next week, it seems as if we'll all have to wait to find out if there's an answer to Google's YouTube issue.


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Nicki Minaj Accused by Former Hairstylist of Stealing His Wig Designs
  • Nicki Minaj wigged out when she heard that her former hair stylist, Terrence Davidson, slapped her with a $30 million lawsuit alleging that the fashion-conscious singer ripped off his designs for wigs and used then in her own wig and fragrance line. The lawsuit was filed in a district court in Atlanta, Georgia.

    The former American Idol judge has denied that she stole Davidson’s designs for wigs. However, the circumstantial evidence against her seems to be strong.

    The lawsuit against Nicki Minaj was filed this Friday in Georgia.
    According to Terrence Davidson, he began working for Nicki Minaj back in 2010. He says that he is the one who designed many of the most famous wigs that Nicki wore, including The pink upper bun one which Minaj wore at the VMA pre-show, a patterned fox-fur one, and a wig that the eye-batting diva wore when she appeared int he “Super Bass” video.

    You might recall that when Nicki Minaj was a judge on American Idol, the quirky style that her fans find endearing made her somewhat less-than-beloved by the other judges. In fact, Mariah Carey, for example, compared working on American Idol with Nicki Minaj to working in Hell with the Winged One, Satan himself. Steven Tyler told them both to shut the F**** up, and then Nicki called him a “racist.”

    Davidson alleges that they were getting along so well together that the subject even came up of them having a joint wig line and a TV reality show together.

    In 2012, though, Davidson says that Minaj and her agents started to behve much differently towards him. They no longer talked about the idea of having a “business venture” with him. Davidson also alleges that one of Nicki Minaj’s representatives lied to a newspaper about his declining the opportunity to be interviewed.

    In early 2013, Davidson stopped working for Minaj altogether. He alleges that Minaj, “without his consent,” took many of his wig designs, “and used them to start her wig line.” He further alleges that Nicki Minaj used his wig designs as the models for the bottle tops of her line of perfumes.

    Davidson claims in his lawsuit that Minaj “cut him out of their wig venture,” and that she took, or stole, his wig designs. Then, Minaj used the designs “to pursue the wig venture on her own.”

    Also in his lawsuit against “Starships” singer Nicki Minaj, Davidson alleges that the singer breached their implied contract and interfered “with prospective business relations.”

    By doing these things, and posting photos of his wigs at her site, the hairstylist claims that Nicki Minaj caused him to lose a lot of potential profit.

    According to Davidson’s attorney, Christopher Chestnut, his client’s lawsuit goes beyond being just about hair and wigs. Chestnut mentioned that the hair products and wig industry is :a multi billion-dollar” one. He also stressed the specialness, and the uniqueness, of Davidson’s wigs.Chestnut called his client’s wigs “eclectic” and also “decadent” and “creative.”
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Christian Rappers Sue Katy Perry For Allegedly Stealing Their Song - The four musicians claim the pop star stole the song
  • A group of Christian musicians are suing Katy Perry for copyright infringement, claiming her hit “Dark Horse” replicated their 2008 song “Joyful Noise.”

    The four plaintiffs added that their song has been sullied by “witchcraft, paganism, black magic and Illuminati imagery,” according to the complaint filed on July 1 in St. Louis. Rappers Marcus Gray, Emanuel Lambert, Lecrae Moore and producer Chike Ojukwu are seeking damages from Katy Perry, Juicy J, Lukasz Gottwald, Sarah Theresa Hudson, Max Martin, Henry Russell Walter and Capitol Records.

    This isn’t the first time Perry has come under fire for allegedly copying a song: last year critics pointed out similarities between her song “Roar” and Sara Bareilles’ song “Brave.”

    Here are “Dark Horse” and “Joyful Noise” below, so you can decide for yourself.
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US judge: Shakira hit song Loca 'broke copyright laws'


  • A hit song performed by Colombian pop star Shakira was indirectly copied from another songwriter's work, a federal judge in New York has found.

    Judge Alvin Hellerstein said Shakira's Spanish-language version of Loca in 2010 had infringed on a song by Dominican singer Ramon Arias Vazquez.

    Her English language version of Loca - which featured Dizzee Rascal - was "not offered into evidence" at the trial

    Neither version of Loca was released as a single in the UK.

    However, the Spanish language version - a collaboration with Dominican rapper Eduard Edwin Bello Pou, better known as El Cata - was widely released as a single around the world. It went on to sell more than five million copies and topped Billboard Magazine's Latin charts.

    It was also included on her 2010 album Sale el Sol. For English language markets, the album was titled The Sun Comes Out and both versions of the song were included.

    In a ruling on Tuesday, Judge Hellerstein said that while the hit single had been based on an earlier version of a song recorded by Bello [El Cata], that itself had been copied from Arias Vasquez's original song.

    "There is no dispute that Shakira's version of the song was based on Bello's version," wrote the judge in his ruling.

    "Accordingly, I find that, since Bello had copied Arias, whoever wrote Shakira's version of the song also indirectly copied Arias," he concluded.

    Ramon Arias Vazquez penned his song Loca con su Tiguere in the 1990s, but Bello has denied copying it.
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Blue Tiger
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[ *  *  *  * ]
I saw this today in the news and was a bit confused they talk about plagiarism in TV news. At the end they showed examples of popular song which are plagiarisms. There was 'Ice ice baby' by Vanilla Ice or Rolling Stones song etc. There was nothing about Madonna but they could show 'justify my plagiarisms' or 'stealing nature'. Wonder if they did it because she's is the queen and need to hide the truth about her :grr: or maybe forgot about her as she is no longer popular nor relevant. :biggrin:
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Julia Griggs
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I'm so tired of being forced to care about what's a rip off & what ain't. Especially if the artist is smart enough to run away with it.

A certain favorite band of mine has been wrongly accused of ripping off Ringo Starr's "Back Off Boogaloo" & Led Zeppelin's "Trampled Underfoot". Even if I'm in the mindset of a biased fan, the songs in question also have beats, chords, etc. done in plenty of other songs. This is quite different than a bully like Madge tearing a piece off someone who doesn't have enough of a tribe to protect them from harm.
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This was cross posted to the MBC forum in the Songwriting thread.
------------------------------------------
Big name singers let other people write their songs then they slap their names on them at the end. Another example.

It could be that he did in fact write part of the song and is throwing the other guy under the bus so as not to be held legally responsible

Robin Thicke Admits To Lying About Writing “Blurred Lines” & To Drug Use While Recording
Source

Sept 15, 2014
by Yohance Kyles
Adding to his 2014 embarrassment, it has now been revealed that Thicke lied about taking credit for writing the biggest hit of his career.

The Hollywood Reporter obtained the transcripts from Thicke’s deposition in the lawsuit between the creators of “Blurred Lines” (Thicke, Pharrell Williams, & Clifford “T.I.” Harris) and Marvin Gaye’s family.

The Gaye’s have accused Thicke and his collaborators of stealing elements from the legendary performer’s “Got to Give It Up” for “Blurred Lines.” Thicke, Williams, and T.I. attempted to preempt a Gaye Family lawsuit by filing their own suit first.

During his testimony under oath, Thicke stated:

I was high on vicodin and alcohol when I showed up at the studio. So my recollection is when we made the song, I thought I wanted — I — I wanted to be more involved than I actually was by the time, nine months later, it became a huge hit and I wanted credit. So I started kind of convincing myself that I was a little more part of it than I was and I — because I didn’t want him — I wanted some credit for this big hit. But the reality is, is that Pharrell had the beat and he wrote almost every single part of the song.

These statements are different from what Thicke said about his role in the making of “Blurred Lines” in the past. He told GQ in May 2013:

Pharrell and I were in the studio and I told him that one of my favorite songs of all time was Marvin Gaye’s ‘Got to Give It Up.’ I was like, “Damn, we should make something like that, something with that groove.” Then he started playing a little something and we literally wrote the song in about a half hour and recorded it.

Pharrell and I were in the studio and I told him that one of my favorite songs of all time was Marvin Gaye’s ‘Got to Give It Up’… Then he started playing a little something and we literally wrote the song in about a half hour and recorded it.”

Pharrell acknowledged during his testimony that he did write “Blurred Lines,” but gave Thicke a co-writing credit on the song because that is normal practice in the music business.

The Grammy-winning producer said:
You know, people are made to look like they have much more authorship in the situation than they actually do. So that’s where the embellishment comes in.

Robin Thicke admits to drug abuse, says Paula Patton left because he told her "the truth"
Source

Thicke also copped to lying about just how involved he was in the creation of the track.

"After making six albums that I wrote and produced myself, the biggest hit of my career was written and produced by somebody else and I was jealous and I wanted some of the credit," he said. "The reality is, is that Pharrell had the beat and he wrote almost every single part of the song."

Pharrell's April deposition was also released on Monday. In it, he says that the 2013 song of summer was his creation, but that "It wouldn't be what it was -- what it is today" without Thicke's vocals.

But Thicke said, "None of it was my idea."
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Am I the only one who thinks parts of this song sounds like Rihanna's "Umbrella"?

Shower by Becky G

"I'm singing in the shower, shower.... shower.... shower...."

Umbrella - Rihanna

"You can stand under my Umbrella ella ella eh eh..."
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50 Shades of Deja Vu: From Pretty Woman to Bridget Jones, how the hotly anticipated bondage film mirrors scenes from a long line of other chick flicks
  • Fifty Shades Of Grey, the most spectacularly hyped film of the past decade, is released in cinemas today. But as CLAUDIA CONNELL reveals, the movie’s hotly anticipated love scenes are more 50 shades of oddly familiar — mirroring moments in a host of other so-called ‘chick flicks’. From the central couple’s first kiss to their blindfolded shenanigans in the infamous ‘Red Room of Pain’, haven’t we seen it all before?

    Scroll down for video

    Leading ladies are often rendered incapable of walking once they fall under the love spell of the leading man. When it happened to Debra Winger in An Officer And A Gentleman in 1982, Richard Gere swept her into his arms, left, and carried her off into the sunset. In Fifty Shades, Christian Grey sweeps our heroine Ana into his arms . . . and off to his dungeon.

    Heart-throb Jake Gyllenhaal plays a pharmaceutical rep who ends up having a steamy affair with a patient, played by Anne Hathaway, in 2010’s Love And Other Drugs, left. But where a smiling Jake looks as if he’s about to have some fun, Jamie Dornan’s Christian Grey is staring so intently he looks like he’s going to conduct a routine eye examination.

    In the 1990 movie Pretty Woman, Julia Roberts, as streetwalker Vivian Ward, allowed no kissing when she was hired by Richard Gere, playing wealthy businessman Edward Lewis, to be his companion for the week. Instead, a tender caress of his lips had to do. In Fifty Shades, it’s Christian Grey who lays down the law on what is permitted to love-struck student Ana.

    The similarities between Fifty Shades and the 1986 movie 9½ Weeks are blind(fold)ingly obvious here. But whereas Kim Basinger, left, sparked a genuinely electric chemistry with co-star Mickey Rourke, Dakota Johnson, right, as Ana, and Jamie Dornan, as Christian Grey, leave us feeling flat.

    Woman spends night with man, woman parades in oversized man’s shirt next morning rather than own clothes. It’s a movie post-coital perennial, executed here, right, by Julia Roberts in Pretty Woman. In Fifty Shades, Ana wears the get-up as she makes her man’s breakfast — the cliché to end them all.

    The onscreen chemistry between Ryan Gosling and Rachel McAdams sizzled in The Notebook in 2004 and the pair dated in real life for two years. Their movie kiss, as teenage sweethearts reunited after years apart, is often hailed as one of the most passionate on screen. In Fifty Shades, our hero and heroine adopt a remarkably similar pose — it’s just that Ana is pinned against the wall.

    Patrick Swayze, left, was the original bare-chested love god playing bad-boy dance instructor Johnny Castle in the 1987 film Dirty Dancing. But it must be said, Jamie Dornan has an impressive six pack that’s worth a look.

    Hours in dungeon: 3 v.v. bad. Lengths of rope used: 7. Number of blindfolds at dry cleaners: 4. Reminder: buy oil for handcuffs. This scene in Fifty Shades has Ana, above, reflecting dreamily on her contract to be Christian Grey’s sex slave. It is a dead ringer for Bridget Jones in The Edge Of Reason in 2004 — and there’s no denying Ana’s diary, had she kept one, would make more interesting reading.

    Christian Grey isn’t the only knicker nibbler to hit the big screen this year. Ryan Guzman found Jennifer Lopez tasty in The Boy Next Door. In Fifty Shades, Ana is seduced in the same way — while wearing rather more sensible-looking white knickers.

    Renee Zellweger has a nose-to-nose encounter left, with her beau Mark Darcy — Colin Firth — in the street in Bridget Jones: The Edge Of Reason. Ana does the same with Christian Grey — who looks a lot less thrilled than Mr Darcy.

    In Pretty Woman, Richard Gere stars as an emotionally stunted millionaire seducer who likes to play the piano. In Fifty Shades, Jamie Dornan is an emotionally stunted billionaire seducer who likes to play the piano. Inevitably for both men, tickling the ivories leads to a romp.
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This Actress Stole All Of Her Instagram Photos From Other Famous Folks
  • And then deleted them all.

    Ever heard of Spanish actress Anna Allen?

    No?
    Allen’s a successful television actress in her native Spain.

    Here she is starring in the 2010 Spanish TV show Acusados (The Accused).
    In all, she has more than 12 years of acting credits under her belt, including a seven year stint on the family drama Cuéntame.

    Allen recently boasted about attending the Oscars on her Instagram, after all.

    Except! The photo she posted? It was actually stolen off of Lupita Nyong’o’s Insta.

    And that’s not all. She posted a pic of her head on Keira Knightley’s body on the red carpet.

    And claimed that she was guest-starring on The Big Bang Theory — going so far as to Photoshop herself into behind-the-scenes shots.

    She also stole several of actress Sophia Bush’s Instagram photos.

    At times DIRECTLY co-opting the caption as well.

    She ‘shopped herself into a photo with Matt Bomer.

    She even Photoshopped herself into a BBC show with Jonny Lee Miller.

    And the plot thickens. Allen’s agency is called Green Air Agency. Or is it? Because their only client appears to be her.

    Or rather, appeared to be her. Since all of this blew up, they’ve disappeared. Which makes us think that, yeah, they’re not real.
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Click thru to see whole article, I am not posting the entire article here.

'Blurred Lines' verdict likely to alter music business
  • Mar 11, 11:07 AM (ET)

    LOS ANGELES (AP) — A verdict saying Pharrell Williams and Robin Thicke copied Marvin Gaye's music to create their hit song "Blurred Lines" could ripple across the music industry, potentially changing how artists work and opening the door to new copyright claims.

    An eight-person jury determined Tuesday that Williams and Thicke copied elements of Gaye's 1977 hit "Got to Give It Up" and ordered the pair to pay nearly $7.4 million to the late R&B legend's three children.

    Millions more in potential future profits for "Blurred Lines" are now also at stake.
    The Gaye family will seek an injunction against the song, which will give them leverage to negotiate for royalties and other concessions such as songwriting credit, although Tuesday's verdict could face years of appeals.

    While the verdict affects Thicke and Williams' finances in the short term, artists and music industry lawyers will likely face new constraints as they sort through the verdict and its implications.

    Howard King, lead attorney for Thicke and Williams, said in closing arguments that a verdict for the Gaye family would have a chilling effect on musicians trying to evoke an era or create an homage to the sound of earlier artists. Williams contended during the trial that he was only trying to mimic the "feel" of Gaye's late 1970s music but insisted he did not use elements of his idol's work.

    "Today's successful verdict, with the odds more than stacked against the Marvin Gaye estate, could redefine what copyright infringement means for recording artists," said Glen Rothstein, an intellectual property attorney.

    He said the decision sets a precedent because "paying homage to musical influences was an acceptable, and indeed commonplace way of conducting business and even showing respect for one's musical idols, (but) after today, doubt has been cast on where the line will be drawn for copyright infringement purposes."

    Music copyright trials are rare, but allegations that a song copies another artist's work are common. Singers Sam Smith and Tom Petty recently reached an agreement that conferred songwriting credit to Petty on Smith's song, "Stay With Me," which resembled Petty's hit "I Won't Back Down."
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Rachel Dolezal May Have Also Plagiarized 175-Year-Old Painting

Is Rachel Dolezal an Art Plagiarizer Too?
  • Rachel Dolezal, the white woman and former NAACP president who has masqueraded as black, writes on her blog that she is "an award-winning Mixed Media Artist."

    Now "plagiarizer" could be added to her résumé, after Twitter users revealed striking similarities between one of Dolezal's acrylic paintings – The Shape of Our Kind – with J.M.W. Turner's The Slave Ship.

    The Twittersphere blew up when @jCLAJR Tweeted on June 13: "#RachelDolezal appropriates art too," followed the next day by the more widely seen tweet from @jolieishere that read: "Rachel Dolezal's painting The Shape of Our Kind is a near duplicate of J.M.W. Turner's 1840 The Slave Ship." Both Tweets included an image of the paintings side by side.

    #RachelDolezal appropriates art too. L: The Shape of our Kind (Dolezal). R: Slave (Turner). http://racheldolezal.blogspot.com

    Thousands of shares and a plethora of comments questioning Dolezal's veracity quickly followed.
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Fans Note Similarities Between Taylor Swift's 'Bad Blood' And 2NE1's 'Come Back Home' Music Videos

Did Taylor Swift's 'Bad Blood' Copy K-Pop Superstars 2NE1?
  • Last night, as Taylor Swift pulled a classic derail on Nicki Minaj’s very important VMA tweets, Twitter user @chaelinfenty brought up an interesting point: “can we talk about how taylor’s video isn’t original and was copied from a group of four WOC, 2NE1,” she wrote, not a question but a declaration.

    Side-by-side, it’s pretty stiking.

    (side by side photo comparisons)

    Now, of course the VMAs don’t mean sh**: they’re a big money-maker and marquee event from a television channel that hasn’t played videos for coming up on a decade. But they’re also a vessel of public recognition and a way to solidify a pop canon. No matter what your feelings on the merits of Minaj’s “Anaconda” video, it is a valid point to be made that music awards—whether MTV, the Grammys, the AMAs, basically any show that isn’t prefaced by the words “Black” or “Latin”—reward and reinforce videos and songs predicated on the concept that white is somehow more right.

    “Bad Blood,” Taylor Swift’s blockbuster starring a cavalcade of her friends—models, actors, musicians—and cameos from the likes of Cindy Crawford and Jessica Alba, was nominated for Video of the Year, Best Collaboration, Best Art Direction, Best Cinematography, Best Direction, Best Editing, and Best Visual Effects. But what do those accolades mean, if the clip copied K-pop girl group 2NE1, one of Korea’s biggest worldwide musical acts and whose lead CL is currently being managed by Scooter Braun, set to make a huge debut in the US later this year?

    Here’s “Bad Blood,” which was released on May 17, 2015, and has been viewed over 362 million times.

    And here’s “Come Back Home,” which was released March 4, 2014, and has been viewed over 39 million times.

    While the overall plot is very clearly different— “Bad Blood” has more of a Bond-style action theme, where “Come Back Home” focuses on more clearly sci-fi elements of revolution and virtual reality—it’s well known that music videos are storyboarded as meticulously as any movie, and where the specific video shots do cross over, they are nigh identical.

    Joseph Kahn, the director of Taylor Swift’s “Bad Blood,” is a longtime, South Korean-born director who’s shot music videos for 15 years.

    He’s also responsible for iconic and well-known clips like Katy Perry’s “Waking Up in Vegas,” Backstreet Boys’ “Backstreet’s Back,” Smooth da Hustler’s “Hustler’s Theme,” Destiny’s Child’s “Jumpin Jumpin,” Aaliyah’s “If Your Girl Only Knew,” and Mariah Carey’s “Boy (I Need You).”

    Looking at his videography, clearly Kahn is no stranger to crafting stylish, futuristic-looking clips, nor is he afraid of packing a long narrative into a quick, five-minute video. Alternately, in November, he spoke with the Korea Times about getting back to his “Korean roots,” and that he “pay(s) full attention to what’s going on in my field, it’s my job.”

    It seems highly unlikely that any storied, thorough music video director would have missed a high-profile video from arguably K-pop’s most celebrated girl groups.

    But does it even matter? (K-pop fans think so.) Plenty of music videos have been accused of copying those before him, including Beyoncé’s “Countdown” and Lady Gaga’s “Do What You Want,” with varyingly negligible results—we’re all bombarded with tons of visual and audio media every day, and since the “Blurred Lines” verdict the line between stealing and homage has been hotly debated in the art worlds.

    Still, when art by powerful people “borrows” from those in less powerful positions—even if the “less powerful” are pop stars in their own right—it reinforces those power dynamics, and continues to undermine and devalue the work of women artists of color and/or lesser fame.

    This is the point Minaj, in her way, was making, and the one that Swift—who has both tried to copyright African American Vernacular English and recently launched a campaign called “Ladies First”—was too blind by her own privilege to see:
    that no matter how popular Minaj is now or will be, she will likely never receive the same respect as her white peers, women and men alike, unless there is systemic change within the music industry and, to a larger degree, the whole stupid culture.
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Grace Jones Calls Out Rihanna, Kanye West, Miley Cyrus for Being Copycats in New Autobiography
  • Grace Jones is calling out her contemporaries.

    Naming no fewer than a dozen wildly successful pop acts – including Rihanna, Miley Cyrus and Lady Gaga – in an excerpt from her upcoming autobiography, I’ll Never Write My Memoirs, the controversial model, singer and actress isn’t shy when it comes to talking trends and copycats.

    "Trends come along and people say, ‘Follow that trend’. There’s a lot of that around at the moment: ‘Be like Sasha Fierce. Be like Miley Cyrus. Be like Rihanna. Be like Lady Gaga. Be like Rita Ora and Sia. Be like Madonna.’ I cannot be like them – except to the extent that they are already being like me," Jones writes.
    "I have been so copied by those people who have made fortunes that people assume I am that rich. But I did things for the excitement, the dare, the fact that it was new, not for the money, and too many times I was the first, not the beneficiary."

    Jones seems to feel that almost every modern pop star is ripping her off in some way, and points to some specific examples.

    "Rihanna… she does the body-painting thing I did with Keith Haring, but where he painted directly on my body, she wears a painted bodysuit," she explains. "That’s the difference. Mine is on skin; she puts a barrier between the paint and her skin. I don’t even know if she knows that what she’s doing comes from me, but I bet you the people styling her know. They know the history."

    While Beyonce is the one pop star not called out directly by name -- Sasha Fierce is Queen Bey’s old persona -- Jones does reference one star anonymously, dubbing her "Doris."

    "I look at Doris and I think: Does she look happy? She looks lost, like she is desperately trying to find the person she was when she started," the actress and singer writes. "She looks like really she knows she is in Vegas, now that Vegas is the whole entertainment world filtered through the internet, through impatient social media. I don’t mind her dressing up, but when she started to dance like Madonna, almost immediately, copying someone else, it was like she had forgotten what it was about her that could be unique. Ultimately, it is all about prettiness and comfort, however much they pretend they are being provocative."

    Provocative, Jones warns, has taken on a new meaning in a generation where every pop star is nearly-nude and singing to the same generic backing beats.

    "They dress up as though they are challenging the status quo, but by now, wearing those clothes, pulling those faces, revealing those tattoos and breasts, singing to those fractured, spastic, melting beats – that is the status quo," she writes.
    "You are not off the beaten track, pushing through the thorny undergrowth, finding treasure no one has come across before. You are in the middle of the road. You are really in Vegas wearing the sparkly full-length gown singing to people who are paying to see you but are not really paying attention. If that is what you want, fine, but it’s a road to nowhere."

    Jones also warns that today’s celebrity culture leads to quick burnout for pop stars who don’t have long-term goals in place.
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