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Showing posts with label Nashville. Show all posts
Showing posts with label Nashville. Show all posts

Monday, May 15, 2017

Powers Boothe, ‘Sin City,’ ‘Nashville,’ and ‘Deadwood’ Actor, Dies at 68


Powers Boothe, ‘Sin City,’ ‘Nashville,’ and ‘Deadwood’ Actor, Dies at 68


Powers Boothe, a character actor on the small and big screen, died Sunday in Los Angeles. He was 68.
Boothe died in his sleep Sunday morning of natural causes, his rep tells Variety.
Boothe appeared in several comic book shows and movies, portraying Senator Roark in “Sin City” and it’s sequel “Sin City: A Dame to Kill For” (pictured above). He also had a small role in “The Avengers.”

He also played Gideon Malick for eleven episodes on “Marvel’s Agents of S.H.I.E.L.D.” As a voice actor, he voiced Gorilla Grodd and Red Tornado on the animated “Justice League” series.

His talents weren’t only limited to genre material. He played former mayor Lamar Wyatt on 26 episodes of the country drama “Nashville,” as well as Judge “Wall” Hatflied on “Hatfields & McCoys.” Prior to that, he played saloon owner Cy Tolliver on “Deadwood” and Vice President Daniels on “24.”
Actor Beau Bridges tweeted news of Boothe’s passing on Sunday.
“It’s with great sadness that I mourn the passing of my friend Powers Boothe. A dear friend, great actor, devoted father & husband.”

In 1980, Boothe took home the Emmy for lead actor in a limited series or special for playing infamous cult leader Jim Jones in “Guyana Tragedy: The Story of Jim Jones.”
His other notable film roles included “Red Dawn,” “The Emerald Forest,” “Tombstone” and Oliver Stone’s “Nixon,” in which he played Alexander Haig.

Born in Snyder, Texas, Boothe joined the Oregon Shakespeare Festival after graduating from college and worked in theater before moving to film and television.

According to reps, there will be a private service held in Texas where he was from. A memorial celebration in his honor is being considered for a future date. Donations can be made to the Gary Sinise Foundation, which honors the nation’s defenders, veterans, first responders, their families and those in need.

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Wednesday, May 7, 2014

MILEY CYRUS 02 LONDON BANGERZ TOUR 2014



Miley Cyrus, O2, London, Bangerz tour debut review: It just gets odder

Courtesy of - Emily Mackay
http://www.independent.co.uk/arts-entertainment/music/reviews/miley-cyrus-the-o2-london-bangerz-tour-debut-review-it-just-gets-odder-9328546.html

The concept of “just being Miley” has certainly evolved some from the days of ‘See You Again’, Miley Cyrus’s debut single under her own name - rather than that of her Disney alter ego Hannah Montana - in whose lyrics she fretted about her lovestruck gormlessness in front of a boy.


These days, “just being Miley” involves a distinctly less PG quirkiness likely involving at least some of the following: foam fingers, assertive sexuality, hot dog steeds, kittens, cultural appropriation scandals, MDMA and yes, bloody twerking.
Being that sort of Miley saw her become 2013’s most Googled individual, narrowly missing out on TIME’s person of the year award to the Pope; everywhere she steps, a dozen thinkpieces bloom. Rather than swell her head, the bulbous, ridiculous success that ballooned up as Miley smashed Montana with her wrecking ball of nudity, drugs, sex and scandal seems only to have twisted her brain into ever more entertaining shapes.

She descends for the European debut of the Bangerz tour (delayed due to an adverse reaction to antibiotics, not, as reported by scandalhounds, an overdose - "it feels so good to be here and not lying in a hospital bed with some bitch nurse stabbing me," notes Miley sweetly) from her now-infamous tongue slide through a giant replica of her own face.
And it just gets odder. Her video backdrop, designed by Ren & Stimpy creator John Kricfalusi, and her nightmarish cast of dancing cartoon characters (Katy Perry this ain't) subtly undercuts the inevitable crotch-centricity.
Wherever you stand on sex in pop it’s harder to objectify something with a personality and a sense of humour, and Miley’s famous tongue is laughing as often as it’s lasciviously lapping. It's hard to get upset by Miley dry-humping the bonnet of a gold Hummer for the romping hip-pop of 'Love Money Party' when there's a giant Jim Henson-esque pink bird puppet sashaying past a burgeoning neon magic mushroom horror as she belts out the marvellous diva flounce of 'FU'.

And it's not just the visuals that are funny - "I look better with less clothes on anyway. Y'all should see me naked," quips Miley after a costume change malfunction leaves her minus a skirt.
She's got one hell of a voice as well, displayed best on the slow burners and ballads such as 'Adore You' and 'Wrecking Ball' but just as impressive growling through the country inflections of '4x4' or the funky, hollery 'On My Own' or covers of Arctic Monkeys' Why'd You Only Call Me When You're High' and Dolly Parton's 'Jolene' (with added C-word) among others.
There’s nothing particularly shocking here, nothing that will warp the youth  - in its own strange way it's as wholesome as Montana, and not just on adorably goody close 'Party In The USA'. What there is is something much more exciting in the long run - potential. Cyrus will change again, and she’s got wit and smarts to come up with better.
Or as the lady puts it herself, "Don't you worry bout me, I'm gonna do my thang'."