Bobbi Kristina Gives Short, Sweet Speech during Billboard Music Awards

Whitney Houston‘s daughter, Bobbi Kristina Brown, didn’t pronounce prolonged during tonight’s BIllboard Music Awards — though she described herself as being “blessed to have been in such an implausible woman’s life.”

Bobbi Kristina — in her initial vital open coming given her mother’s flitting – took a theatre to accept the Millennium Award after performances by John Legend and Jordan Sparks. During Sparks’ delivery of “I Will Always Love You,” a camera cut to a great Bobbi Kristina mixed times.

Bobbi Kristina was assimilated on theatre by Whitney’s sister-in-law and manager, Pat Houston, who spoke quickly before branch a microphone over to Bobbi Kristina.


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Posted by admin - May 21, 2012 at 7:12 am

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Jennifer Vanasco, Jennifer Hagel — Weddings

Ms. Vanasco (left), 40, is a freelance author and editor for a Web, in New York. Until final fall, she was a editor in arch of 365gay News, a news and politics Web site that was partial of MTV.She graduated cum laude from Wellesley.

She is a daughter of Victoria A. Valenti of Charlottesville, Va., and Albert M. Vanasco of Garden City, N.Y. Her father is a approved open accountant who works in Garden City. Her mom late from United Airlines as a relationship for newcomer services. She worked during John F. Kennedy International Airport.

Ms. Hagel, 35, is a conduct author of “10 on Top,” a weekly popular-culture countdown module on MTV. From 2002-4, she achieved with a Second City inhabitant furloughed company. She is also a executive of “Positive Comment,” a brief film that was shown on Viacom’s Logo Network in 2010. She graduated from a College of William and Mary and perceived a master’s grade in essay for shade and theatre from Northwestern.

She is a daughter of Virginia Hagel and Judge Lawrence B. Hagel of Fairfax, Va. Her mom is a purebred dietitian during InovaFairfax Hospital. Her father sits on a United States Court of Appeals for Veterans Claims in Washington.

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Posted by admin - May 21, 2012 at 7:12 am

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Store Openings and Events—Scouting Report

Everything seems stately about a entrance of a initial United States outpost of a Russian birthright association FABERGÉ. Opening subsequent Wednesday, it will sell handmade timepieces and prosperous jewelry, including pieces like turquoise candelabrum earrings and solid cuffs. The store masquerade was desirous by a Coronation Egg, one of a majestic Easter eggs combined for Czar Nicholas II in 1897. As if that isn’t intemperate enough, Fabergé, to applaud a New York City arrival, has combined a collection of one-of-a-kind mill cocktail rings. At 694 Madison Avenue; (646) 559-8848; faberge.com.

EVENTS

Another birthright company, PF FLYERS, is celebrating 75 years in business by releasing 3 limited-edition shoe styles. With usually 500 pairs accessible during name retailers, fans of a code will not wish to skip a rudimentary eventuality Thursday from 6 to 8 p.m. during Bloomingdale’s, (212) 705-2000; bloomingdales.com. High-top rubber-soled lace-ups, $100, and leather-toed shoes, $80, are among a styles available.

SALES

On May 24 for one night only, JILL STUART is imprinting down a open collection. Enthusiasts who get to a SoHo emporium between 6 and 8 p.m. will find pastel drop-waist dresses for $475, ignored from $950; color-block perfect dresses for $425, from $850; and peplum sheer tops for $249, creatively $498. At 100 Greene Street, (212) 343-2300, jillstuart.com.  … THEORY is carrying a sale of past collections, with equipment now adult to 65 percent off. Until Sunday, slim load pants are $99, noted down from $235; draped silk blouses are $79, from $200; and V-neck dresses are $119, down from $315. At 261 West 36th Street, second floor; (212) 947-8748; theory.com. And Theory hasn’t lost a menfolk: until Friday, button-down shirts are $49, noted down from $145, and printed shorts are $69, from $160. At 139 Fifth Avenue; second floor; (212) 398-2777. … From May 23 to 25, TRACY REESE is shortening pieces from a pre-spring and open collections. Shoppers will find dresses with floral embellishments that were creatively $550 for $180, and from a infrequent line Plenty by Tracy Reese, printed silk dresses noted down from $248 to $105. At 264 West 40th Street; second floor; (212) 807-0505; tracyreese.com.

Send selling suggestions to Browsing@nytimes.com.

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Posted by admin - May 21, 2012 at 7:12 am

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ArtsBeat: Cannes Film Festival: Taboos and Tourism

The executive Ulrich Seidl on Friday during a press discussion during a Cannes International Film Festival.Francois Mori/Associated PressThe executive Ulrich Seidl on Friday during a press discussion during a Cannes International Film Festival.

CANNES, France — The Austrian executive Ulrich Seidl creates a robe of blurring boundaries: his work encompasses novella (“Dog Days”) and nonfiction (“Animal Love”), and he typically works with nonprofessional actors regulating documentary-like settings and improvisatory techniques. But there is small center belligerent when it comes to a accepting of his films. Mr. Seidl tends to be cursed as a misanthrope who goes to indecorous lengths to infer a inlet of tellurian wretchedness or hailed as a conductor of annoy whose ambience for fight masks a earnest of purpose and a magnitude of compassion.
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Last during a festival here with “Import/Export” (2007), a dour story of mislaid souls creation their proceed by a mercantile backwaters of a new Europe, Mr. Seidl earnings to a Cannes competition this year with “Paradise: Love,” another story of exploitation opposite borders. The protagonist, Teresa (the theatre maestro Margarethe Tiesel), is a fleshy, prime Viennese lady on vacation during a review in Kenya, where young, buoyant inner group famous as beach boys interest out a water’s edge, offered trinkets — and themselves — to Western pleasure seekers.

The movie, that gives wholly new, ill definition to a Swahili word “hakuna matata,” is a initial of Mr. Seidl’s “Paradise” trilogy, any one subtitled for a Christian virtue. The subsequent dual installments, “Hope” (about Teresa’s sister, a flagellant on a eremite pilgrimage), and “Faith” (about Teresa’s daughter, an overweight teen during a diet camp), have been finished and will make their debuts during film festivals this fall. (“Love” is also a pretension of another Austrian foe entry, by Michael Haneke.)

Speaking in German by a translator, Mr. Seidl discussed “Love” and a “Paradise” devise in an talk during a accepting following his film’s premiere on Friday. Here are edited excerpts from a conversation:

The film was good perceived during yesterday’s press screening — some laughs, some applause, no boos.

[smiling] we don’t know if that’s a good thing.

You started out creation one film — how did we finish adult with a trilogy?

The strange devise was to make a film with 3 episodes, any about a opposite woman, dual prime sisters and a 13-year-old daughter of one of them — we see them together during a beginning. They any go on holiday, any looking for love, fulfillment, though in opposite ways. In a book a 3 stories aren’t interwoven, and we shot any one separately. we try whenever probable to fire chronologically, that gives me a leisure to change a storyline, invent other characters.

During editing, we attempted to interweave those 3 stories into a singular film, though a outcome was a six-hour film that didn’t prove me; particular scenes that were heated and emotionally clever were weakened. That’s when we motionless to make apart films. we don’t know if it’s something that’s happened before — someone starts out to make one film and comes behind with 3 — though opportunely we was means to remonstrate my investors that was a best artistic approach.

There is by now a tradition of roving filmmakers in Austria, from a fashionable colonize Peter Kubelka, who done a classical “Our Trip to Africa,” to your colleagues Michael Glawogger and Nikolaus Geyrhalter, who have done globe-spanning documentaries. What drew we to a thesis of tourism?

For me, tourism is an critical and impossibly formidable theme: it describes unequivocally good a whole world, a network of tellurian relations, a country’s position in a world, a exploitation of a supposed Third World by Western countries. For several years we worked on an episodic book about Westerners on holiday. One part concerned womanlike sex tourism and that’s what grown into this film. Tourism is something we all aspire to; we all wish to go on a holiday. At a same time it’s a banned thesis and a word has disastrous connotations: nobody wants to see themselves as tourists, as oppressors or exploiters.

Why did we select to set a film in Kenya, and could we contend a bit about a investigate routine and sharpened conditions there?

I investigated a Caribbean, where there’s also sex tourism for women. But we chose Kenya since it shares with Europe a past that unites them: Africa is also a divided continent with huge inner tensions.

Two years before shooting, we started going to Kenya to expel a beach boys, investigate their life. we never deliberate actors; we wanted people who unequivocally came from this milieu. As we see in a film, it wasn’t tough to accommodate them. What was formidable was anticipating people who would be as authentic as probable on camera, who would have a bravery to seem naked, subsequent to white women. we approached a casting of a white actresses in a same way; we took several of them with me to Kenya to fire scenes with a beach boys to see if they were means to let themselves go on camera.

During shooting, several beach boys we were operative with were arrested, and they indeed have beach child associations, who were opposite us since they suspected that we wouldn’t benefaction a graceful design of them. We had to work to get them on a side.

How did we do that? And to what border was a mercantile complement that we see in a film reflected in a production?

In Kenya all is always a matter of money. If you’re seeking someone to do something for we afterwards we ask what it costs. As a white person, you’re automatically a abounding chairman from a abounding country. It was wily since a beach boys were always seeking for some-more and some-more and some-more money. It was a kind of extort — after we’d been sharpened for dual weeks they stopped and pronounced if they didn’t accept twice as most as betrothed they would lift out.

Your expel is done adult of professionals and nonprofessionals. Did we approach them differently?

I don’t heed between actors and nonactors. Each stage is makeshift since we don’t wish them to have a pre-existing thought of what we should attain. During a unequivocally prolonged preparation, we get to know a actors, and it creates a meridian of mutual trust. You teach in them an thought of a kind of film that you’re seeking. we always pronounce to them individually, revelation any one what I’m looking for. The other actors in a stage never know what’s coming.

What can we design from a subsequent dual parts, and what is a stress of a altogether pretension and a subtitles?

The second film, “Faith,” is most some-more difficult: it’s claustrophobic, a cover piece. The initial one has an component of amusement though a second one is some-more severe. The third film, “Hope,” is again lighter; it deals with immature girls in adolesence and treats them with a good understanding of tenderness.

All 3 women are in hunt of their personal paradise. The word also has a Biblical sense, of course, as a strange state of consistent happiness, and interestingly, it’s also a tenure that is overused, misused, flaunted in a traveller industry. Love is a starting point, a basement of this initial film. If this lady didn’t go in hunt of love, no exploitation would take place.

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Posted by admin - May 21, 2012 at 7:11 am

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Robin Gibb, Member of a Bee Gees, Dies during 62

The means was complications of cancer and abdominal surgery, his family pronounced in a statement.

Mr. Gibb had been hospitalized for abdominal problems several times in a final dual years. Cancer had widespread from his colon to his liver, and in a weeks before his genocide he had pneumonia and for a while was in a coma.

Mr. Gibb was a second Bee Gee and third Gibb hermit to die. His fraternal twin and associate Bee Gee, Maurice Gibb, died of complications of a disfigured intestine in 2003 during 53. The youngest brother, Andy, who had a successful solo career, was 30 when he died of heart failure, in 1988.

With shining smiles, discriminating despondency and adenoidal tighten harmonies, a Bee Gees — Barry, Robin and Maurice Gibb — were disco’s ambassadors to Middle America in a 1970s, embodying a peacocked demeanour of a time in their open-chested convenience suits and bullion medallions.

They sole good over 100 million albums and had 6 uninterrupted No. 1 singles from 1977 to 1979. They were also inextricably tied to a disco era’s defining movie, “Saturday Night Fever,” a showcase for their strain that enclosed a strike “Stayin’ Alive,” a propulsive kick in step with a strut of a film’s star, John Travolta.

But a group, whose initial record came out in 1963, had a story that preceded a disco hits, starting with upbeat ditties desirous by a Everly Brothers and a Beatles, afterwards with lachrymose ballads like “How Can You Mend a Broken Heart.”

Barry, a oldest brother, was a widespread Bee Gee for many of a group’s existence. But a lead thespian for many of a early hits was Robin, whose violation voice, skinny support and murky eyes were good matched to communicate youth fragility. “I Started a Joke” (with a second line, “Which started a whole universe crying”), “I’ve Gotta Get a Message to You,” “Massachusetts” and other heavy-hearted songs brought a Bee Gees to a tip of a charts as one of a British Invasion’s many musically regressive groups.

“While other guys, like Ray Davies of a Kinks, were essay about amicable problems, we were essay about emotions,” Robin Gibb told a British journal final year. “They were something boys didn’t write about afterwards since it was seen as a bit soft. But people adore songs that warp your heart.”

Robin Hugh Gibb and his twin, Maurice, were innate on Dec. 22, 1949, on a Isle of Man, a British dependency in a Irish Sea. (Barry was innate there in 1946.) The boys mostly grew adult in Manchester, England, where a family lived on a corner of poverty. Their father, Hugh, a drummer and bandleader, speedy his sons to sing. Their mother, Barbara, was also a singer.

According to Bee Gees lore, a boys’ initial opening was someday in a mid-1950s, and unplanned. They had been scheduled to perform as a lip-synching act during a film museum in Manchester when a record broke, forcing them to sing for real.

The family changed to Australia in 1958, and before prolonged a brothers, behaving as a Bee Gees — for Brothers Gibb — began scoring internal hits and appearing on television. They left for London in early 1967 and within weeks had sealed with Robert Stigwood, a impresario who guided them in their rise years.

The band’s initial singular in Britain, “New York Mining Disaster 1941,” was expelled in Apr 1967 and reached a Top 20.

In performance, Robin and Maurice customarily played second fiddle to Barry, and Robin’s taciturn demeanour was partial of his open persona. On “The Barry Gibb Talk Show,” a repeated skit on “Saturday Night Live,” Barry, played by Jimmy Fallon, would regularly ask Robin, played by Justin Timberlake, if he had anything to supplement to his talks with congressmen and Supreme Court justices. “No,” Robin would respond softly. “No, we don’t.”

But in private Robin was distant from dull. He and his wife, Dwina Murphy, who survives him, lived in a 12th-century former nunnery in Oxfordshire that he had easy and filled with statues of Buddha and suits of armor. In Miami, his palace was open to celebrities and politicians like Tony Blair.

Robin quickly left a organisation in 1969 and attempted out a solo career. After he rejoined his brothers, they scored their initial No. 1 in a United States with “How Can You Mend a Broken Heart” in 1971. But with harder stone holding over, a Bee Gees’ recognition ebbed, reaching bottom in 1974 with a array of supper-club gigs in England to compensate off taxation debts.

At that indicate their label, Atlantic, sent a brothers to Miami for low-pitched experimentation. There, with a 1975 manuscript “Main Course,” they reinvented a Bee Gees’ sound with Latin and despondency rhythms, electronic keyboards and vocals that due a debt to Philadelphia soul. It brought a rope a initial hits in years: “Nights on Broadway” and “Jive Talkin’,” that went to No. 1.

From there it changed serve toward disco. The soundtrack to “Saturday Night Fever,” in 1977 — with “You Should Be Dancing,” “How Deep Is Your Love?,” “Stayin’ Alive” and “Night Fever,” all No. 1’s — became a biggest-selling manuscript ever. (It was overtaken by Michael Jackson’s “Thriller” in 1984.)

For many listeners, a Gibbs were a face of disco. Even “Sesame Street” got held adult in a trend, with Robin singing on a disco-themed manuscript “Sesame Street Fever.” It went gold.

The Bee Gees’ 1979 album, “Spirits Having Flown,” constructed 3 some-more No. 1 singles, “Too Much Heaven,” “Tragedy” and “Love You Inside Out.” Then, in 1980, a rope filed a $200 million lawsuit opposite Mr. Stigwood, observant he had swindled them out of royalties. Mr. Stigwood countersued for insult and crack of contract. They staid out of justice and publicly reconciled.

In a ’80s a band’s recognition waned in a United States though remained clever abroad. Robin expelled 3 solo albums, with singular success. The Bee Gees returned with some assuage hits in a late 1990s and were inducted into a Rock and Roll Hall of Fame in 1997. With his brothers, Mr. Gibb won 6 Grammys.

In further to his mom and his hermit Barry, Robin Gibb is survived by his sons, Spencer and Robin-John, famous as R J; his daughters, Melissa and Snow; a sister, Lesley; and his mother. An progressing marriage, to Molly Hullis, finished in divorce.

Mr. Gibb had recently been operative on a exemplary piece, “The Titanic Requiem,” with Robin-John. It had a premiere in London on Apr 10, played by a Royal Philharmonic Orchestra, though Robin was too ill to attend.

Despite a Bee Gees’ tighten organisation with disco, a Gibb brothers had prolonged insisted that they had no interest in a genre. They had simply created songs that matched their voices and held their fancy, they said.

“We always suspicion we were essay RB grooves, what they called blue-eyed soul,” Robin pronounced in 2010. “We never listened a word disco; we only wrote slit songs we could orchestrate strongly to, and with good melodies.”

“The fact we could dance to them,” he added, “we never suspicion about.”

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Posted by admin - May 21, 2012 at 7:11 am

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