Beyonce recreates Toni Braxton album cover for Halloween

The star, 37, channeled Toni Braxton circa 1993 for her Halloween costume this year, which she shared with her fans on Instagram. And to no one’s surprise, the Bey-Hive is having a freak-out.

Queen Bey recreated Braxton’s self-titled album cover, Toni Braxton, by wearing a short pixie wig, a fitted white tank, light wash, high-waisted jeans, a leather jacket and chain belt which was identical to the R&B singer’s look.

 

“Your tone, your beauty, your range, and your God-given talent is treasured. Loving you always. Have a Happy Halloween my Kings and Queens.”

 

Картинки по запросу Beyonce recreates Toni Braxton album cover for Halloween

 

Pop Diva, Beyoncé is melting hearts online after she perfectly recreated the 1993 iconic cover shots of R&B legend Toni Braxton for her Halloween costume this year.

Braxton herself who couldn’t hide her delight, shared one of the photos and wrote: , “Phoni Braxton!? NEVER!!! How do you look better than me on MY album cover? I LOVE IT, Such a superstar! Thanks for the love sis! Happy Halloween.

Toni’s sister Tamar even jumped in on the praise train. The Braxton sister posted Bey’s photos on Instagram captioning them, “A legend showing another legend love, how bout that!”

“How do you look better than me on MY album cover?” wrote Braxton. “Thanks for the love sis!”

Kim Kardashian Calls Ray J a “Pathological Liar” Over Sex Claims

Kim Kardashian is tired of her ex talking about their former love life. The 38-year-old reality star took to Twitter on Sunday to laugh off new tales from her ex, singer Ray J.

 

“You cannot date a girl with a sex tape. You cannot date a reality show girl. This is going to ruin your career.”

KIM Kardashian has slammed Ray J’s claims about aspects of their relationship, including her alleged ownership of a Louis Vuitton trunk full of sex toys. In a new report from The Sun, Ray J allegedly opened up about his former relationship with the Keeping Up with the Kardashian during a night out and claimed, “Kim and I had fun times — marathon sessions. But she didn’t like getting sweaty and would stop to do her make-up if she did.”

 

Картинки по запросу Kim Kardashian Calls Ray J a "Pathological Liar" Over Sex Claims

The reality star may have some history with the singer, but according to her, he doesn’t have his story straight about their past relationship. The digital chatter began after  The Sun published a report claiming the singer spilled on their former sex life to partygoers in London on Thursday night. Among his alleged claims were that she had a Louis Vuitton trunk of sex toys, would stop during sex to do her makeup, spent $100,000 on thongs and “her mom would call and she would nearly always take it.” E! News has reached out to Ray J’s camp for comment on the report.

An intoxicated Ray J then allegedly began exposing his ex’s sexual proclivities, including an assertion that Kardashian once owned a Louis Vuitton trove full of sex toys. Ray J also claimed that Kim Kardashian would spend in excess of $100,000 solely on G-String underwear, just to suit her fancy.

As you must be aware, news travels fast. Kim Kardashian’s response to Ray J’s inconsequential claims was to simply state the obvious: that he may very well be a pathological liar. The plausible existence of Kim’s box of trinkets did exist isn’t at all shocking. But what makes Ray J’s assertions so ridiculous is that, yes, he’s still fixated on the past – and secondly he appears to be claiming some kind ownership over her sexual awakening, which I find troubling.

In any case, Kim Kardashian is so emotionally removed from the situation that she can barely hold her laughter. One day, Ray J will gain his boarding pass, until then he’ll be making those deferral payments out to himself.

A Sit Down With DJ Orbital

English band Orbital are by far one of the most unique sounding. The group creates a slowed down, often ambient dance sound that comes as a welcome change from all the hardcore that has dominated the rave scene. Orbital also have a unique approach to live performances. Rather than having backing tracks come off DAT, as many techno bands do, everything heard is manipulated live off sequencer.

 

“I was very arrogant, I was quietly confident – but probably not that quiet – in my youth.”

 

 

How did you first get into making music?

I had a love of anything electronic. My ears used to prick up whenever I heard any. My elder brother listened to Kraftwerk and stuff like that. His tastes influenced me, especially when he played me Autobahn. The whole concept blew me away. It was the sound that really grabbed me. The synthesizer used to have a bad name for itself – god knows why it would try to emulate really instruments when it had its own voice completely, which it’s obviously found over the years.

Who are some of your greatest musical influences of all-time?

Electronic wise Tangerine Dream, Kraftwerk, and The Radiophonic Workshop. But other influences as well, lots of punk music like The Dead Kennedys and Crass.

Technology has evolved as the band’s career has progressed, has that changed the sound or any other element of the band?

I think instruments evolve and it always helps what you’re doing, that’s what happened in the late 1980s/early 1990s. We could suddenly afford to buy all this equipment that before was only for the likes of Kraftwerk or Jean-Michel Jarre and Yellow. Normal kids could afford it so it hit the streets, basically, and that’s where this big explosion came from, starting with electro and then house music was the big change.

Does anything bother you about electronic music now? Has anything changed that you don’t like?

Not really. Well, yeah. There is a lot of self-indulgent noodling around with no definition. The thing is, we like a good tune. And I like focus. I don’t like blurry music. Even Brian Eno, the ambient stuff, it’s very much in focus. There’s a set of clear ideas there, no fumbling about. I think in the electronic community now, there’s lot of almost-music. It’s nearly good. A bit, ooh, that’s kind of a nice idea, but that’s that. Look, there’s no tune, and those drums aren’t clever – they’re just out of time. I mean, there’s a lot of people experimenting with time signatures, and don’t get me wrong, if people enjoy listening to it, great. But some experiments don’t work, that’s all I’m saying.

Do you have any pre-show habits or rituals?

For an hour before the gig I can’t talk to anyone. Well I can, but I’m not listening to what they’re saying or what I’m saying. I just nod. I’ll go and watch a band if I can, I like that mirror thing of feeling what it’s like to be in the audience, to get a real feeling of the other side. I also nearly always go on stage when the crew are doing the changeover because I like to get a feel for the stage so I’ll sneak on, minding my own business and maybe tune a synth or something. The other thing I’ve started doing recently, because I’ve always liked to stretch a bit or run on the spot before a gig, is morris dancing. So I practice my Bledington morris dancing, and that has become a ritual now; I feel a bit weird if I haven’t managed to do it. So if anyone sees me doing something slightly strange that makes me look like I’m picking up a bucket with my foot then that’s what it is.

Which has been your favorite gig?

They were honestly all great. I really loved wandering around Blue Dot because it was a big science fair. I brought my sixteen-year-old daughter.

Is it still important to you to be relevant now?

Yes, but we don’t think of it that way. Now just feels like a long straight line from then. Thing is, you’re always the centre of your own field, whatever you’re doing. So, as a band, this is the most important thing happening in the world tonight – it’s all just a matter of perspective. 

What kind of musical legacy has the nineties dance scene left on British culture?

Have you heard Lady Gaga?! Hello? You couldn’t get much bigger than Calvin Harris and EDM has become American pop. That’s the legacy of nineties dance music.

Miley Cyrus teams up with Madonna for MTV Unplugged performance

Headline magnets Miley Cyrus and Madonna, donning Western-inspired getup, shared the stage this week for Cyrus’ MTV Unplugged, which aired Wednesday night. The two performed a mashup of Madonna’s “Don’t Tell Me” and Cyrus’ “We Can’t Stop.”

 

“It sounds super-lame, but as a pop star it’s pretty cool performing with Madonna…Today was one of those days that it was really easy to get out of bed.”

 

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For many of us, last night’s MTV Unplugged might have been the longest continuous chunk of time we’ve ever spent with Miley Cyrus.

Within the very first few minutes, we had Miley popping the Miley tongue as she backed up on a couple of helpless saps in a horse outfit. A couple minutes later, a midget dressed as Miley came out, and the two, briefly, became a crotch-grabbing power couple. Not long after, she turned her attention back to the horse: Crooning “Get It Right,” she bit her lip, batted her eyelids, petted its head, and, finally, consummated her forbidden flirting by climbing on top for a ride.

She bantered, in her, um, inimitable tone, and reminded us all that Vanessa Bayer is a prphet; she sang quite well, ably rocking her own ballad “Adore You” and Parton’s all-time classic “Jolene.” Finally came the surprise that Twitter already told you was happening: Good lord … that’s Madonna’s music!

 

“Well, I can’t perform when I’m stoned. That’s one thing to complain I guess,” Miley teased before impersonating Saturday Night Live’s Vanessa Bayer’s cheeky impression of her, capping off the unforgettable duet by confirming it was “pretty cool.”

 

30 Seconds to Mars guitarist Tomo Milicevic quits band

30 Seconds to Mars guitarist Tomo Miličević has quit the band. The news came from Miličević in a tweet that said, “I am no longer in 30 Seconds to Mars. I don’t really know how to explain in a note how I could have come to a decision like this, but please believe me when I say that this is the best thing for me in my life and also for the band.”

“Please don’t be sad or angry over this and most of all, please don’t be divided about this, this is a good thing and will be good for everyone.”

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Thirty Second to Mars unveiled the music video for “Rescue Me,” featuring a montage of people expressing various emotions in tight close-up shots. The song appears on their fifth album America, which was released in April.

“‘Rescue Me’ is a song about pain, a song about empowerment, a song about faith and a song about freedom,” singer Jared Leto said in a statement. “It’s also a song about the brutal war so many of us wage against fear, depression and anxiety in the hope that we might, one day, live a life filled with happiness and dreams.”

“None of us are ‘OK’ all the time. And there shouldn’t be a stigma when we aren’t. Both my brother and I have had our own intense personal battles and it has, and continues to be, life changing,” he added. “I try to remember the darkest days await the brightest and most rewarding moments. And that change is always around the corner.”

I want to thank everyone for being so brave, selfless and vulnerable in this video. The emotion and honesty shared impacted me greatly and I hope it does that same for you all. I am very proud and grateful to have worked with one of my heroes – the master filmmaker and director Mark Romanek. It’s the first time in 13 years I haven’t directed our videos. It was a gift to have him carry the weight so graciously and deliver something so profoundly simple and beautiful.

“Whatever it costs, follow your dreams”

“There’s no easy way to say it, so I thought, I’ll just say it, I’m not part of Thirty Seconds to Mars anymore,” he says, dropping the bomb. This is followed by a tribute to the past 15 band years: “Most of all, I want to thank Jared and Shannon for the privilege of allowing me to be a small part of their dream and sharing the stage with them for so long,” Milicevic writes and then, in an unfinished sentence, gives a small hint to the reason for his departure: “Thank you for giving me the chance to live one of my own dreams …” To his fans he gives the following lines: “Believe Whatever it costs, pursue your dreams. My spirit will never leave the band. ”