Latest news with #HeartofGlass
Pink Villa
3 days ago
- Entertainment
- Pink Villa
Why Was Miley Cyrus Not Allowed to Sing Her Hannah Montana Songs After Series Ended? Flowers Crooner Reveals Reason
Miley Cyrus revealed that she was not allowed to croon any of the Hannah Montana songs after the Disney show ended. The musician made an appearance on the Every Single Album podcast, where she claimed like its not that she wanted to either, but she just felt sad that the tracks had her voice and her face, but yet she was not allowed to sing them. However, that has changed now. Since Cyrus has been inducted as the Disney legend, the singer was given the permission to perform her songs from the iconic 2000s show. Miley received the honor last year. Miley Cyrus speaks about her Hannah Montana songs In conversation with the podcast host, Miley Cyrus elaborated on the above mentioned statements. She said, 'After I left Disney, I wasn't allowed to perform any of the Hannah Montana music." The singer further added, "It's not like I wanted to. I mean, performing 'The Best of Both Worlds' between 'We Can't Stop' and 'Wrecking Ball' wouldn't have really made sense.' She went on to claim that after the Disney studios gave her the permission to croon her songs, she felt it was 'pretty cool.' The Heart of Glass singer went on to star in Hannah Montana in 2006. The actress-musician gained popularity in 2006, and went on to become a household name. The series also starred her real life father, Billy Ray Cyrus, Jason Earles, Emily Osment, and Mitchel Musso. Meanwhile, some of the popular tracks that featured in the shoe included Nobody's Perfect, Rockstar, We Got the Party, and If We Were a Movie, among others.
Pink Villa
4 days ago
- Entertainment
- Pink Villa
Miley Cyrus Says She's 'Into' Ex-Boyfriend Nick Jonas Despite Marriage to Priyanka Chopra and Birth of Daughter
Miley Cyrus talked about her ex, Nick Jonas, almost two decades after the duo broke up. While making an appearance on the Every Single Album podcast, Hannah Montana candidly gushed about her former partner, stating that she likes the Jonas Brothers band member. Following her split from the fellow musician, Cyrus went on to date Liam Hemsworth and also married him in 2018. As for Jonas, the singer dated actress Priyanka Chopra. The couple has been happily married for seven years and also shares a daughter, Malti. Miley Cyrus gushed about Nick Jonas on the podcast The Disney alum, during her time on the podcast, spoke candidly about her former partner. Cyrus said, 'I like Nick; I'm into him.' She went on to add that the band member is 'married with children,' and 'Everything is good in life.' Moreover, the Grammy-winning singer went on to refer to her and Nick's ship name, which was used by their fans back in the day. She said, 'Niley for life.' Meanwhile, the fans reacted to Cyrus' comments about her former partner. One of the users took to their X account and commented, 'childhood heart.' Another fan wrote, 'Sobbing in 'Before the Storm' lyrics.' Why did Miley Cyrus and Nick Jonas break up? While the Heart of Glass crooner only has praises for Jonas now, it was not always like this. Cyrus had also composed a song about her on-and-off relationship with Nick back in 2006-2007. At the time, the singer claimed that their split left her 'distraught' and 'sobbing.' Opening up about the reason, the Wrecking Ball singer revealed that Jonas decided to join his band on tour instead of opening for her at the concert. 'He was, like, separating himself from the Disney thing, and I wanted him to take me on the tour.' She recalled, 'Like, 'Why don't we do it together? I don't understand why you're leaving me.'' Currently, Miley Cyrus is in a relationship with Maxx Morando. The couple has been dating since 2021.
The Guardian
05-05-2025
- Entertainment
- The Guardian
‘It normalises the abhorrent': is The Handmaid's Tale the most frustrating show on TV?
Great timing! For those who are finding the second season of The Last of Us too upbeat, too optimistic, just too damn cheerful, here comes The Handmaid's Tale, returning for a final run of utter despair and soul-destroying misery. The Emmy-winning take on Margaret Atwood's novel is back for a sixth and last season, having remarkably stretched out the first novel from a semi-faithful adaptation into a sprawling dystopian hellhole that never lets anyone win. I find it one of the most frustrating series on television. It is well made, well acted and sits on the foundations of important conversations, particularly as the western world continues its steady turn towards authoritarianism. The first season's most unforgettable scene is the one in which, prior to being forced into a life of reproductive servitude, June (Elisabeth Moss) and Moira (Samira Wiley) attend a protest, marching against the removal of women's rights to their own finances. To an eerie remix of Blondie's Heart of Glass, the soldiers begin to beat those at the front, before turning their guns on the civilians. Just as the novel is rooted only in acts of violence, corruption and autocracy that had already taken place, the show was a compelling horror because it offered a vision of a near-future that seemed, or seems, ever closer. Yet as it continues to make the story go far beyond the novel, it has fallen into a maddening spiral. Every season, June liberates herself from the barbarism of Gilead and the Sons of Jacob, then chooses to return to that world to avenge some new or lingering personal injustice. Similarly, Serena Joy (an excellent Yvonne Strahovski) is allowed to develop complexities – has she been brainwashed by her own trad-wife propaganda, or is she still a political operator so shrewd that she has everyone dancing to her own tune? – but then is simply returned to where she began. In the first episode of season six, the series seems to have recognised its own circularity. It has a growing tendency to throw its cast in the air and scatter them freely, and while some subplots feel as if they have earned their place (the colonies, the trauma of refugees), others are struggling to find a purpose. But this opener suggests it knows it is time for a reset, and does so not by making the story bigger, but by making it more focused, to a near-theatrical degree. Most of the episode is set on the train transporting refugees out of an increasingly hostile Canada, to one of the last remaining outposts of the United States. Canada has decided to capitulate to the strength of Gilead, in part due to some profitable trade agreements, and wishes to improve relations with its autocratic neighbour. These attempts at normalising the abhorrent are the show's most astute thread. Simultaneously, Gilead is attempting to smooth the edges of its own religious extremism by remaking its image with a more feminine touch: New Bethlehem is a place where Gilead's refugees can return and live under a softer version of the same regime. The show is not big on subtleties: when characters, particularly women, dare to dream of hope, they do so under sunlight, in nature, surrounded by birdsong. When the bad men of Gilead perform their political manoeuvres, it's over cigarettes, by the dim light of an open fire, in a room lined with dark wallpaper. The angel and the devil are on the shoulders of the World of Interiors magazine. On the train, Serena Joy and June, the former commander's wife and her former handmaid, assess their new situations. They both have small children; Serena, in particular, thinks they share a twisted bond, and perhaps they do. Mothers have always been a big theme here, and they become even more prominent as it begins to bow out. To watch these two women examining each other, animal-like, as each tries to figure out the other's motives, suggests that, at last, the show has ripped up its bleakly repetitive template. Then along comes the second episode, and unsurprisingly, it snaps back to more familiar ground. As I say, it's well made and well acted, and something about its horrors clearly keeps viewers coming back for more. But don't expect any radical departure from what it has always done, which is bludgeon hope to death. Happy viewing! The Handmaid's Tale is on Prime Video and Channel 4.
MTV Lebanon
08-04-2025
- Entertainment
- MTV Lebanon
Clem Burke, multifaceted drummer of iconic rock group Blondie, has died
Clem Burke, whose versatile drumming propelled the iconic rock group Blondie during its decades performing everything from new-wave punk to disco-infused tunes, has died. He was 70. The band said in a statement on its website Monday that he died from cancer but no additional details were provided. 'Clem was not just a drummer; he was the heartbeat of Blondie,' the band said in a statement. 'His talent, energy, and passion for music were unmatched, and his contributions to our sound and success are immeasurable.' The self-proclaimed 'rock & roll survivalist' started playing the drums when he was 14 in his school orchestra but was kicked out for playing too loud, according to Blondie's website. In the 1970's, he answered a band's ad in the Village Voice seeking a 'freak energy' rock drummer, kicking off his decades-long career with lead singer Debbie Harry and the rest of his Blondie bandmates. The band recorded its first album in 1976 and by the following year was touring with such icons as Iggy Pop and David Bowie. It became known as the most commercially successful band to emerge from a fertile New York rock scene that also produced Talking Heads and the Ramones. In 2006 Burke and the other original members of Blondie were inducted into the Rock & Roll Hall of Fame after selling more than 42 million records, according to Blondie's website. During the late 1970s and early '80s, the band had eight Top 40 hits, including four No. 1s: 'Heart of Glass,' 'Call Me,' 'The Tide Is High' and 'Rapture,' which is regarded as the first No. 1 hit to feature rap. There's also a five-track 1975 album demo that includes 'Platinum Blonde,' a sort of band mission statement. But Burke's mark was especially solidified with his rapid, powerful drumming at the start of 'Dreaming' in 1979. In 2022, after unearthing a New Wave treasure trove of reel-to-reel tapes, cassettes and records, the band created the box set 'Blondie: Against the Odds, 1974-1982,' with 124 tracks and 36 previously unissued recordings, demos, outtakes and remixed versions of Blondie's initial six studio albums. Burke reflected on the discovery in an Associated Press article: 'We never would have thought that we would still be here today. Looking back at our archives, it's pretty amazing.' The Rock & Roll Hall of Fame described Burke in a post Monday on the social platform X as 'a versatile and distinctive drummer who played exactly what each song required – and, when called for, let loose with blistering punk rock energy.'
Arab Times
08-04-2025
- Entertainment
- Arab Times
Clem Burke, legendary drummer of Blondie, has died
LOS ANGELES, April 8, (AP): Clem Burke, whose versatile drumming propelled the iconic rock group Blondie during its decades performing everything from new-wave punk to disco-infused tunes, has died. He was 70. The band said in a statement on its website Monday that he died from cancer but no additional details were provided. "Clem was not just a drummer; he was the heartbeat of Blondie,' the band said in a statement. "His talent, energy, and passion for music were unmatched, and his contributions to our sound and success are immeasurable.' The self-proclaimed "rock & roll survivalist' started playing the drums when he was 14 in his school orchestra but was kicked out for playing too loud, according to Blondie's website. In the 1970's, he answered a band's ad in the Village Voice seeking a "freak energy' rock drummer, kicking off his decades-long career with lead singer Debbie Harry and the rest of his Blondie bandmates. The band recorded its first album in 1976 and by the following year was touring with such icons as Iggy Pop and David Bowie. It became known as the most commercially successful band to emerge from a fertile New York rock scene that also produced Talking Heads and the Ramones. In 2006 Burke and the other original members of Blondie were inducted into the Rock & Roll Hall of Fame after selling more than 42 million records, according to Blondie's website. During the late 1970s and early '80s, the band had eight Top 40 hits, including four No. 1s: "Heart of Glass,' "Call Me,' "The Tide Is High' and "Rapture,' which is regarded as the first No. 1 hit to feature rap. There's also a five-track 1975 album demo that includes "Platinum Blonde,' a sort of band mission statement. But Burke's mark was especially solidified with his rapid, powerful drumming at the start of "Dreaming' in 1979. In 2022, after unearthing a New Wave treasure trove of reel-to-reel tapes, cassettes, and records, the band created the box set "Blondie: Against the Odds, 1974-1982,' with 124 tracks and 36 previously unissued recordings, demos, outtakes and remixed versions of Blondie's initial six studio albums. Burke reflected on the discovery in an Associated Press article: "We never would have thought that we would still be here today. Looking back at our archives, it's pretty amazing.' The Rock & Roll Hall of Fame described Burke in a post-Monday on the social platform X as "a versatile and distinctive drummer who played exactly what each song required - and, when called for, let loose with blistering punk rock energy.'
