Just a Bunch of Pretty Boys!

Hope all is well with everyone out there! I just have one thing I need to say.......
I Hate My Job! ok now I feel better!




Love this new song by Jennifer Lopez!

Adam Lambert Moving to the Hollywood Hills

The "American Idol" season 8 alum is setting up new digs one month before he departs with Queen for the summer tour.

It's official: Adam Lambert is definitely going Hollywood -- to live, that is.

The American Idol season eight star has plunked down $2.995 million for a home in the Hollywood Hills, according to latimes.com.
Built in 1947, the modern-style house has been renovated with upgrades, including a sweeping exterior staircase that follows the shape of a curved wall with a glass brick window.

The 3,800-square-foot, three-bedroom, four-bathroom home features a dining room with a floor-to-ceiling climate-controlled wine room, a full kitchen with a diner-style booth/breakfast room, a den with a fireplace, a screening room and a home gym.
The master suite boasts a fireplace, a sitting area and a spa-like bathroom.
The courtyard-style backyard features a grotto spa.

Lambert won't be home this summer to enjoy it, however. He hits the road on tour with Queen on June 19. 19 Recordings/RCA/Legacy Recordings released The Very Best of Adam Lambert today. He recently wrapped a storyline arc this spring on the Fox show Glee.
Jeff Yarbrough and Chris Jacobs of Keller Williams were the listing agents, according to the Multiple Listing Service. Lambert was represented by Brad Downs of Rodeo Realty.

Sam Smith Comes Out as Gay, Wrote New Album For a Guy: "I Want to Make It a Normality"

His melodic falsetto has been compared to the likes of Whitney Houston and Adele, but British singing sensation Sam Smith made headlines for a different reason after his interview in the June/July 2014 issue of The FADER. In the magazine, the chart-topper, 22, came out as gay, but did so in a way that made the subject seem more conversational than declaratory. 

When asked about past relationships, Smith replied, "I’ve never been in a relationship before. I’ve only been in unrequited relationships where people haven’t loved me back. [New album] In the Lonely Hour is about a guy that I fell in love with last year, and he didn’t love me back."

The soulful singer, who has collaborated with top Brits Disclosure and Naughty Boy, admitted he told the man about his feelings to get it off his chest. 

 

Sam Smith Comes Out as Gay, Wrote New Album For a Guy: "I Want to Make It a Normality"

"It’s all there now, and I can move on and hopefully find a guy who can love me the way I love him," Smith said.

When the reporter noted that the Brit hadn't publicly revealed details on his sexuality, Smith talked about his views on coming out.

"I am comfortable with myself, and my life is amazing in that respect," he said. "I just wanted to talk about him and have it out there. It’s about a guy and that’s what I wanted people to know -- I want to be clear that that’s what it’s about. I’ve been treated as normal as anyone in my life; I’ve had no issues. I do know that some people have issues in life, but I haven’t, and it’s as normal as my right arm. I want to make it a normality because this is a non-issue. People wouldn’t ask a straight person these questions."

Fleetwood Mac's New Music Will Override 40 Years Of Gossip

The most interesting narrative of Fleetwood Mac -- one every music writer hopes to chronicle and every fan dreams about when reading between the lines of "Rumours" -- involves romance and adultery. The stories behind lyrics of heartbreak and betrayal and love and acceptance are well-documented, but in recent interviews with Lindsey Buckingham and Christine McVie, the bandmates assert that the past is just that.
Fleetwood Mac released its best-selling album "Rumours" nearly 40 years ago; Christine McVie left the band 16 years ago. Now, the five members have reunited for an album and an international tour, "On With The Show."
"It’s been the most profound experience of my entire life," Christine McVie said of returning to the group in an interview with HuffPost Entertainment. "The chemistry between the band is stronger than it ever was." In March of this year, Mick Fleetwood and John McVie joined Buckingham and Christine McVie at Studio D in the Village Recorder in Los Angeles, where they made 1979's "Tusk." (Nicks was unable to be there due to prior scheduling conflicts, Buckingham and McVie said.) They laid the groundwork for eight tracks, mostly written by Christine McVie and began to reestablish the legacy and future of Fleetwood Mac.
"She felt a need to pare down her life," Buckingham said when asked about McVie's 1998 departure, which she attributes to a horrible fear of flying. "I think she felt a need to burn a lot of bridges. None of us ever thought she would come back. I think somehow that became something she needed to do in order to re-emerge as a creative force with that much more strength."

McVie said she spent most of her off time hanging out with her dogs and her Range Rover, making solo, non-commercial music in the English countryside. But last year, something snapped and she decided to go through therapeutic treatment to get over her fear. She reached out to Fleetwood, and said she was ready to get on a plane again. She wanted to meet him in Hawaii, where both he and John McVie live, so they flew from England together and performed with his small blues band in Maui. The concert made international news when Fleetwood told the audience McVie would rejoin the group. “There’s something magical about Fleetwood Mac, about Lindsey, about Stevie, about Mick and John, that compelled me to think, ‘Well is there any possible chance that they would want me to ever rejoin the band?’" she said.
McVie started trading notes with Buckingham over the phone before she came to Los Angeles to record in March. There, she and Fleetwood rented a house in Santa Monica Canyon-- "it was a magical place" -- and went on a health kick to get in shape for the tour. She, Fleetwood and Buckingham are what McVie calls the "studio junkies" of the band. "We accomplished more than I thought possible in eight weeks," Buckingham said. According to McVie, "It's all grown up."
"Because of Stevie's absence, there's been a very strong link musically between Lindsey and I, where we've actually been able to concentrate and co-write," McVie said, before assuring HuffPost Entertainment that Nicks will eventually have a large part in the album. "Some of the results of those fresh ideas were sort of unusual for me and Lindsey to co-write, anyway. We’ve done it together in the studio this time and have got some fantastic, quite profound, quite surprising emotions out of it. It knocked my socks off completely." They hope to have the record out before summer 2015.
As Fleetwood Mac prepares for the upcoming tour (rehearsals start in August), Buckngham said that the real novelty is that McVie is back in the fold. Most of the sets will cover the band's greatest hits, saving new material for another international tour the guitarist is already starting to think about.
The dirty laundry -- and there has to be something sordid left to tell -- is tucked out of sight for now, probably hidden a layer or so deep within Buckingham and McVie's new tracks. "My relationship with Stevie is one of respect," Buckingham said. "One of sort of caring for her at a distance, perhaps, is a good way to put it." Their shared history is longer than the band's, alive in old gossip columns and in lyrics. McVie spoke of her ex-husband and bassist John McVie similarly. "John and I have no baggage whatsoever," she said. "We dropped that several years ago." She spoke of his battle with cancer and how he's winning it, how they are both so pleased with his treatments. "I'm sorry to be so boring ... but they're my musical family."
Asked what her new music is about, McVie said, "What I always write about: sex and love. I try to say I love you in a million different ways. That’s what I aspire to do. That’s what I do best. I don’t sing about politics or anything like that. I sing about love. That’s what I know about."

After working in the studio with Fleetwood Mac, Buckingham spent a day in downtown Los Angeles, hanging out with Empire of the Sun, an electronic-indie duo from Australia, known for its neon, feather-coated costumes and warrior-like face paint. They asked Buckingham to write with them, just out of the blue. "I went down there and it was two guys and these other people part of their support system," Buckingham said. "It just blew my mind, the level of trust and community in the room. I said to them, 'Geez, why couldn’t I have been in this band?'"
Watching another group come together in a studio with such ease was a contrast to the bizarre and powerful way in which Fleetwood Mac made its most popular music. "We always went to our separate corners and did what we did," he said. "I guess you could say dysfunction of a sort has been the norm."

Box Office: 'Maleficent' Bewitches With $170.6M Debut; 'Million Ways' Banished

Thanks in large part to girls and women, Maleficent debuted to a powerful $70 million from 3,948 theaters at the North American box office in a major win for star Angelina Jolie and Disney. Overseas, the live-action fairy tale took in an impressive $100.6 million for a worldwide total of $170.6 million.

Seth MacFarlane’s A Million Ways to Die in the West wasn’t so fortunate, underscoring the risky nature of Western-themed movies. The R-rated comedy, from Universal and Media Rights Capital, opened to a disappointing $17.1 million from 3,158 locations domestically — a fraction of the $54.5 million earned by MacFarlane’s Ted on the same weekend two years ago, or the $49 million debut of fellow Universal R-rated comedy Neighbors three weeks ago (Neighbors continues to dazzle, crossing the $200 million mark globally over the weekend).

Million Ways placed No. 3 after Maleficent and holdover X-Men: Days of Future Past, which fell 64 percent in its second weekend to $32.6 million for a domestic total of $162.1 million.

Maleficent  — featuring Jolie as the infamous sorceress from Sleeping Beauty — marked the best opening of Jolie’s career. In North America, the movie bested the $60.2 million launch of Kung Fu Panda (2008), the $50.9 million grossed by Wanted (2008) and the $50.3 million debut of Mr. & Mrs. Smith (2005).

Observers believe Maleficent benefited greatly from targeting girls and moms, the same core audience that turned Disney’s Frozen into a global goliath. Females made up 60 percent of the audience, while 30 percent of ticket buyers were under the age of 18. Maleficent, co-starring Elle Fanning as Princess Aurora and rated PG, also did sizeable family business (45 percent) after earning an A CinemaScore (reviews were decidedly mixed).

Overseas, Maleficent was especially strong in Latin America, representing Disney’s biggest live-action opening ever (excluding Marvel titles).

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