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12.23 | 0 komentar | Read More

Actress Demi Moore asks for alimony from Ashton Kutcher

LOS ANGELES (Reuters) - Actress Demi Moore is seeking alimony from estranged husband Ashton Kutcher, according to divorce documents filed in a Los Angeles court on Thursday.

Kutcher, the star of CBS television comedy "Two and a Half Men," filed for divorce from the "G.I. Jane" actress in December 2012 after more than a year of separation.

Requesting financial support from Kutcher, 35, is an unusual move for Moore, 50, who was one of the top female earners in Hollywood during the 1990s. Her court filing did not specify an amount sought.

Kutcher and Moore both cited irreconcilable differences in their divorce papers filed in Los Angeles Superior Court. In Kutcher's filing, the actor said he would not seek spousal support but would not deny support to Moore.

Forbes magazine has estimated Kutcher earned $24 million from May 2011 to May 2012, making him the highest-paid TV actor.

Representatives for Moore and Kutcher did not immediately respond to requests for comment.

Moore began dating Kutcher a few years after her split from actor-husband Bruce Willis, when Kutcher was a young star on the TV sitcom "That '70s Show."

Their relationship became tabloid fodder due to their 16-year age gap, and the couple married in September 2005 in Los Angeles.

Moore and Kutcher separated in November 2011 following six years of marriage, after a San Diego woman said she had a brief affair with Kutcher.

Kutcher is currently dating his former "That '70s Show" cast-mate Mila Kunis.

(Reporting by Eric Kelsey; Editing by Piya Sinha-Roy and Cynthia Osterman)

(This story was refiled to fix typo in the first paragraph)

12.42 | 0 komentar | Read More

Justin Bieber "getting better" after collapsing at London gig

(Reuters) - Canadian teen pop star Justin Bieber tweeted that he was "getting better" after collapsing on stage from shortness of breath during a performance in London and being rushed to the hospital on Thursday.

Bieber's spokeswoman, Melissa Victor, told Reuters that the singer had fainted on stage at his concert at London's O2 arena and had been taken backstage where he took a 20 minute break and was given oxygen by doctors.

Bieber, 19, returned to the stage after the break and his representatives said he was OK. Victor said the "Boyfriend" singer ignored doctors orders and returned to the O2 Arena stage to finish the performance.

The singer tweeted to his 35 million Twitter followers following the incident, "thanks for everyone pulling me thru tonight. best fans in the world. figuring out what happened. thanks for the love."

His manager, Scooter Braun, told audiences at the arena after the singer's collapse that Bieber was "very light of breath, the whole show he has been complaining," in amateur videos posted on the Internet.

Bieber had not been suffering from any health issues prior to the show, the spokeswoman added.

Fans quickly began circulating the hashtag "#justintakeabreak" on Twitter after news of his collapse spread on the social network.

This is not the first time Bieber has collapsed on stage during a performance. He previously suffered a concussion during a concert in Paris last June after falling into a glass wall.

Bieber's London leg of his sold out "Believe" world tour hasn't been without its problems.

On Tuesday, the first of his four nights at London's O2 Arena, Bieber angered fans by turning up on stage nearly two hours late, blaming technical issues for his delayed performance.

Media outlets also reported that the singer, who celebrated his 19th birthday in London last week, tried to take 14-year-old Jaden Smith, son of actor Will Smith, to a club, where he was turned away, along with Bieber and his entourage.

Bieber took to Twitter and Instagram to vehemently deny the reports that he tried to take underage Smith to a club, saying instead that he was forced to leave the venue when the club's security guards club behaved aggressively towards his fans who were lined up outside.

(Reporting by Piya Sinha-Roy and Eric Kelsey in Los Angeles; Editing by Sandra Maler)

12.42 | 0 komentar | Read More

Actress Demi Moore asks for alimony from Ashton Kutcher

LOS ANGELES (Reuters) - Actress Demi Moore is seeking alimony from estranged husband Ashton Kutcher, according to divorce documents filed in a Los Angeles court on Thursday.

Kutcher, the star of CBS television comedy "Two and a Half Men," filed for divorce from the "G.I. Jane" actress in December 2012 after more than a year of separation.

Requesting financial support from Kutcher, 35, is an unusual move for Moore, 50, who was one of the top female earners in Hollywood during the 1990s. Her court filing did not specify an amount sought.

Kutcher and Moore both cited irreconcilable differences in their divorce papers filed in Los Angeles Superior Court. In Kutcher's filing, the actor said he would not seek spousal support but would not deny support to Moore.

Forbes magazine has estimated Kutcher earned $24 million from May 2011 to May 2012, making him the highest-paid TV actor.

Representatives for Moore and Kutcher did not immediately respond to requests for comment.

Moore began dating Kutcher a few years after her split from actor-husband Bruce Willis, when Kutcher was a young star on the TV sitcom "That '70s Show."

Their relationship became tabloid fodder due to their 16-year age gap, and the couple married in September 2005 in Los Angeles.

Moore and Kutcher separated in November 2011 following six years of marriage, after a San Diego woman said she had a brief affair with Kutcher.

Kutcher is currently dating his former "That '70s Show" cast-mate Mila Kunis.

(Reporting by Eric Kelsey; Editing by Piya Sinha-Roy and Cynthia Osterman)

(This story was refiled to fix typo in the first paragraph)

12.23 | 0 komentar | Read More

Justin Bieber "getting better" after collapsing at London gig

(Reuters) - Canadian teen pop star Justin Bieber tweeted that he was "getting better" after collapsing on stage from shortness of breath during a performance in London and being rushed to the hospital on Thursday.

Bieber's spokeswoman, Melissa Victor, told Reuters that the singer had fainted on stage at his concert at London's O2 arena and had been taken backstage where he took a 20 minute break and was given oxygen by doctors.

Bieber, 19, returned to the stage after the break and his representatives said he was OK. Victor said the "Boyfriend" singer ignored doctors orders and returned to the O2 Arena stage to finish the performance.

The singer tweeted to his 35 million Twitter followers following the incident, "thanks for everyone pulling me thru tonight. best fans in the world. figuring out what happened. thanks for the love."

His manager, Scooter Braun, told audiences at the arena after the singer's collapse that Bieber was "very light of breath, the whole show he has been complaining," in amateur videos posted on the Internet.

Bieber had not been suffering from any health issues prior to the show, the spokeswoman added.

Fans quickly began circulating the hashtag "#justintakeabreak" on Twitter after news of his collapse spread on the social network.

This is not the first time Bieber has collapsed on stage during a performance. He previously suffered a concussion during a concert in Paris last June after falling into a glass wall.

Bieber's London leg of his sold out "Believe" world tour hasn't been without its problems.

On Tuesday, the first of his four nights at London's O2 Arena, Bieber angered fans by turning up on stage nearly two hours late, blaming technical issues for his delayed performance.

Media outlets also reported that the singer, who celebrated his 19th birthday in London last week, tried to take 14-year-old Jaden Smith, son of actor Will Smith, to a club, where he was turned away, along with Bieber and his entourage.

Bieber took to Twitter and Instagram to vehemently deny the reports that he tried to take underage Smith to a club, saying instead that he was forced to leave the venue when the club's security guards club behaved aggressively towards his fans who were lined up outside.

(Reporting by Piya Sinha-Roy and Eric Kelsey in Los Angeles; Editing by Sandra Maler)

12.23 | 0 komentar | Read More

A Minute With: the director of a documentary about Journey singer

LOS ANGELES (Reuters) - When veteran rock band Journey chose unknown Filipino singer Arnel Pineda to become their new frontman it inspired a filmmaker to capture his rise from obscurity in the streets of Manila to performing on arena stages.

"Don't Stop Believin': Everyman's Journey," directed by Filipino-American filmmaker Ramona Diaz, picks up Pineda's story soon after he was chosen to join Journey in 2007 after the group saw him on YouTube.

Diaz's documentary film opens in theaters on Friday. She spoke to Reuters about Pineda's story and working with the band.

Q: Were you worried about dealing with all the different personalities of a famous band?

A: My very first film was about the former first lady of the Philippines, Imelda Marcos. She was very powerful and she was difficult. I hung out with her for two months. She ended up suing me because she didn't like the film. After that experience, I thought, I can handle anything now. I can handle rock bands!

Q: What surprised you most about Journey?

A: It was a surprise to me that for such a veteran rock band, they were not used to having cameras ... backstage or in their dressing rooms. I thought rock bands were used to it because of MTV, where backstage and tour buses are open to cameras. But at the height of Journey's fame, MTV was just forming as well. They didn't understand the reality of what full access meant. But at the end of the day, we got it.

Q: Do you consider this a music documentary or more of a documentary about Filipino heritage?

A: I think it transcends all that. It really is a Cinderella story with a very modern twist because of YouTube. This story could not have happened 10 or 15 years ago, not in this way with the help of social media. But at the heart of it, it's a Cinderella story. For non-Journey fans, Arnel's personal history is very compelling.

Q: How so?

A: He was a street kid in Manila. Success happened to him later in his life. I think he was 40 the year he joined the band. He had already lived the rock 'n' roll life, even without the money - the drugs, the women. He saw this as an opportunity for him to really get his life together.

Q: It seems like you really bonded with Pineda. Did it help that you were Filipino?

A: I think so, mostly because of the language. I can speak Tagalog. That first summer when he toured with Journey, he had no entourage. It was just him in his dressing room. We (a crew of five) became his sounding board because no one else was traveling with him. The second year he had a roadie, his wife was traveling with him, and it would have been a completely different dynamic.

Q: In the film Pineda switches between speaking English and Tagalog. Sometimes the same sentence is a mixture of both.

A: We call that 'Taglish.' Taglish is very common in the Philippines. I actually encouraged him to speak Filipino in the documentary. There were certain things I don't think I would have gotten from him emotionally or with such strength and passion if he had to stick to English.

Q: The budget for this documentary was under $2 million. Was it easy to raise the money because of the band's name?

A: I've done three other features and I thought it would be very easy to fundraise for this because (the subject matter) is very accessible, but no. No one believed in us. We were never able to raise the money. So it was on our dime, on our credit cards, small investments from family. The title song, "Don't Stop Believin'" that's us - the crew, me and my producer.

Q: Didn't the band want to kick in some funds?

A: There are certain boundaries you don't cross. This is an independently produced film. If Journey had funded it, there would have been strings attached to it. Money isn't free. The final cut wouldn't have been ours. It would have been deemed a vanity project, which it isn't.

Q: The rock 'n' roll lifestyle is very male-centric. Did being a woman help or hinder you on this film?

A: I think sometimes it was to my advantage. I'm small - 5'1" - so I'm less threatening to people. They allow me more things.(Laughs) So I was allowed in dressing rooms and tour buses. They just say yes!"

(Editing by Piya Sinha-Roy and Patricia Reaney)

(This story was corrected to give full name of filmmaker in the second paragraph and gender in the third paragraph)

12.42 | 0 komentar | Read More

British guitarist Alvin Lee of rock band Ten Years After dies

(Reuters) - British blues-rock guitarist Alvin Lee, who was best known for his performance with rock band Ten Years After at Woodstock in 1969, died on Wednesday at age 68, his family said.

"With great sadness we have to announce that Alvin unexpectedly passed away early this morning after unforeseen complications following a routine surgical procedure," the family said in a statement on the singer's official website.

They did not say what sort of procedure Lee underwent or where the musician died.

Lee and Ten Years After rose to international prominence after a much-lauded performance at the 1969 Woodstock music festival in New York state.

The band's song "I'm Going Home," which featured Lee's singing and extended guitar solos, opened the band to bigger audiences after it was included in the documentary "Woodstock" in 1970.

Ten Years After's biggest hits followed Woodstock, including "Love Like a Man" in 1970 and "I'd Love to Change the World" in 1971.

Lee formed Ten Years After in 1966 but left the band in 1973 to focus on a solo career only to reform the group in 1988.

In a 1975 interview with Rolling Stone magazine, Lee lamented how after the Woodstock performance audiences wanted more rock-driven songs from the band.

"We had respectful audiences then who would appreciate a jam or a swing," Lee said. "But after Woodstock, the audience got very noisy and only wanted to hear things like 'I'm Going Home.'"

He added: "I've always been much more of a guitar picker but I began to feel forced into a position of being the epitome of a rock and roll guitarist."

Ten Years After released 11 studio albums between 1966 and 2008. Lee put out 14 solo albums, the most recent was "Still on the Road to Freedom" in 2012.

(Reporting by Eric Kelsey; Editing by Piya Sinha-Roy and Eric Beech)

12.42 | 0 komentar | Read More

A Minute With: the director of a documentary about Journey singer

LOS ANGELES (Reuters) - When veteran rock band Journey chose unknown Filipino singer Arnel Pineda to become their new frontman it inspired a filmmaker to capture his rise from obscurity in the streets of Manila to performing on arena stages.

"Don't Stop Believin': Everyman's Journey," directed by Filipino-American filmmaker Ramona Diaz, picks up Pineda's story soon after he was chosen to join Journey in 2007 after the group saw him on YouTube.

Diaz's documentary film opens in theaters on Friday. She spoke to Reuters about Pineda's story and working with the band.

Q: Were you worried about dealing with all the different personalities of a famous band?

A: My very first film was about the former first lady of the Philippines, Imelda Marcos. She was very powerful and she was difficult. I hung out with her for two months. She ended up suing me because she didn't like the film. After that experience, I thought, I can handle anything now. I can handle rock bands!

Q: What surprised you most about Journey?

A: It was a surprise to me that for such a veteran rock band, they were not used to having cameras ... backstage or in their dressing rooms. I thought rock bands were used to it because of MTV, where backstage and tour buses are open to cameras. But at the height of Journey's fame, MTV was just forming as well. They didn't understand the reality of what full access meant. But at the end of the day, we got it.

Q: Do you consider this a music documentary or more of a documentary about Filipino heritage?

A: I think it transcends all that. It really is a Cinderella story with a very modern twist because of YouTube. This story could not have happened 10 or 15 years ago, not in this way with the help of social media. But at the heart of it, it's a Cinderella story. For non-Journey fans, Arnel's personal history is very compelling.

Q: How so?

A: He was a street kid in Manila. Success happened to him later in his life. I think he was 40 the year he joined the band. He had already lived the rock 'n' roll life, even without the money - the drugs, the women. He saw this as an opportunity for him to really get his life together.

Q: It seems like you really bonded with Pineda. Did it help that you were Filipino?

A: I think so, mostly because of the language. I can speak Tagalog. That first summer when he toured with Journey, he had no entourage. It was just him in his dressing room. We (a crew of five) became his sounding board because no one else was traveling with him. The second year he had a roadie, his wife was traveling with him, and it would have been a completely different dynamic.

Q: In the film Pineda switches between speaking English and Tagalog. Sometimes the same sentence is a mixture of both.

A: We call that 'Taglish.' Taglish is very common in the Philippines. I actually encouraged him to speak Filipino in the documentary. There were certain things I don't think I would have gotten from him emotionally or with such strength and passion if he had to stick to English.

Q: The budget for this documentary was under $2 million. Was it easy to raise the money because of the band's name?

A: I've done three other features and I thought it would be very easy to fundraise for this because (the subject matter) is very accessible, but no. No one believed in us. We were never able to raise the money. So it was on our dime, on our credit cards, small investments from family. The title song, "Don't Stop Believin'" that's us - the crew, me and my producer.

Q: Didn't the band want to kick in some funds?

A: There are certain boundaries you don't cross. This is an independently produced film. If Journey had funded it, there would have been strings attached to it. Money isn't free. The final cut wouldn't have been ours. It would have been deemed a vanity project, which it isn't.

Q: The rock 'n' roll lifestyle is very male-centric. Did being a woman help or hinder you on this film?

A: I think sometimes it was to my advantage. I'm small - 5'1" - so I'm less threatening to people. They allow me more things.(Laughs) So I was allowed in dressing rooms and tour buses. They just say yes!"

(Editing by Piya Sinha-Roy and Patricia Reaney)

(This story was corrected to give full name of filmmaker in the second paragraph and gender in the third paragraph)

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British guitarist Alvin Lee of rock band Ten Years After dies

(Reuters) - British blues-rock guitarist Alvin Lee, who was best known for his performance with rock band Ten Years After at Woodstock in 1969, died on Wednesday at age 68, his family said.

"With great sadness we have to announce that Alvin unexpectedly passed away early this morning after unforeseen complications following a routine surgical procedure," the family said in a statement on the singer's official website.

They did not say what sort of procedure Lee underwent or where the musician died.

Lee and Ten Years After rose to international prominence after a much-lauded performance at the 1969 Woodstock music festival in New York state.

The band's song "I'm Going Home," which featured Lee's singing and extended guitar solos, opened the band to bigger audiences after it was included in the documentary "Woodstock" in 1970.

Ten Years After's biggest hits followed Woodstock, including "Love Like a Man" in 1970 and "I'd Love to Change the World" in 1971.

Lee formed Ten Years After in 1966 but left the band in 1973 to focus on a solo career only to reform the group in 1988.

In a 1975 interview with Rolling Stone magazine, Lee lamented how after the Woodstock performance audiences wanted more rock-driven songs from the band.

"We had respectful audiences then who would appreciate a jam or a swing," Lee said. "But after Woodstock, the audience got very noisy and only wanted to hear things like 'I'm Going Home.'"

He added: "I've always been much more of a guitar picker but I began to feel forced into a position of being the epitome of a rock and roll guitarist."

Ten Years After released 11 studio albums between 1966 and 2008. Lee put out 14 solo albums, the most recent was "Still on the Road to Freedom" in 2012.

(Reporting by Eric Kelsey; Editing by Piya Sinha-Roy and Eric Beech)

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