Justin Timberlake Looks Perfects Man
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Sean Kingston (born Kisean Anderson on February 3, 1990) is an American singer and rapper. He pursued a music career and debuted in 2007 with Sean Kingston.Kingstonattended Ocho Rios High School in Ocho Rios, Saint Ann, Jamaica. His grandfather was the noted Jamaican reggae producer Lawrence Lindo, who worked under the stage name Jack Ruby.
According to Sean Kingston, he is already working on his next album. The lead single was confirmed to be "Dumb Love" featuring Lil Wayne by Kingston himself, but Lil Wayne is serving a prison sentence and a music video has not been filmed. It is still possibly a future single to be released with a music video shot after Lil Wayne is released from prison. The song is also featured in a episode of The Suite Life on Deck which Kingston guest starred on. The album will also feature T-Pain, Nicki Minaj, Kanye West, Wyclef Jean, Akon and Dr. Dre. The first single from the album is "Eenie Meenie" featuring Justin Bieber, released on March 23, 2010, which is also included on Bieber's My World 2.0 album. This collaboration with the young star has been the source of much disapproval from the rap community. The second single from the album "Letting Go (Dutty Love)", which features a verse from Nicki Minaj. It was released on iTunes August 3, while the third is "Dumb Love" and was released on iTunes September 8, the song does not features Lil Wayne. Sean Kingston's new song "She Moves" samples Irena Cara's "What a Feeling" from the film Flashdance. A fourth single "Party All Night (Sleep All Day)" was released on December 21, 2010. The song leaked online in December of 2010. The music video has already been shot. The video was released on December 23, 2010. Sean said this would be the song of the new year. Kingston represented the continent of America to sing the Official Theme Song of the Singapore 2010 Youth Olympic Games, Everyone. He collaborated with four other international artists representing their continent, South African Jody Williams representing Africa, Singaporean Tabitha Nauser (Asia), British Steve Appleton (Europe), and Australian Jessica Mauboy representing (Oceania). However, Kingston was unable to attend, the Singapore Youth Olympics 2010 opening ceremony, due to passport mix ups. He also released a single called "Letting Go (Dutty Love)" with Young Money's Nicki Minaj. Plus, near the end of July 2010, he was invited and featured on Cash Money Records/former So So Def member Bow Wow on his single "For My Hood". He performed it with him along with DJ Khaled on BET's television program 106 & Park the day after release. Sean Kingston will release a mixtape with pop star Justin Bieber, called Our World. It will feature about 12-14 songs and includes their versions of songs like Pretty Boy Swag and Billionaire. The mixtape is finished and Sean showed his fans a preview on ustream on August, 19, 2010.
Pamela Denise Anderson (born July 1, 1967) is a Canadian American actress, model, producer, author, activist, and former showgirl, known for her roles on the television series Home Improvement, Baywatch, and V.I.P. She was chosen as a Playmate of the Month for Playboy magazine in February 1990. For a time, she was known as Pamela Anderson Lee (or Pamela Lee) after marrying Mötley Crüe drummer Tommy Lee. She holds both United States and Canadian citizenship. Anderson was born in Ladysmith, British Columbia, the daughter of Barry Anderson, a furnace repairman, and Carol (née Grosco), a waitress. Her great-grandfather Juho Hyytiäinen was Finnish, a native of Saarijärvi, and left the Grand Duchy of Finland (which was a part of the Russian Empire at the time) in 1908, changing his name to Anderson when he arrived as an immigrant. Anderson also has Russian ancestry on her mother's side. After graduating from Highland Secondary School in 1985, Anderson moved to Vancouver and worked as a fitness instructor. During the summer of 1989, Anderson went with her friends to a BC Lions game at BC Place; during the game she was shown on the stadium screen wearing a Labatt's t-shirt, causing the crowd to cheer for the 21-year-old Anderson. She was taken down to the field to receive an ovation from the crowd. Labatt's had the opportunity to hire Canadian model Pamela Anderson as a Labatt's Blue Zone Girl after she was picked out of the crowd by a TV camera man at a BC Lions football game wearing a Blue Zone crop-top. Photographer and boyfriend Dan Ilicic produced the Blue Zone Girl poster on his own. In October 1989 she appeared as the cover girl on Playboy magazine. At this stage in her modelling career, she had decided to live in Los Angeles to further pursue her career ambitions. She became a centrefold for Playboy when the magazine chose her to be their Playmate of the Month for their February 1990 issue. She then chose to get breast implants. Anderson has since appeared in Playboy several times in the 1990s and 2000s.
In addition to her fame from modelling and acting, Anderson has received a great deal of press attention for her well-publicized personal life. Her relationships have made headlines in gossip magazines for years. Anderson married Tommy Lee, drummer of Mötley Crüe, on February 19, 1995, after knowing him for only 96 hours and the couple eventually had two sons, Brandon Thomas Lee (b. June 6, 1996) and Dylan Jagger Lee (b. December 29, 1997), named after Pamela's great grandfather Dale Jagger Grosco who fought in World War II. During this time, she was known professionally as Pamela Anderson Lee. Anderson filed for divorce from Lee twice and reconciled with him twice, before the couple finally broke up for good, however, she admitted to newspapers that she still often had sex with him since their divorce. In March 2002, Anderson publicly stated that she had contracted the Hepatitis C virus from Lee (supposedly from sharing tattoo needles), and began writing a regular column for Jane magazine. In October 2003, Anderson jokingly said on Howard Stern's radio show that she does not expect to live more than ten or fifteen years, but this was misconstrued and taken seriously by many websites and tabloids. A sex tape of Anderson and Tommy Lee on their honeymoon was stolen from their home, and made a huge stir on the Internet. Anderson sued the video distribution company, Internet Entertainment Group. Ultimately, the Lees entered into a confidential settlement agreement with IEG. Thereafter, the company began making the tape available to subscribers to its Web sites again, resulting in triple the normal traffic on the site.
Pamela Hairstyle
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Pamela Cute Smile
Pamela Simple Tattoo
Collecting Fashion
By Marco Pecorari
Fashion as ephemeral artwork is daily narrated in temporary exhibitions. As hosting institutions, museums have started questioning the way they react to this new dimension within the museum. Collecting dress is already a duty of ethnographic and decorative arts museums. But at the same time, these institutions are conceiving dress as social testimony, or serial object. In these museological contexts, the dress is hardly ever contextualized in its visual process of creation that coincides with a representation of contemporary fashion. In order to explore this topic more in depth, we talked to the curator Amy de la Haye, the Director of the Museum at FIT Valerie Steele, the director of the Galleria del Costume, Caterina Chiarelli and with fashion designers, Agatha Ruiz de la Prada and Antonio Marras.
Marco Pecorari: First of all, thanks for participating. Let’s start with an ‘easy’ issue: what’s the difference between fashion and costume? fashion museum and costume museum?
Agatha Ruiz de la Prada: We had to face this issue with Madrid’s costume museum when we propose to call it ‘Costume Museum’ but I guess, a fashion museum should cover more than mechanics and elements of fashion, such as representing fashion’s relation to society.
Antonio Marras: In my opinion, the gap is huge. Costume is identified as obsolete, retro and not contemporary. Fashion is escaping from this. Wrongly. Personally I love visiting costume museums.
Caterina Chiarelli: I love costume museums, too. But I think we should delimit costume museum to an ethnographic field, based more on the study of dress as a tradition than on its changing nature.
Amy de la Haye: Traditionally collections of dress and fashion were generically described as ‘costume’, a term that could embrace different kind of dress. It was inclusive. Fashion and the museum were not paired explicitly until the early 1970s when the V&A (London) and the Costume Institute at the Met (New York) started to actively embrace contemporary fashion. However, the terminology of museum collections and institutions has only started to change very recently to more accurately reflect the type of garments housed/exhibited and, where appropriate, to reflect growing interests in fashion and attract wider audiences.
Agatha Ruiz de la Prada and Amy de la Hay
MP: so that’s also a commercial side…
Valerie Steele: Yes. But I use the word “fashion” rather than “costume” because I want to emphasize that even in the past, people wore fashion – not fancy-dress costumes. The word “costume” should be restricted to theatrical/film costume or folk costume. The Museum at the Fashion Institute of Technology (FIT) is a fashion museum – meaning that we look at fashion, not as “art” (like in an art museum, where they tend to focus just on haute couture) or “history” (like a history museum, where clothing is used to document or illustrate other aspects of the past) but as a legitimate type of design that has both artistic and historical elements – and that has its own history.
CC: Very true. In my opinion, a fashion museum should exhibit the changing of this type of design, with more freedom.
MP: What kind of restrictions could a fashion museum have?
VS: There are restrictions on conservation and exposition of dress, and also from fashion designers and the fashion system in general….
MP: What kind of links should we have between fashion museums and the fashion system?
ARP: A museum is a place for exhibiting art, creativity, whereas the fashion commercial machine has to deal with money and productions…
VS: I don’t agree… I think that a fashion museum is a part of the fashion system. Fashion designers know that the museum is a medium (like runway, the fashion magazine and the department store) that presents fashion to the public. Therefore, designers seek to control exhibitions of their work: here’s one restriction which doesn’t have to be accepted by curators.
MP: An example is the one with Lagerfeld and the Metropolitan Museum of Art, in which case Lagerfeld’s interference caused the exhibition to be cancelled
AM: I’m a fashion designer and I would never dare to interfere in the interpretation of my work. I would put my self in the curator’s hands. I would consider it an honour.
dlH: It’s understandable. Designers in turn recognize that having their work represented in a museum collection provides cultural cachet today and will ensure their place in history in the future. But it’s not only that. Sometimes there are amazing connections made. When he had just launched his own label in London, John Galliano studied an 18th century man’s coat in the collection and presented his interpretation to the Collection as a gift. When fashion looks to history, the Museum can become especially relevant.
AM: Definitely. “fashion people” have very little memory and they don’t look at the past as much as they should, and museums could help close this gap, if they could provide an easy access…
MP: Many museums are starting to catalogue on line their collections, which would make for a lot easier access and would also be helpful in terms of conservation.
AM: Great. I think it would also be important to create a close relation between fashion designers factories and museums, in order to catalogue the most significant clothes, which are being produced. Just think about what we could have done in Italy: from Albino or Capucci to the first Max Mara and Romeo Gigli…
CC: Sure, we should promote this collaboration but we need also to be careful to not get too involved. The museum could end up becoming a company’s archive.
MP: Could fashion museums represent the new step in museology or influence it? A new form of museum?
dlH: We have to say two things about this. First, as we have trends in fashion there are also trends in fashion curation and in curation in general. Fashion curation has to be analyzed because it can be seen as an important step for the role of curators in museum. Second, we have to underline that fashion is one of the most immediately accessible of all museum collections. When I worked at the V&A I used to say that you could find your way to the Dress Gallery (which at the time showed a chronology of western fashion) blindfolded as it was the noisiest – everyone, all ages and both genders, had something to say and felt confident to express an opinion.
Clothing of all types is inextricably entwined with our biographies and we leave imprints on the clothes we wear.
VS: It’s true, but I also think that it’s too soon to know what fashion museums will ultimately contribute to museology as a whole. But we must strive to move beyond designer hagiography and crowd-pleasing displays of “pretty” dresses worn by celebrities.
CC: I do believe that a fashion museum is inherently different and has great potentials for the future of museums. It is a dynamic museum.
Amy de la Haye is reader in Fashion Curation and Material Culture London College of Fashion.Joint Course Director (with Judith Clark) M.A. Fashion Curation, London College of Fashion. Formerly Curator of 20th Century Dress at the Victoria & Albert Museum (1991-1999). She will publish a book (co-curated with Judith Clark) on Curating Fashion for Yale University Press.
Valerie Steele Ph.D., (Yale University) is Director and Chief Curator of The Museum at the Fashion Institute of Technology (FIT)
Caterina Chiarelli is Director of the Galleria del Costume – Palazzo Pitti di Firenze.
Antonio Marras is the designer of his own brand Antonio Marras and Artistic Director of Maison Kenzo
Agatha Ruiz de la Prada is a Madrid-base fashion designer
Marco Pecorari is completing his Phd in Contemporary Fashion Theory at the Centre for Fashion Studies – Stockholm University – with a thesis entitled “The Show is not Enough: new trajectories for reading contemporary fashion”. He writes for several fashion, arts and cultural independent magazines.
(**content and photo from fashionprojects.org**)
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