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Scott Campbell: Crowdsourced band release "I've got nothing" single

2009-11-09T00:05:25Z

A band composed of four teenage YouTubers has released an entirely-crowdsourced single.

19-year-old Charlie McDonnell joined forces with three other teenage YouTube users to take part in a BBC Switch project named 'ChartJackers', in which they are attempting to break in to the UK chart in an unorthodox style; they have no budget, no experience and have to crowdsource everything - musicians, producers and promotion.

The song, I've got nothing, was a combined effort, with a number of users coming up with the lyrics. The group even managed to get help and advice from Fame Academy vocal coaches Carrie and David Grant.

Last week, the Chartjackers launched a two-pronged social media attack on UK Radio 1 DJ Scott Mills. They encouraged Twitter users to send him Tweets and emails about their song in a bid to have it played on air. You can download 'I've got nothing' on iTunes from today.

Will crowdsourced music be the future? Leave a comment.

Scott Mendelson: Huff Post Weekend Box Office in Review

2009-11-09T00:02:13Z

As expected, Disney's A Christmas Carol opened at number one over the weekend. If the opening weekend number of $31 million feels disappointing, it's only because of the film's excessive cost (about $200 million to make, probably another $100 million to market) and somewhat unreasonable expectations. Christmas movies have never been the whopper-openers that some might think. This was actually the fourth-biggest Christmas-themed opening of all time, behind Jim Carrey's The Grinch ($55 million), Elf ($31.1 million) and last Thanksgiving's Four Christmases ($31 million). This is actually director Robert Zemeckis's biggest opening weekend of all time. The only person who might get tagged as a theoretical slacker is star Jim Carrey, as this is 'merely' his eighth-biggest opening weekend and his ninth $30 million+ opener since 1995.

So on one hand, Zemeckis and Disney have to be praying that this plays more like The Polar Express ($23 million opening, $162 million finish) than Beowulf ($27 million opening, $82 million finish). The Polar Express opened against the second weekend of The Incredibles in November 2004, but played the rest of the year, helped by buzz regarding its truly astonishing and utterly groundbreaking 3D IMAX presentation. Since Christmas-themed movies seem to have decent legs (holiday releases have generally better legs than summer releases), there is hope that this should get to at least $120 million in the US, with $180 million being the best case scenario. Still, Disney surely hopes that this will become a sort of perennial title and I'd imagine much of its animation budget went into the kind of new technology that will be put to use in future projects. Whatever it's going to do, it only has six weeks to get it done, as James Cameron's Avatar will be stealing each and every 3D and IMAX screen come December 18th at 12:01am.

Second place went to the flash-in-the-pan that wasn't; as This Is It dropped just 39% in its second weekend. Disregarding proclamations of doom after its mere $100 million+ worldwide opening weekend, I am frankly shocked that this is holding up as well as it is. The word is truly getting out that it's both respectful to the late singer and a relatively entertaining look at the man at work. With $57 million in just twelve days, it will soon surpass Hanna Montana/Miley Cyrus: Best of Both Worlds 3D as the domestic box office champion concert film. Sony's decision to extend this $60 million acquisition past its limited run and into Thanksgiving has turned out to be a smart one, as the film is now playing to the merely curious as well as the die-hard fans. Third place went to The Men Who Stare at Goats, which opened to $13.3 million. I went into this yesterday, but George Clooney vehicles should not be expected to do anymore than $10-13 million over opening weekend. He may be one of the world's-biggest stars, but he often picks inexpensive, not terribly commercial films over the more populist genres. I hated the film, but it's always good when something outside the mainstream opens well enough to justify its creation. Overture paid just $5 million to acquire this, so congratulations on the upstart studio's second solid hit in the last month (Law Abiding Citizen is currently at $60 million, with just a 16% drop in weekend four).

The Fourth Kind played out a bizarre little trailer and the lack of any UFO-abduction films in nearly seventeen years (Fire in the Sky came out in March of 1993) into a solid $12 million opening. If it needs to be said, this was in development long before Paranormal Activity (now at $97 million) hit pay-dirt last month. For the record, I wrote about the trailer way back in mid-August, so any catcalls of the former being a rip-off of the latter should stop right now. Anyway, this Universal acquisition fell short of the opening of the similarly-marketed White Noise ($24 million), which had the advantage of being the first major release of 2005 and the curiosity factor stemming from the casting of the relatively scarce Michael Keaton. Still, this is a cheap film that will be very profitable for all involved. Speaking of cheap films that opened just OK, Richard Kelly's incomprehensible The Box rode a solid trailer and a simple and compelling premise to a $7.8 million opening weekend. The film apparently received an 'F' from CinemaScore, and I can understand why (the first half is great, but the second half goes completely off the rails). Still, Warner was stingy with the marketing, and this is a decent start for the mainstream debut of the Donnie Darko director. The film's hopelessly confusing narrative will be problematic for both this film's long-term success as well as Kelly's next project.

Couples Retreat did something that is downright miraculous, dropping just 0.5% in its fifth weekend despite losing 169 screens. Frankly, I don't think I've ever seen that kind of weekend drop outside of inflated holiday fifth weekends (Titanic, The Sixth Sense) for as long as I've been following this stuff. Its $6.4 million weekend brings its total to $95 million. Also of note is the continuing decline of Saw VI, which has ended its third weekend with just $26 million. Ironically, one of the very best films in the series will still end its US run with less overall than the opening weekends of every prior Saw sequel. There is one more major story, and it's the astonishing white-hot debut of Precious. The festival-circuit darling and Tyler Perry/Oprah Winfrey acquisition has debuted with $1.8 million on just 18 screens. Yes, that's $100,000 per screen for three days. That's the twelfth-biggest per-screen average of all time, and it's by far the highest for any film playing on more than a handful of screens. Most of the similarly-huge per-screen debuts were limited-engagements of Disney animated films or Oscar-bait contenders in two or three high-priced theaters. For example, Disney's The Princess and the Frog opens on November 25th in two theaters, which are charging between $30 and $50 per ticket (at least the LA venue is). Obviously your chances of a huge per-screen debut are increased the fewer theaters you open in. But this was not a two-screens in New York and Los Angeles hype-getter. This was a full-on national debut in major markets. For the record, on the list of all-time top averages, it had the nineteenth widest-release. The critically-acclaimed drama expands this Friday and the film just became the front-runner for the Oscars, if only for the next week or so.

We'll end on that note of good news for now. Join us next weekend when Roland Emmerich rolls out the ultimate disaster movie, the 2.5 hour 2012 (review to be hopefully written by my wife, who worships the disaster genre). The only other wide-release is the 900-screen debut of Pirate Radio. Limited openings include The Fantastic Mr. Fox, Women In Trouble, and Uncertainty. For more box office, movie reviews, trailer reviews, news commentary, and original essays, go to Mendelson's Memos.

Eva Green Naked: Bond Girl Nude In Charlotte Rampling Redo (PHOTO)

2009-11-08T22:22:53Z

Former 'Bond' girl Eva Green stripped for the UK magazine Tatler. Green, 29, took it off to recreate a 1973 photo of Charlotte Rampling, taken by Helmut Newton.

Green is no stranger to being naked, as she first shot to fame in the Bernardo Bertolucci movie "The Dreamers," which featured nudity and explicit sex.

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Bad Extensions And Wigs: Whose Weave Is The Worst? (PHOTOS, POLL)

2009-11-08T22:21:22Z

Many starlets' hair is not entirely their own, but some of these ladies have especially fake looking coifs. Whose sewn-on hair is the worst? You decide.

PHOTOS:

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INSIDE STORY: Randy Quaid's Journey From Actor To Alleged Felon

2009-11-08T22:20:59Z

"He's a really nice guy and insanely funny," says actor Allen Evangelista, who recalls how Quaid spent his downtime tossing tennis balls to his costars. "Everyone was just trying not to laugh when he would improvise. He's really down to earth ... just a cool guy to work with."

That image is a far cry from what the actor who even brought charm to the National Lampoon's Vacation series' repulsive character, Cousin Eddie is known for these days. Quaid, 58, and his wife Evi, 45, were arrested in Marfa, Texas, on Sept. 24 for allegedly running out on a $10,000 hotel bill at the exclusive San Ysidro Ranch in Santa Barbara, Calif., last June.

Joe Bonsall: G.I. Joe and Lillie: A Song About World War II Vets Goes Viral

2009-11-08T20:03:57Z

A few years ago, I wrote a song about a young couple that served in the army during World War II. When G.I. Joe and Lillie met, he was a war hero recovering from severe wounds and she was a WAC assigned to help transport him. Both had grown up in abusive homes. They would marry and live with the demons of war for the rest of their lives. Yet just like so many others of their generation, they would survive and raise a family. The song is about faith, patriotism and plain old American grit -- desire and hard work. It's an American love story not unlike a lot of others. It is the story of my parents.

The song was included in an album The Oak Ridge Boys recorded in 2003 called Colors, one of our most popular projects over the past decade. We did the CD to honor and pay tribute to those who have defended (and now defend) our country. One of the cuts was "G.I. Joe and Lillie." My parents got to hear the song in concert before they both passed away in 2001. We were performing in Lancaster, PA at the American Music Theater. We had invited forty veterans from the Southeastern Pennsylvania Veterans Home to join us that evening, including my parents who also resided in what my mother called "The Soldiers' Home." There was not a dry eye in the house.

Over the years that followed, some amazing things happened. I wrote a book based on Lillie's memoirs that was a huge success on every level. A few years ago, The Oak Ridge Boys taped a television special for Feed the Children. It was the first time that we had performed "G.I. Joe and Lillie" since that night in Lancaster. As the cameras rolled, I got very emotional as I sang about my Daddy and Mommy. I found myself wishing that they could have been there, and when I got to the song's last line, I just lost it.

The television show has played hundreds of times on television and helped raise a ton of money so Reverend Larry Jones could feed hungry kids around the world. But that was just the beginning of the story. Around a year ago, someone posted our performance of "G.I. Joe and Lillie" on YouTube. And now, the floodgates have opened.

The YouTube video is up to over a million and a half views and counting, numbers you'd only expect from major hit music videos. Military websites also discovered it and began to embed the song onto their home pages. I am hearing from service men and women from Iraq and Afghanistan and military bases worldwide. If my father and mother only knew that so many young soldiers of today and their families are hearing their story and being inspired by it, it would make them very, very happy.

God bless our veterans and the young men and women of our armed forces. Keep them safe and bring them home to those who love them when their missions are complete.

Danny Groner: Top 5 Big Bird Adjusts to Life Outside of Sesame Street Moments

2009-11-08T14:52:27Z

Sesame Street celebrates its 40th anniversary this week with much fanfare and Muppet mania. People are reminiscing about and putting together their favorite moments from the show's longtime run on PBS. The show's icon, Big Bird, has shared many memories on Sesame Street with his friends, old and new. But Big Bid's fled his coop at times. Here are some clips of experiences Big Bird has had when he's left his natural habitat and interacted with the outside world.

Hollywood Squares

In this 1976 clip, Big Bird fields an ornithological question but shows how little time he spends on a different street, Broadway.

Jim Henson's Memorial

After the Muppetmaster passed away in 1990, Big Bird and others sang songs like "Bein Green" at Henson's service at Cathedral of St. John the Divine.

PBS World Travel promotion

Big Bird escorts a girl around the world (mostly Asia) and to the moon before dropping her off at home after a long day of traveling.

NYCGo.com "Ask The Locals" ad

Elmo and Big Bird educate New York City kids about the sights of the city, including how much you can learn from taxi drivers and where you can buy fresh fruit.

Jimmy Kimmel Live! appearance

Big Bird's publicist landed him a seat on the late-night show where the bird explained, among other things, how he's been squatting behind Gordon and Susan's house for 40 years.

Taylor Swift Spoofs Kanye, Kate Gosselin On SNL (VIDEO)

2009-11-08T13:31:09Z

Taylor Swift, host of this week's 'Saturday Night Live,' didn't spend much time addressing Kanye West's stage storming incident. She made brief mention in an opening song that included all the topics she doesn't want to talk about.

"You might be expecting me to say something about Kanye and how he ran up on the stage at the VMAs," she sang. "But there's nothing more to say, 'cause everything's OK. I've got security lining the stage."

She also referenced her nasty breakup with Joe Jonas:

"You might think I'd bring up Joe Jonas, that guy who broke up with me on the phone, but I'm not gonna mention him in my monologue. Hey Joe, I'm doing real well. Tonight, I'm hosting SNL but I'm not gonna brag about that in my monologue. La la la. Ha ha ha. La la la."

Later she spoofed Kate Gosselin, complete with reverse mullet, on 'The View.'

WATCH:

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Ex-Scientologists: Threat Of A Tom Cruise Beatdown Used Against Disobedient Members

2009-11-08T11:10:07Z

Did Tom Cruise offer to personally "beat the living [bleep]" out of disobedient Scientologists?

Cruise's lawyer and church spokesmen vigorously dispute the claim, but a former high-ranking Scientologist official says he "documented" that church leader David Miscavige once asserted that Cruise would lend his "Top Gun" muscle to do just that.

Carrie Prejean Sex Tape Seen By Her Mom

2009-11-08T11:08:17Z

Carrie Prejean wasn't the only member of her family who got a peak at Carrie's solo sex tape -- TMZ has learned her MOM was in the room when the Miss California USA lawyers pressed play.

Sources tell TMZ Carrie's mom was in shock -- instantly turning sheet white as she watched her daughter give herself a hand.

Gwyneth Paltrow To Play Transsexual Nicole Kidman's Wife In 'The Danish Girl'

2009-11-08T10:49:10Z

Gwyneth Paltrow will join Nicole Kidman in The Danish Girl, an adaptation of the David Ebershoff novel about the first post-operative transsexual. The tome tells the story of the relationship between transsexual Einar Wegener and his wife. Kidman will play Einar and Paltrow will play the wife Greta

Amber Holley: When Hollywood Calls Morals Into Question: A Lesson From the Book of Jon

2009-11-07T20:17:30Z

Sometime last week, I stumbled across a short story describing a man who was being publicly accused of walking -- or, more accurately, sprinting -- down a path of indecency and inappropriateness that offended "social conventions or public morals." The man was specifically condemned for committing no less than three of the Seven Deadly Sins and then breaking a commandment or two, to boot. However, unlike a biblical allegory, there was no indication of the man's proposed countermove. No metaphorical slingshot. Thus, at the end of my read, I asked myself: WWJD?

In my story, though, the "J" stands for Jon. Gosselin, to be precise. And the controversy described above refers to a recent lawsuit filed by Discovery Talent Services, LLC, a talent agency which secures the services of individuals who appear in TLC's programming, against Gosselin and his loan-out company, JKIG Inc. Although the complaint alleges that Gosselin breached certain provisions of his contract with the agency by, among other things, making unauthorized television appearances, public statements, and press releases, the more interesting -- and, hence, blog-worthy -- part of the complaint is its statement that Gosselin was contractually obligated to refrain from "inappropriate conduct," including "acts of dishonesty or public intoxication, or other conduct that offend[s] 'social conventions or public morals or decency' or that [brings]...TLC 'into public disrepute, contempt, scandal or ridicule.'" According to Discovery Talent Services, any breach of this provision by Gosselin would be grounds for the agency to seek an injunction or restraining order, as well as indemnification for legal fees and other expenses. The discernible inference from the agency's pleading is that Gosselin violated this morals provision when, in the spring of 2009, "photographs of and stories about Defendant Gosselin at bars and nightclubs, apparently intoxicated and in the company of women other than his wife, began appearing regularly in various national and local media outlets and across the internet."

Gosselin is, of course, not the first person to have a morals clause embedded somewhere in his commercial agreement. After all, these restrictive provisions, which prohibit certain (typically unethical, criminal, or otherwise reprehensible) behavior in a person's private life and allow the enforcing party to terminate if the conduct is detrimental to that party's interests, have a long history in the entertainment industry. For example, morals clauses were employed by movie studios during the McCarthy Era in order for them to "lawfully" part ways from directors, producers, actors, etc. who allegedly espoused Communist beliefs. While a studio or other entity would find it next to impossible these days to rely on a morals clause to validly terminate someone based on his or her political views, morality-based terminations are still alive and well. Just ask Kate Moss, Chris Brown or Carrie Prejean.

So to answer the question "WWJD" when faced with a claim for breach of his morals clause, well, Gosselin might start by providing the court a primer on pop culture. Specifically, it seems to me that an obvious problem for Discovery Talent -- and, in my view, a key defense for Gosselin -- is that this conduct (i.e., boozing, womanizing) is insufficiently "amoral" so as to constitute a violation of the contract. Tellingly, we live in a day and age where Hollywood marriages last about as long as the time between scheduled oil changes, where hit TV shows include names like Hung, Weeds, and Californication, and where sex tapes are the launching pad, not the nail in the coffin, of one's "celebrity." Heck, no one even bats an eye at intoxication these days -- that is, unless it yields a sensational mug shot, difficulty eating a burger, or a racist, sexist and/or anti-Semitic tirade.

Second, Gosselin should avoid attacking the morals clause as impermissibly vague. This argument was a non-starter in a case involving an actor who, after being arrested for selling coke to an undercover cop, was fired from his television role pursuant to a morals clause. In rejecting the actor's contention that the contractual language was too ambiguous to constitute an enforceable standard, the Court stated that "[m]orals clauses have long been held valid and enforceable ... "

Finally, there is seemingly little evidence that Gosselin's behavior caused any harm to TLC. More than likely, the photos and rumors served to actually benefit the network. Just look at CBS, whose ratings aftermath following David Letterman's public disclosure of multiple sexual affairs with female staff members was decisively positive.

To be clear, I'm not advocating for Gosselin or condoning his post-Kate behavior. [For all I know, Gosselin wanted out of his contract and the late nights at the local watering hole presented a preferable alternative to posing for Playgirl.] What I am saying is that, absent unlawful conduct or a situation involving sex and/or nudity (or some racy combination of all these things), it is quite challenging for a company to justify termination of a contract under its morals clause. However regressed our mores might be from years past, I think most folks know amoral conduct when they see it, and sorry, Discovery Talent, this ain't it.

Kristi York Wooten: How David Hasselhoff Toppled the Berlin Wall: Music Memories From November, 1989

2009-11-07T20:05:00Z

One crisp autumn morning after a long night of Wildbrau beer and Spaetzle noodles, I awoke atop an Ikea bunk bed to find David Hasselhoff hovering over me, wearing nothing but his "Baywatch" bikini. I was disoriented. He was tan and hairy, with a smile the size of Stuttgart. When I leaned in to have a closer look, we bumped noses. Lucky for me, he was just a magazine pinup taped to the ceiling. (Darn the low clearance in these Hanseatic-era houses!) I heard a muffled giggle from the bunk below, then I remembered where I was: spending the weekend in Hamburg with a friend's family and her five younger siblings.

The Hasselhoff-on-the-ceiling prank was but one in a long line of pop-cultural awakenings I experienced in the fall of 1989 during my semester abroad in the land of eternal Oktoberfest. In those days, a still-divided Germany lay at the crux of tradition and tackiness. Sure, the West had the historic part down pat: Albrecht Durer's self-portrait in Munich's Alte Pinakothek and the Cologne Cathedral were proof plenty of that. Yet even if the East (where government-run TV and radio were stuck in the 1950s) was much worse off, the idea of "Knight Rider" as West Germany's top-selling singer and posterboy was hard to swallow.

On a certain level, it made sense. As revolutions multiplied across Eastern Europe -- and the globe -- the West German pop charts offered respite from the turmoil in the form of kooky confectionery such as "Swing the Mood" by Jive Bunny and the Mastermixers or Kaoma's "Lambada." There was good stuff, too: inside the big-box retailer World of Music (WOM), I broke-in my new emergency-only American Express card with the Gipsy Kings' Mosaique, Paul McCartney's Flowers in the Dirt, Lisa Stansfield's Affection, and -- one of my favorite albums of all time -- Tears For Fears' The Seeds of Love. The latter, with its sweeping orchestrations and politely defiant lyrics, captured both the bombast of 1980s and the fragility of what Time magazine labeled "1989: The Year that Changed the World."

A little more than halfway through my semester in Germany, it was time for our group to visit The Wall. Armed only with our Sony Walkman cassette players, passports, and naivete, my classmates and I boarded a bus one frigid November night to make the trek from Munich to Berlin. The trip had been planned for months, yet none of us could have predicted that the East German government would collapse before we got there, or that we'd have our very own chance to chip away at history. We were just 19-year-old Yanks who'd been fed a steady diet of Rocky IV Cold War hype for years. So, who knew if some crazy version of Ivan Drago was waiting in the wings to push the big red nuke button the moment the first chisel hit the Wall?

We were, admittedly, a bit afraid. On that overnight ride, as we crossed borders and snowflakes lit the way, I took shelter behind my headphones and the soothing synths and lilting flugelhorn in Tears For Fears' end-of-the-world ballad, "Famous Last Words":

Hand in hand we'll do and die
Listening to the band that made us cry
We'll have nothing to lose
We'll have nothing to gain
Just to stay in this real life situation
For one last refrain

When we finally got to the Berlin Wall, we were relieved to witness a glorious, curious dichotomy. There were guards with machine guns and scary-looking military uniforms. There were street vendors selling everything from bootlegged Michael Jackson videos to sugar-coated almonds. On one side of the Brandenburg Gate, life had all the vibrancy and momentum of Keith Haring's famous dancing-figure murals; on the other, even the weather seemed consumed by a gray pall. Yet for all the beauty on both sides of Berlin's crumbling concrete divider, the artsy city that would later become the birthplace of U2's 1991 rock masterpiece Achtung Baby couldn't deny that, on this November day in 1989, its star was not the Wall, but rather the smorgasbord of sounds streaming through it.

We watched for hours as East Germans flowed into the West, lined up at banks for their "Begrussungsgeld" (welcome money), and left stores with bag after bag of electronics. It was liberation by boombox: Big-band swing. Brazilian samba. Bad ballads. As twilight fell, thousands queued up to go back to their homes in the East, satisfied that the battery-operated gadgets they now hoisted above their heads, John Cusack-style, would get them one step closer to the coveted Western lives they'd been missing.

We took photos. We hammered out our own pieces of the Wall. We celebrated with folks from East and West. At the end of the day, we were but tourists in the whole charade. Yet one American fit right in: David Hasselhoff. His "Looking for Freedom" may have been an unlikely anthem for such an auspicious moment in history, but I'll never forget its catchy refrain blaring proudly from every radio as we watched so many reunited Germans shoulder up their country's #1 song.

David Hasselhoff participated in the MTV Europe Music Awards on November 5, 2009 in Berlin.

Regina Weinreich: Remembering Tennessee Williams

2009-11-07T15:34:36Z

Playwright John Patrick Shanley referring to Tennessee Williams as a "gorgeous unstoppable beast," recounted an incident in a restaurant when he, a budding writer, maybe thirty feet away from the master dramatist, could not bring himself to say hello. Such is the power of "influence" that any person in theater would stand in awe of this writer of poetry, short stories and the extraordinary body of plays for which he is best known. Shanley was among two dozen speakers who paid tribute to Tennessee Williams at the Cathedral of Saint John the Divine on Thursday evening, themselves a Who's Who of American theater: Vanessa Redgrave who had originated the role of "Lady" in "Orpheus Descending" read from "Not About Nightingales," Marian Seldes who created the role of Blackie in "Milk Train Doesn't Stop Here Anymore," Sylvia Miles performed her role, Mrs. Wire, from the 1978 London production of "Vieux Carre." Tandy Cronyn presented a postcard Tennessee had sent her late mother Jessica Tandy, the original Blanche DuBois, from Italy, reveling in how Blanche would love Rome. Her father Hume Cronyn had been instrumental in keeping the young starving playwright alive, optioning his 9 one-acts. Eli Wallach performed a scene from one with his daughter Kathryn. Eli and Ann Jackson who was in the audience met doing that play. Olympia Dukakis read from "Milk Train," and John Guare read "As I stood in my room tonight." David Kaplan, curator of the Provincetown Tennessee Williams Theater Festival, read from an essay Tennessee had presented at the cavernous Saint John the Divine in 1971, "We are Dissenters Now:" protesting the Vietnam War; overall, Williams proclaimed, "love for humanity will prevail." On Sunday, Tennessee Williams will be inducted into the Poet's Corner, among Emily Dickinson, Robert Frost, Mark Twain, Walt Whitman, F. Scott Fitzgerald, Edith Wharton, and other American literary giants, becoming the first poet/ playwright to be so honored

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Reality TV Weddings: The Touching Vs. The Terrible

2009-11-07T13:46:37Z

Khloe Kardashian's 2-hour wedding special airs Sunday night, even though she's not legally married. Khloe and Lamar Odom aren't the first real-life couple to exchange vows in front of rolling cameras, and they won't be the last. The question remains if the union will last, as some below split and others are still going strong.

You can see a preview of Khloe and Lamar's wedding, where the two share a wet tonguing at the altar, here.

What real TV wedding seen below was your favorite, and which left you with a bad taste in your mouth?

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