It has become quite obvious, now, that one must watch his or her words when starring in a "Transformers" movies, especially when the desire to draw vile dictators into conversation grows strong. See: Fox, Megan, and her Steven Spielberg-mandated firing.

But as her "Transformers: Dark of the Moon," replacement, Rosie Huntington-Whiteley, soon learned, there's more than just verbal traps to be avoided while filming one of Michael Bay's blow-em-up blockbusters. The warning came from her on-screen love interest, series star, Shia LaBeouf.

“Shia made it clear this wasn’t just about becoming a movie star. The shooting schedule was going to be grueling," Huntington-Whiteley told Women's Health Magazine, which she covers this month. And she confirmed that her co-star was right; their shoot in Chicago was anything but easy. “You’re in the sun all day long—dirty and smelly. It was like boot camp.”

While moviegoers may note the differences between Fox and Huntington-Whiteley, such as their looks and accents, she promises that the issue that got Fox canned from the series is not at all a problem for her. Even if people think it might be.

“People always tell me, ‘Gosh, you’re so nice!' Like they expect me to be a huge b*tch," she muses. Well, maybe after the last "Transformers" leading lady...

She also talks about her love for organic food, something she's shared in the past.

“Thinking about the things that go into processed foods—chemicals, additives," she said. "Sometimes you go into a supermarket and the apples are all the same size and color, but that’s not what apples are supposed to look like. Go to an orchard or an organic farm, and the apples are sometimes knobby, but they taste better.”

I think the Japanese male sexual complex originated in the two-dimensional world –animation, games and so on – which then transferred to small three-dimensional sculptures. But before my sculptures Miss Ko (1997) and My Lonesome Cowboy (1998), it had never been represented life-size.
–Takashi Murakami
Gagosian Gallery will be presenting recent paintings and sculptures by Takashi Murakami.
Murakami’s latest group of paintings explores his complex ambivalence to the legacy of cosmopolitan painter Kuroda Seiki, who brought yōga or Western-style painting to Meiji- period Japan. Kuroda broadly promoted the genre of history painting, as well as the validity of the nude figure as a subject for art.
Taking Kuroda’s famous triptych, Wisdom, Impression, Sentiment (c.1900), Murakami consciously reclaims it in a new iteration by applying traditional nihonga techniques like gold- and silver-leafing, as well as recasting the realistically rendered nude figures in contemporary manga style.
When it was first shown, Kuroda’s work caused great controversy because of its content, however, as Murakami reminds in paintings such as Shunga: Gibbons
(2010) and Shunga: Bow Wow (2010), Japan had embraced explicit erotic content in art as early as the twelfth century.
By the Edo period, the long-established genre of shunga sought to express a varied world of contemporary sexual possibilities, often referred to as the creation of a “pornotopia,” an idealised, eroticised and fantastical world parallel to contemporary urban life. In Murakami’s contemporary shunga, graphic depictions of exaggerated and engorged male and female genitals are set against delirious backgrounds of image and pattern.
This theme continues into sculptures, which feature collaborations with key artists working in Japan’s popular otaku culture including Seiji Matsuyama — creator of the controversial manga “My Wife is an Elementary School Student” – and BOME, a figure sculptor who previously collaborated on Murakami’s first life-size sculpture, Miss Ko2 (1997), an ebullient Playboy fantasy translated into manga cuteness and proportions. Whereas Nurse Ko2 (2011) relates closely to the earlier sculpture, with its leggy, busty verticality and sexy uniform (right down to a suggestively loaded syringe), 3-Meter Girl (2011) is an absurdist composition that pushes form and content to new extremes. She stands with feet spread wide, her abundant hair roiling around her like an elaborate rococo frame as if to steady her petite body against the whopping pendular breasts whose size and weight threaten to topple her.
A monumental cast and highly polished metal penis of towering proportions, Mr Big Mushroom (2011), is a realist, manmade take on the traditional stone lingam. Together with Miss Clam (2011), an inviting metal vagina, it provides an exclamation mark to the enduring obsession with sexuality in contemporary human society.
www.gagosian.com/

Katie Holmes and Suri Cruise enjoyed some beach time in Miami over the weekend, and Bauer Griffin has the photos. On Sunday they were snapped with Tom celebrating Father's Day on a boat.
The family is in Miami while Tom films 'Rock of Ages.'
Here's one pic of Katie and Suri in the ocean, see the rest here

Like countless other musicians, Mitch Winehouse gave up his dream in favor of getting a steady job to support his family. He was a professional singer in the '70s, but left the circuit to work as a cab driver and raise his children.

"I put it on the back burner," he tells Spinner. "When Amy started to perform she'd get me up on stage and we'd do a couple of songs."

Amy, of course, is his daughter Amy Winehouse, who captivated the world with her sultry voice and littered tabloids with her personal foibles. Now the family is forging ahead and Mitch is singing his own tune.

"The whole idea with the album was I would stand up and be judged by my own work," Mitch says. "The songs would be standards, but not standards that everybody immediately recognizes."

'Rush of Love' includes covers of tunes of jazz and lounge tunes like 'How Insensitive' by Antonio Carlos Jobim. There are also four new songs penned by veteran British songwriter Tony Hiller.

As for Amy, an album is in the works. And, according to dad, she is doing just fine.

"She doing better now," Mitch says. "She has been clean for two and a half years, about that. I'm not saying her problems have gone away, because they haven't. She's dealing with it."

Mitch doesn't take credit for teaching his daughter how to sing, but the family certainly provided her with a musical upbringing.

"In my house there was always music, there was dancing, and singing," Mitch says. "And it was natural for my kids to sing as soon as they could talk. I remember Amy standing on the table and I would leave a word out of a song and she would fill the word in."

But if Mitch Winehouse is using the spotlight to pursue his own ventures, it's not only for the singing. The 61-year-old year old cab driver also appeared in a documentary that explored the government's role in the dealing with drug addiction, and even testified before a Parliamentary committee to discuss the discrepancies.

"If somebody is a drug user in London, and they voluntarily want to come off drugs but they can't afford to put themselves in a private clinic, it's almost impossible for them to get into a residential program," Mitch says. "What we found was that there are some people that are so desperate that want to get off drugs but can't get the help. We found a lot of people are actually turning to crime."