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‘Breaking Dawn’ Vampire Contacts ‘Kill’ Kristen Stewart

'That is one thing I can't wait to say goodbye to,' she tells MTV News.
By Kara Warner, with reporting by Josh Horowitz

Robert Pattinson and Kristen Stewart in "Twilight Saga: Breaking Dawn - Part 1"
Photo: Summit Entertainment

The dedicated Kristen Stewart fans out there are likely very well aware that she wears colored contact lenses for her role as Bella Swan in the "Twilight" movies. And in "The Twilight Saga: Breaking Dawn - Part 2," Stewart dons the amber lenses her co-stars Robert Pattinson, Ashley Greene, Nikki Reed, Peter Facinelli, Elizabeth Reaser, Jackson Rathbone and Kellan Lutz have been wearing for years as part of their official Cullen vampire clan costuming.

When MTV News caught up with Stewart recently, we asked about that experience and she revealed that, although she's experienced with contacts, her new vampire ones weren't much fun to wear.

"They are worse. The yellow ones sort of limit your vision even more, and so you feel a little bit more closed off," she said. "That is one thing I can't wait to say goodbye to, is the contacts. They just kill you. [They give you] dead face."

Pattinson recently told us he was delighted that his co-star had to suffer with the rest of them. "She's like, 'I wear contact lenses. Why do you always complain about yours?' " Pattinson said. "When she finally wore them and then was complaining about them every second of the day, it was kind of satisfying."

Stewart said the yellow lenses were totally worth the trouble, because she was so excited to play the vampire version of Bella.

"I've been waiting. To see her thrive anytime, it's — she's always so full of something that she knows, and it's like, at this point, you finally go, 'Oh, she was right,' and she can also go, 'OK, great, I'm not crazy, this was supposed to happen.' "

Stewart said Bella's previous feelings that she was different from others are validated in the final film. "The whole vampire thing, I wasn't excited to be white and all that; I was really more excited to finally get her there, because she wants it so bad."

Tonight, join live from the "Breaking Dawn - Part 1" red-carpet premiere as we talk to your favorite stars about all things "Twilight"!

Check out everything we've got on "The Twilight Saga: Breaking Dawn - Part 1."

For young Hollywood news, fashion and "Twilight" updates around the clock, visit

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Robert Pattinson Relishes Kristen Stewart’s Contact-Lens Discomfort

Stewart didn't understand why her co-star complained about his 'Twilight' vampire contacts until she had to wear her own.
By Kevin P. Sullivan, with reporting by Josh Horowitz

Robert Pattinson in "Breaking Dawn"
Photo: Summit Entertainment

Aside from ending what has been roughly five years of hard work and incredibly pale skin, "Breaking Dawn" brought a different type of satisfaction to Robert Pattinson. The end of the "Twilight Saga" meant that his co-star Kristen Stewart would finally understand the pain he's had to endure the entire time they've spent shooting the films.

It's not a great spoiler to say that Stewart's Bella will become a bloodthirsty, red-eyed vampire at some point during the two-part finale, whose first installment opens on November 18. This has been a long time coming for Bella, the fans and, it turns out, Pattinson.

Getting into character meant a change of eye color for Stewart and some vindication for her co-star. In the nicest way possible, Pattinson explained to MTV News' Josh Horowitz that knowing Stewart would have to experience the discomfort of his vampire contact lenses was "a great feeling."

Stewart had her own set of contacts to wear as the human version of Bella to turn her eyes brown, but those apparently did not hurt, unlike the gold contacts that Pattinson had worn since the beginning of the series. "She's like, 'I wear contact lenses. Why do you always complain about yours?' " Pattinson said.

When Stewart finally did change into her vampire eyes, Pattinson got what he had been waiting for. "When she finally wore them and then was complaining about them every second of the day," he admitted, "it was kind of satisfying."

Check out everything we've got on "The Twilight Saga: Breaking Dawn - Part 1."

For young Hollywood news, fashion and "Twilight" updates around the clock, visit

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Teen Mom’s BF — Can I Drop ‘No Contact’ Order?

Filed under: Gary Shirley, Amber Portwood, Celebrity Justice, Teen Mom

Amber Portwood 's baby daddy Gary Shirley is "interested" in getting Amber's "no contact order" dismissed ... and he's already reached out to the court to make it happen ... TMZ has learned. Law enforcement sources tell us Gary called court officials… Read more

FBI Contacted Over Threats to Lindsay Lohan

Filed under: Dina Lohan, Sam Lutfi, Lindsay Lohan, Celebrity Justice

TMZ has learned ... the FBI is now in possession of threatening and harassing messages sent to Lindsay Lohan and other members of her family. As we first reported, Lindsay has been receiving a variety of ominous messages ... some of which her people… Read more

Capri Anderson’s Lawyer Contacts Sheen’s Attorney

Filed under: Charlie Sheen, Capri Anderson, Celebrity Justice

TMZ has learned ... Capri Anderson 's lawyer has already contacted Charlie Sheen 's attorney who specializes in settling messy situations with celebrities -- but Capri's attorney got an icy response. Sources connected with Capri Anderson , aka Christina… Read more

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The Rope: The Forgotten History of Rock’s Early, Segregated Days

One night in the late 1950s, the Flamingos' bus pulled up to a concert hall in Birmingham, Alabama, and a row of 30 to 50 police officers holding rifles and billy clubs was waiting for them. The cops escorted the six-member doo-wop group, famous for "I Only Have Eyes for You" and "The Ladder of Love," to its dressing room and gave strict instructions: As black performers, they were to make eye contact with only the black fans, who were confined to the balcony, and not with whites on the floor.

"It was ridiculous," recalls Terry Johnson, now 78, a member of the Rock and Roll Hall of Fame–inducted group. "The cops were up there making sure we did not look at any white person. It was a rule when we came in: 'I don't want to see any of you darkies looking at the white women out there. If you do, your ass is mine.' Cruel things like that."

The Flamingos, like all African-American performers from that era, had to contend with Jim Crow absurdities. Often they couldn't stay at hotels, were served rotten food at white restaurants and were outright banned from others; they would instead drive out of the way to eat at black friends' homes. But that Birmingham performance stayed with Johnson.

"We were personalities. To say you can't look at someone who's smiling and applauding for you?" he tells Rolling Stone. "It was hard. I'll never forget that."

In the Fifties and Sixties, black performers found themselves on the front lines of the battle over segregation. The clashes at lunch counters, schools and on buses have been well documented, but reporters weren't exactly covering James Brown club shows back then, so we're reliant on survivors' biographies and oral recollections for the details. As the original rock & roll pioneers are fading out – Fats Domino died in October, Chuck Berry died at 90 last March, 84-year-old Little Richard has been intermittently sick, and most of the members of groups like the Flamingos are gone – it's more important than ever to share their stories.

Rock & roll, with its mixture of white country music and black R&B, arrived just as segregationists were tightening Jim Crow laws in response to the civil rights movement. Entertainers throughout the South were forced to participate in a crowd-separation ritual. Venues could be unofficially classified black or white – New Orleans' famous Dew Drop Inn catered to an exclusively African-American crowd, for example. But in other cases, police and promoters physically separated the audiences. Sometimes, as in the Flamingos' show, blacks were in the balcony and whites on the floor; other times, a painted line ran down the center of the theater or a rope bifurcated the audience.

In 1955, Berry performed at the Duval Armory, in Jacksonville, Florida, and recalled in his autobiography, "Just before they were to open the doors for the spectators, four of the maintenance guys came out and roped off the armory with white window cord. They looped and tied it to each seat down the center aisle, making it an off-limits zone that neither colored nor whites could tread." Berry also wrote that he once showed up for a Knoxville, Tennessee, concert only to find a group of white men had replaced him with a local cover band: "It's a country dance and we had no idea that 'Maybellene' was recorded by a niggra man," one said.

Historically, some concert-segregation laws had been haphazardly enforced, depending on the state and the racial attitudes of local officials and police officers. The International Sweethearts of Rhythm, an interracial, all-woman jazz group, managed to get away with integrated concerts when they toured the South in the 1940s, although they were occasionally turned away from entire towns and members were hauled to prison.

"There may have been more potential leeway and latitude, and a little bit of a blind eye being turned, prior to 1954-55," says Brian Ward, a Northumbria University professor in England and author of 1998's Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations. "The South begins to mobilize, in a much more concerted way, these forces of massive resistance – the laws get tightened up, coinciding with federal law decisions." In 1957, cops interrupted a biracial jam session at New Orleans' Preservation Hall and arrested all the musicians. The judge told an assembled courthouse crowd, according to several who were in the audience, "We don't want Yankees coming down to New Orleans mixing cream with our coffee."

In the early Fifties, Lloyd "Lawdy Miss Clawdy" Price performed in Raleigh, North Carolina, and was delighted to see blacks and whites dancing to his songs – until a white policeman stopped the music and stretched a rope down the middle of the dance floor. "It started happening a lot," Price, 84, says. "The rope was up in a lot of places. Whichever was the largest crowd, that was their dance. If it was more blacks, it'd be a black dance, and if it was more whites, it'd be a white dance."

"We experienced it in Atlanta, Georgia," says Sonny Turner, 78, the only surviving member of the Platters, another Hall of Fame doo-wop group, famous for "The Great Pretender" and "Only You." "We would go out and just walk around the street and wanted to see the marquee – and we were not allowed to come into the front entrance."

It wasn't just the South. Leon Hughes Sr., a member of the Coasters, remembers pulling into a scheduled show in Lincoln, Utah, anticipating a pleasant night of singing smash hits "Young Blood" and "Yakety Yak." He was climbing down from the bus when the promoter told them, "Uh, we're looking for the Coasters band." The group replied, "We're the Coasters band." The man said, "I think they're white." Hughes told him, "No, we're black." One of the men standing around panicked. "They ain't white!" he said. "Let's get them out of here!" The Coasters returned to their bus in a hurry and left town.

Some artists who appeared to challenge the color line met with violence or even death. In his autobiography, bandleader and "Willie and the Hand Jive" hitmaker Johnny Otis, who was white, recalls watching helplessly as a musician in his group was brutally beaten for neglecting to say "sir" in response to a white man's question at an Augusta, Georgia, concert in 1951. The late Jackie Wilson played a 1960 package show with several top singers in Little Rock, Arkansas, and when he realized they were scheduled to play two shows, first for blacks then for whites, he pulled out of the second one. White residents brandished guns and chased Wilson's entourage out of town. One of the performers, Jesse Belvin, who had a big radio hit with "Goodnight My Love" and co-wrote "Earth Angel," accelerated his '59 Cadillac so suddenly that his tires blew, the car swerved, and he and his wife died in the wreck.

Charles Neville of the Neville Brothers recalls this harrowing story: In 1959, three young white women regularly tried to outsmart Jim Crow at the Dew Drop Inn in New Orleans. Blending into the all-black audience, they wore dark makeup and glasses, and one covered her blond hair with a bandanna. One night, when Neville and house musician Guitar Red stepped outside for a break, New Orleans police handcuffed them to a telephone pole, hauled out the women and asked, "What the hell you doing with these niggers?" Neville watched as the cops beat the women so badly they had to go to the hospital. "Oh, Lord," he says, "we thought they were gonna kill us."

But in the era of Elvis, Chuck and Little Richard, a curious thing started to happen: Rock & roll shows became so boisterously biracial that it was sometimes impossible for officials to fully segregate them. Some recall the cops simply throwing up their hands. "A lot of places had the line when we first walked in, and after we started playing, they let them cross the line," the Coasters' Hughes says. "It was beautiful."

At the height of Jim Crow, young whites and blacks found ways to breach the separation. "After the first intermission, the kids were all dancing together," Price says. "I just kept playing my music and the kids kept coming….They were rebelling through dance, through a beat I'd created….They start realizing we're all human." In his authorized 1985 biography, Little Richard gives himself credit for single-handedly bringing segregated audiences together. "We were breaking through the racial barrier," he wrote. Richard's producer, H.B. Barnum, recalled, "When I first went on the road there were many segregated audiences….And most times, before the end of the night, they would all be mixed together."

Courageous musicians, white and black, contributed to concert desegregation, which continued in some places even after it was outlawed by 1964's Civil Rights Act. In 1961, Ray Charles canceled a scheduled show in Augusta because it was at the segregated Bell Auditorium; the Beatles refused to play segregated venues on their 1965 U.S. tour. The Playboy Club in New Orleans had an integrated jazz band in the Sixties, and owner Hugh Hefner had enough money and clout to threaten legal fights against anybody who tried to stop it.

These types of acts helped sway the public against Jim Crow, but "it's perilous to think the power of Chuck Berry was somehow going to bring down segregation," says Ward, the Northumbria professor. It was the Civil Rights Act – which, among other things, specifically prohibited discrimination in "any motion picture house, theater, concert hall, sports arena, stadium or other place of exhibition or entertainment" – that deserves most of the credit. "There are so many examples of the Klan loving black music, and as soon as the show was over, putting their hoods back on," Ward says. "If a shared passion for certain kinds of music was the key to racial harmony, then the world would be a lot different." 

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After Las Vegas Shooting, Live Music Organizers Look Cautiously Forward

In the weeks since a shooter killed 58 people and wounded more than 500 others at Las Vegas' Route 91 Harvest festival, Kevin Lyman, producer of the long-running Warped Tour, has been thinking a lot about security at his outdoor festival. In recent years, he'd already added police dogs and more barricades, and started contacting Homeland Security for help before shows. "It's at the forefront of my mind: How am I going to keep the kids safe?" he says. "My job hasn't been fun for a while. I used to worry about weather patterns and lightning storms. There's no way that anyone could've thought something like this would've happened."

Deadly attacks over the past two years, from Orlando, Florida, to Manchester, England, have forced concert organizers to drastically heighten their security, adding measures like anti-drone technology and moving crowd checkpoints far outside venue doors. But the Vegas massacre is causing them to grapple with an entirely new kind of attack.

"This one's a real game-changer because you have someone looking down at the very large crowd," says Bob O'Neill, president of the Grant Park Conservancy, which hosts Chicago's Lollapalooza. "That has to be secured." David Yorio, an owner of Citadel Security Agency, which oversees New York shows and festivals, says the attack will "redefine how we look at large outdoor gatherings." In the future, he says, urban festivals may look like a presidential or papal visit, complete with rooftop snipers. "They're going to have dozens of eyes on every window, every vantage point around the event."

O'Neill was shaken when he heard that Vegas shooter Stephen Paddock likely intended to attack Lollapalooza. Paddock booked two rooms at the nearby Blackstone Hotel for August, directly in view of one of the park's biggest exits (though he never showed up). "When the 
crowd funnels out, it's wall-to-wall people," says O'Neill. "It would've
 been awful." He adds that discussions are already happening 
with police and Lollapalooza, and 
a top priority will be monitoring
 surrounding hotel rooms. 

In the future, festivals may look like a presidential or papal visit.

Other options considered include running background 
checks on guests before they arrive, having police routinely screen 
rooms and putting customers' bags through security machines. Chad Callaghan, security consultant for 
the American Hotel & Lodging Association, is looking at some of 
those options for the major hotels 
he advises, but says he's worried they may turn off customers. "A knee-jerk reaction to any event that causes people's privacy to be interrupted could have severe consequences," he says.

There are other challenges: Lollapalooza is also surrounded by residential buildings. "Some lunatic could rent an Airbnb," says O'Neill. To tackle that problem, security experts are figuring out how to monitor buildings from the outside. Mike Downing, vice president of Prevent Advisors – a firm that advises on security for 28 arenas, including Madison Square Garden – is suggesting his clients have high-intensity lights available that security can shine onto distant buildings, helping them spot and blind an attacker.

Downing also recommends what he calls "overwatch" prep, which entails drivIng around near outdoor concerts before they happen and analyzing possible bullet trajectories from those buildings. "Someone called it the 'trigonometry of terrorism,' " he says. "When we do a protection detail for a diplomat or a president, we look at angles and trajectories from high-ground locations that could possibly target kill zones, and how you mitigate that." Downing recently worked with Iraqi generals on security protocols. "One of them asked me, 'How could such a mature, developed society such as America have this kind of savagery all the time?'"

All of these changes will cost money. Yorio suggests promoters could soon add about $100,000 for security at large events, which amounts up to an extra $2 per ticket. Veteran promoter Randy Phillips says he has recently increased his budget by about 25 percent. "You need police, local SWAT teams … more closed-circuit TV scrutiny," he says.

Artists are spending
 more on security too, including terrorism insurance that covers finances in the wake of an attack or threat. This helped Ariana Grande when she canceled several dates after a terrorist set off a bomb at her Manchester show. Costing more than two percent of an artist's guarantee, this insurance was previously viewed as too expensive outside of high-risk countries, but John Tomlinson of the major insurance firm Lockton Cos. says that "virtually 100 percent of our touring clients elected to secure terrorism insurance post-Manchester. Vegas only served to reaffirm that decision."

Many insiders are skeptical that any security measure could have prevented Route 91. "We can advance ever more quickly toward a security police state," says David T. Viecelli, agent for Arcade Fire and others. "Or we could just do what the rest of the world does and get rid of a lot of the guns."

Days after Route 91, more than 200,000 people gathered in Texas' Zilker Park for the Austin City Limits Music Festival. They experienced an increased police presence and long entrance lines, though only a few people seemed to mind. "When you ramp up security like this, it impacts your ability to feel free," said concertgoer Beau Redfield. Backstage, some artists were on edge. "I've been a wreck all week," said Band of Heathens' Gordy Quist.

Singer Valerie June described feeling anxious on the plane on her way to the show. "It hit me: 'I'm going to play a music festival.'" Those fears dissipated once she stepped onstage and saw people ready to dance. "I looked out and was just super-grateful that people's hearts aren't closing," she said. 

Additional reporting by Jeff Gage 

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