Weird Celebrity Insurance Policies

Weird celebrity insurance policies

Are the stars pulling our legs, or are their body parts at special risk? Here's a look at some of the unlikely anatomical assets celebrities got covered.

Savvy stars or crazy coverage?
With their paparazzi, bodyguards, mansions and private jets, celebrities live unconventional lives. And you can add one more thing to the list: absurd insurance policies with megabuck payout plans. These are not like typical insurance plans covering your house, car or other valuables. For insurance companies guaranteeing celebrity body parts for sky-high sums of money, the risk is high.

But insurance giant Lloyd's of London is famous for taking on big-digit celebrity policies over the years, including insurance on the legs of dancer Fred Astaire and a finger of Rolling Stones guitarist Keith Richards.

Gene Simmons' tongue'
Gene Simmons, bassist for the iconic late-'70s band Kiss, added his own signature move -- sticking out his extra-long tongue to the band's widely recognizable stage presence featuring black-and-white face paint and distinctive jumpsuits.Simmons' tongue, which is said to have been surgically enhanced, was reportedly insured when Kiss was at its peak.

Tom Jones singer 'chest hair'
Many appearance-conscious men are looking to wax or trim their wayward hair, but pop singer Tom Jones must think a little fuzz is critical to his status as a sex symbol. In 2008, the New York Daily News and several other media outlets reported that Jones had his chest hair insured reportedly for millions.Other sources, however, say it isn't true.

Dolly Parton 'bust'
Country music legend Dolly Parton, who is almost as well-known for her curvy figure as for her singing and acting, reportedly has insured her 42-inch bust .That's pretty good money for a woman who grew up in poverty  in an isolated corner of the Great Smoky Mountains

Keith Richards 'middle finger'
Several media sources have reported that Keith Richards, the legendarily hard-living guitarist for the Rolling Stones, has insured the middle finger on his left hand

David Lee Roth 'sperm'
Going a step beyond the idea of insuring body parts, David Lee Roth, the former lead singer of the rock group Van Halen, decided to put a premium on his sperm with an insurance policy , according to The Independent, a British newspaper. Some say this was a forward-thinking move, guarding against possible paternity suits.

Coverage without the cost
It's not always the celebrity who foots the bill. Instead, the insurance policy is often covered by an entertainment company or endorser. For example, Procter & Gamble has an insurance policy on the long, wavy tresses of Pittsburgh Steelers safety Troy Polamalu because the NFL great is the face of the company's shampoo product.

Likewise, Aquafresh toothpaste has insured the teeth of "Ugly Betty" star America Ferrera for millions, making her a poster child for the pearly white smile. Insiders speculate that insuring body parts is a way for a company to get media attention for a celebrity or ignite attention for a brand -- and to increase the overall dollar value of a highly profitable star.

Shirley MacLaine vs. the aliens
OK, so it's not a body part, but it's too wacky not to mention. Storied actress Shirley MacLaine is the owner of one of the most bizarre insurance policies in Hollywood, reports Parade magazine. According to that publication, MacLaine, who has been outspoken about believing in reincarnation and extraterrestrial life, owns a multimillion-dollar policy protecting her acting fortune against an alien abduction. In fact, more than 20,000 people in the United States have forked over insurance money to cover themselves in the event of an alien abduction.

u2  Bono 'Back injury'
U2 frontman Bono's recent back injury has cost his insurance company £11million, according to a report.
Brokers Robertson Taylor are expected to settle the bill after Bono injured his back during rehearsals, reports The Sun.
The star was forced to undergo emergency surgery in May, prompting U2 to postpone their North American tour and cancel their appearance at Glastonbury.
Bono said recently that the injury had been “quite serious”, but that he was on the road to recovery.
As previously reported on Gigwise, U2 have rescheduled their postponed US dates for next spring and summer.

lady gaga: ARTPOP and the Discourse of the Hysteric

The notion of hysteria as that of a suffering or wandering womb has been around since Antiquity. Yet, it was not until Sigmund Freud, in his famous case study of Dora, that hysteria became systematized vis-à-vis psychoanalysis as a form of pathology. In the middle of the twentieth century, Jacques Lacan took up hysteria and articulated it as a kind of discourse – an intersubjective relation or language game that we can inhabit. The following is a reading of Lady Gaga’s ARTPOP project and album, pre-release, through the psychoanalytic theory of Jacques Lacan, especially in regards to the hysteric’s discourse. These two thinker-artists, Gaga and Lacan, converge not only in their relation to the discourse of hysteria, but also in their project to commandeer desire, which it seems enables them to be read in tandem in a very complementary way.

As has been argued in numerous Gaga Stigmata (GS) articles, “Applause” acted as a preparatory setting-the-stage or, in the psychoanalytic sense, as a void or lack pregnant with possibilities from which ARTPOP proper could spring forth. Little attention, however, has been given to the chronological and structural primacy of the song “Aura” in its provision of the imaginary framework that foregrounded the possibility of the ARTPOP project in the first place. Being the very first song “leaked” from ARTPOP (even before “Applause”), “Aura” frames and situates the entirety of the ARTPOP project within the discourse of the hysteric, which lends support to the reading of Gaga’s project as necessarily subversive insofar as the hysteric’s discourse goes after the hegemony of the master through the demand that the master legitimate itself even though this is ultimately impossible.

That is, the hysteric is structurally situated within discourse in such a way that casts her very being into doubt – who am I? – and, consequently, she commands the master to fill this lack for her by answering the injunction – tell me! However, this commandment veils the fact that in the very act of questioning/demanding, the hysteric gives herself over to the master, thereby setting-up a symbolic dependence via the hysteric-master tension. “Aura” is precisely about this back-and-forth tease between the hysterical Gaga and the master: her fans, the media, the paparazzi, Perez Hilton, et al. – all of these constitute her big Other in the Lacanian sense, the master she desires to interrogate and to incite into performance for her pleasure. Gaga sings “do you want to see me naked lover?” Only if you perform for her first by telling her who she is. Read in this way, “Aura” situates the ARTPOP project within the sadomasochistic hysteric-master relationship and, thus, the songs, performances, etc. that fall under its auspices can be understood as various riffs off of, what is first and foremost, Gaga as hysteric.

Indeed, the very title of the album, ARTPOP, alludes to its hysterical intentions: to destabilize and conflate meanings. That is, it amalgamates disparate domains – ART + POP – not only literally, to the letter, but more metaphorically within the semantic field. Gaga wants to fasten the binaries of the ART-POP dialectic: “we could, we could belong together.” In so doing, the signifiers of each domain are engendered into confluence, thereby creating a unique and different realm of meaning.

Lacan calls these nodal points of reference the point de capiton, quilting or anchoring points, whereby desire vis-à-vis meaning is allowed to flow in unique and particular ways. Importantly, though, these channels are always contingent or, in other words, the signifier may be coaxed into adjoining another, different signified. In a sense, then, the point de capiton is a kind of tautology, a dialectic that is reflexive and self-referential. In “Applause”, Gaga captures this quite nicely when she sings,

          One second I’m a Koons, then suddenly the Koons is me.

          Pop culture was in art, now art’s in pop culture in me.

In these seemingly menial tautological iterations, Gaga is quilting herself and the entirety of her pop-culture, fantasmatic, and ideological project to the world of Art. She, in part, accomplishes this by calling-forth desire through her refusal to satiate meaning; or, to say it differently, through the hardcore polyvalence of her signifiers. The way in which she sings certain lyrics leaves their manifest meaning (i.e. what she is “actually” saying) largely ambiguous and up for interpretation, suspended in a hermeneutics of difference. This led some to label “Applause” as the victim of a “bad mix.” That is, the volume levels of the vocals and music seemed off: it was hard to hear what Gaga was saying because her voice was so similar to the production. RuPaul’s producer Lucian Piane was one such critic,

What these critics fail to realize, though, is that it is the polyvalence of signifiers as such that titillates and gets desire flowing. For example, when Gaga spells out A-P-P-L-A-U-S-E in the backing track, I first heard this as “it is the end of you.” It was not until the lyric video came out that I recognized there was a discord between what I heard and what the “official” lyrics were. Realizing this, I could not help but smirk because, in a sense, I felt as though I had been duped – of course she is spelling applause, I thought; that is the very name of the song! There are also other parts that tricked me. In the chorus the official lyrics are “make it real loud,” but it can also be heard as “make it real love.” Certainly, too, the utterance “Koons” is highly ambiguous (Koons ≈ coon ≈ cunt). This is not to say that there is some hidden or sinister meaning that Gaga is trying to sneak by us à la the alleged backmasking in Led Zeppelin’s “Stairway to Heaven.” Rather, it is the exact opposite. There is no one secret meaning that Gaga wants us to hear; she wants us to hear legion meanings, meanings without enervation in order to arouse our desire.

What’s more, Gaga invokes what is the sine qua non of our desire: the Thing or, das Ding. She sings, “give me the Thing I love.” The Thing is a fantasmatic object that generates the perpetual deferral of desire and that we hope will fill our lack thereby providing us with unmediated jouissance – unbridled orga(ni)smic pain-pleasure. We use various objects in the world to try and incarnate the Thing only to become frustrated by their necessary incompleteness. In ARTPOP, Gaga manifests this chiefly as Jeff Koons’s gazing/garden blue ball sculpture.

She inscribes the dignity of the Thing into one of the most banal objects possible: a simple sphere, something that we might find in the clearance bin at Wal-Mart at the end of summer, lest we forget its label status. It is not McQueen or Mugler this time, but a Jeff Koons sphere – and that makes it different in kind from the blue garden balls you find at Wal-Mart (or, does it?). This is, of course, subversive in its conflation of high culture with low, the former being art and the latter being pop, and is in line with Gaga’s continual project of raising the superficial to the level of the real.

Simultaneously, the blue ball is also a semblance of the frustration of the analysand’s desire during analysis, similar to Rifai’s description of glamouring in GS – a trick that keeps the listener frustrated and desire coursing. Any G.U.Y. reading this will understand the feeling of having his libido terminated before he is able to achieve completion. The result: blue balls. Or, blue Koons balls to be more precise. It is certainly noteworthy where the Koons blue ball is placed on the ARTPOP album cover – in front of Gaga’s intimate, private parts. In one sense, this placement crashes together the antinomies of testicles-vagina, male-female, public-private in traditional Gaga-trickster fashion. However, in another sense, she also recapitulates the phoenix theme from Born This Way by actually birthing the blue ball. In this way, with ARTPOP, she is giving birth to male frustration as such.

But in the Lacanian sense, not only Gaga, but also femininity in general, is a midwife to the male subject insofar as woman is a symptom of man; that is, femininity can only ever be an object of desire for the male gaze. On the album cover, the blue gaze-ing ball creates the statue of Gaga; it reifies the female as object. This is not only true in a psychoanalytic sense but also in a very literal sense since Jeff Koons created both the blue ball and the statue of Gaga.

Similarly, during the early ARTPOP era, Gaga has continually displayed herself as the Roman goddess Venus in a huge, voluminous wig with ‘hair to the gods’ (think a disheveled, crazed hysterical woman). By embodying Venus, the goddess of love, desire, and fertility, Gaga is positioning herself as an object of the male gaze, par excellence: the divine nexus of jouissance that remains eternally unattainable and therefore excruciatingly frustrating. In Lacanian psychoanalysis, this is known as the objet petit a, or the object of ultimate desirousness.

“Aura” is perhaps Gaga’s way of laughing at our frustration, and there is no better theme song for the hysteric than “Aura.” The inaugural lyrics disclose this fact: “I’m not a wandering slave, I am a woman of choice!” The lyric points to the horrific and hidden kernel around which the hysteric’s discourse eddies; namely, the impenetrable lacuna and question of “am I a man or a woman?” The very speech-act in the lyric – “I am a woman!” – belies this underlying and incessant questioning that challenges the hegemony of the master: What is a woman? Who am I? What do you want? Che vuoi? In “Aura,” Gaga speaks for us through the hysteric’s injunction to the master: Tell me!

She needs us to define her as a woman, as a subject that does not wander but possesses some viscosity of substance. This is hysterically humorous in the psychoanalytic sense precisely because the woman as subject does not exist. Gaga seems to be in on the joke when, in a quintessential act of trickery, she inverts the etymology of hysteria. The word hysteric has its roots in the ancient Greek meaning belonging to the womb, suffering in the womb, and in the nineteenth century was generally thought to be a disturbance of the uterus, a wandering of the womb. No, Gaga declares, she is not wandering – she is a woman of choice!

Furthermore, in the hysterical condition, the nervous system has gone awry such that paralysis or pains occur sans any organic etiology. In other words, the hysteric slips through the iron fist of medicine or of any kind of technical manipulation of the body. In this way, Gaga as hysteric is able to render herself diffuse, to become an effervescent and ephemeral aura, and to thereby escape even the medieval humiliation/torture masks that Betancourt analyzes in the Swine iTunes Festival performance. The body of the hysteric is a conundrum, an in-assimilable anomaly that, by its very nature, thwarts any kind of totalized symbolic interpolation. This is made explicit by Gaga in the lyrics to “Do What You Want (With My Body)” featuring R. Kelly:

The body, in the hysterical sense, is an incendiary irrelevance – a technical means to an end, a medium of signification, a canvas on which to paint (cf. Pierrot). This, of course, has been a central motif in Gaga’s project since the very beginning. That is, the coding and recoding of the body vis-à-vis fashion, makeup, hair, or, more generally, costuming. The difference in ARTPOP, however, is the explicit adaptation of the hysterical position that has allowed Gaga to position herself against her old way of costuming by literally stripping herself down (e.g. the naked pictures in V Magazine, the onstage changing during the iTunes Music Festival, the performance of “Applause” at the MTV Video Music Awards).

Her “voice” and her “heart” will go on, will endure sans a body. In the “Pervert’s Guide to Cinema,” Žižek reads Friedkin’s “Exorcist” as illustrating how the voice acts as an alien intruder, a foreign entity that possesses us and speaks not on our behalf, but from somewhere else. In this way, the voice is not at all part of the organic body and, least of all, speaks on our behalf. The voice, for Gaga, constitutes a creative and sublimatory means of persistence in the face of having her body snatched away from her – her significations come from a realm beyond the organic, beyond the body, and are fed primarily by us, the fans. 

So, too, with the “heart” or love from her fans Gaga is able to endure. This relationship can be read as a relation between the hysteric and the master with Gaga being the former and her fans being the latter – as she sings in “Government Hooker,” “I can be anything, I’ll be your everything.” She creates a symbolical dependence with her fans to tell her who she is, what she can be; she is whatever they desire her to be, which in turn keeps their desire fluid and pulsating (think: fans as poppies/opium during the “Applause” performance on GMA). The hysterical Gaga is too wily, though, to be rendered qua object and, instead, flees from any formal attempt to pin her down and assimilate her within a libidinal economy. She shape-shifts in order to remain forever desirous and is therefore eternally elusive, always as the objet petit a.

In a previous analysis of “Aura” on GS, Cavaluzzo reads the female-burqa dialectic as a double-dare to the hegemony of phallogocentric culture: “can a masculine culture handle a woman’s soul?” If the woman removes her makeup, her wigs, her clothing, her shoes, her jewelry will the man still be able to bear what lies underneath? Will patriarchy be able to accept the woman just as she is, stripped down to her bare essence? If we situate this song within the hysteric’s discourse of psychoanalysis we see that the foregoing analysis misses the point completely. In fact, it is the exact opposite.

The whole point of “Aura” is that there is nothing; there is nothing underneath all of the covers; there is only a lack fetishized by the male gaze.

Or, more precisely, there exists a woman that does not exist, nor has ever existed. There are only burqas and more burqas all the way down. Further, though, masculine culture or the male libidinal economy can never, in the psychoanalytic sense, “handle a woman’s soul” because its very existence is predicated on the female as object of desire. There can never been an assimilation between the two opposites, male or female, since there is “no sexual relation” to begin with.

Gaga changing mid-performance and onstage during the iTunes Music Festival 2013.

It follows, then, that “Aura” and perhaps Gaga proper, in their very essence, are a joke. A joke by way of inviting and enticing us to see the real beneath the artifice, the woman behind the burqa. It is in this sense that when Gaga changes on stage and unveils the popstar, she is actually doubling down on the joke. She is saying: “Look! I can show my body underneath all of this costuming, underneath all of these burqas, but you are still not going to get what you want. The truth is, you can never get what you want. I am just as elusive and desirous as ever!”

The realization of this joke, in some respects, is similar to the end of analysis for the analysand. Namely, the neurotic analysand comes to have a flash of joui-sense (pleasure-meaning) when his narcissistic and imaginary fantasies collapse, and he realizes that the analyst has no new knowledge to offer, no secret access to jouissance, and no better contact with the Thing. The funny thing is that Gaga gets the joke even before “Aura” starts – at ARTPOP’s very conception. She laughs hysterically: “HA HA HA HA HA HA!”

---

Additional Works Cited:

Fiennes, S., Žižek, S., Eno, B., Myers, T., Amoeba Film., Lone Star Productions., & Mischief Films. (2006). The pervert’s guide to cinema. London: P Guide.

Freud, S. (1952). The case of Dora and other papers. New York: Norton.

Hysteria. (1961). In The Oxford English dictionary (5th Vol.). Great Britain: Oxford University Press.

Lacan, J. (2007). Écrits: The first complete edition in English (B. Fink, Trans.). New York: W. W. Norton.

Author Bio:

Jacob W. Glazier, M.S. Ed., NCC, is a Ph.D. Student pursuing a degree in Psychology in Consciousness and Society at the University of West Georgia. He has his Master’s degree in Clinical Mental Health Counseling and practices at the Center for Counseling and Career Development at the University of West Georgia. Jake is also a Graduate Teaching Assistant. Jake is working on his dissertation with the aim of appropriating queer theory in light of Lacanian psychoanalysis, especially in regard to the arts of drag and fashion.

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Kerry Washington - The Celebrity Hot and Actress of Hollywood

KERRY WASHINGTON Winner for "Outstanding Actress in a Motion Picture" for Ray at the NAACP Image Awards in 2005 and Nominated for an Independent Spirit Award for "Best Actress" in the film Lift in 2002, Kerry Washington is proving to be one of the busiest actresses in Hollywood. She garnered critical acclaim for her latest roles in The Last King of Scotland opposite Forest Whitaker for which she was nominated for "Outstanding Supporting Actress in a Motion Picture" at the NAACP Image Awards in 2007, and in The Dead Girl opposite Marcia Gay Harden and Brittany Murphy. Most recently, Washington was seen on the big screen in Fantastic Four: Rise of the Silver Surfer reprising her role as Alicia Masters, as well as in I Think I Love My Wife opposite Chris Rock and the Wayans Brothers' comedy Little Man. She is currently in production on A Thousand Words starring opposite Eddie Murphy.
Prior to these films, Washington starred in Mr. and Mrs. Smith, starring Brad Pitt and Angelina Jolie, Fantastic Four, directed by Tim Story and Ray, the inspirational life story of Ray Charles, opposite Jamie Foxx. Previous to Ray, she played the lead role opposite Anthony Mackie in Spike Lee's She Hate Me, as well as starred in Sidney Lumet's HBO film Strip Search and the independent film Sexual Life.
Other film credits for Washington include Against the Ropes, The United States of Leland, The Human Stain, Bad Company, Lift, Save the Last Dance, for which she received a Teen Choice Award for Best Breakout Performance, and the highly acclaimed independent film, Our Song.
During her free time, Washington is an active member on the Board of Directors for The Creative Coalition, a group dedicated to raising awareness of First Amendment Rights and support of arts in education. She is also a member of the V-Counsel, an esteemed group of advisors to V-Day, the global movement to end violence against women and girls.

The Naked Truth Behind Marijuana

Rihanna

Not all music video nudity is sexy music video nudity. Sometimes it gets REAL emotional, like in Rihanna's "Stay." So many tears in "Stay."
  

Smoking weed, marijuana or cannabis was once considered to be a very dangerous, not to mention illegal pastime. In modern times however, advances in information technology have allowed the proliferation of free speech leading to more open talks on the uses of marijuana as well as the true effects of smoking weed on the human body. In fact, one could say that marijuana's reputation has made an almost full heel face turn within only a few years thanks to better information dissemination. The notoriously famous internet celebrity Mugenjohncel has even created a Ren'Py visual novel game about called "Marijuana - The Truth," which is pretty much an informational documentary about the true impact of Marijuana on physical health as well as the applications of cannabis in the field of medicine. Although the negative stigma behind smoking weed still persists, people are now a lot more informed about the naked truth behind Marijuana.
The fact of the matter is that smoking weed or pot is not really any more dangerous than overindulging in alcohol or smoking ordinary cigarettes. In fact, among substances which have been labeled as dangerous drugs, Marijuana is considered to be the least addictive. In fact, cannabis or weed is actually considered to be much less dangerous than smoking tobacco or cigarettes. Authorities on the subject matter of substance dependence rank Marijuana's addictive properties to be less than that of coffee.
One issue about smoking weed that is often the subject of heated debates with compelling arguments from both sides of the Marijuana camp is about Marijuana being a gateway drug - in other words, a drug that could lead to further drug addiction towards more potent drugs such as cocaine. On the pro-Marijuana Legalization side of the camp, they claim that since Marijuana is not an addictive drug, smoking weed is no more dangerous than smoking cigarettes with high nicotine content and that nicotine is a much more potent gateway drug than Marijuana could ever be. One the other hand, studies undertaken on Marijuana as a gateway drug are inconclusive at best. While some studies state that there is a statistical relationship between Marijuana and other more potent drugs such as cocaine, the scientific rationale towards the transition from Marijuana to hardcore drug abuse is still a work in progress at this point.
Just what are the effects of smoking weed on the human body? Marijuana has a number of long-term as well as short-term effects, although only a few of them can be considered to be serious. For its short-term effects, smoking pot has been known to cause loss of coordination, difficulty in problem-solving and analytical thinking, memory and learning difficulties, as well as generally distorted senses. In fact, although alcohol is a legal substance, drinking alcohol has much more dangerous short-term effects such as acute alcohol intoxication or what is better known as alcohol poisoning. As to the long-term effects of Marijuana, they are pretty much on par with that of cigarette smokers including lung damage, increased risk of cardiovascular diseases and daily coughing and increased phlegm production.
Another effect of smoking pot, which is largely unconfirmed, is that it might cause the development of cancer. What is better known is that smoking tobacco and cigarettes can cause cancer. A study conducted on people who smoke weed regularly did show an increased risk for the development of cancer, but the results of this study could not be confirmed by related, relevant studies. It can be inferred however, that due to the similarities between smoking pot and cigarette smoking that the development of cancer through marijuana use is a definite possibility.

Over-all, the naked truth behind smoking Marijuana [http://learnhowtostopsmokingweed.com/tips-on-how-to-stop-smoking-weed/] is that it has been largely demonized by poorly-researched, albeit well-meaning mass media campaigns against drug abuse. The substance can be dangerous, but so can anything else when the user fails to exercise moderation.

I'm A Celebrity Stars Amy Willerton and Joey Essex Shower Together In The Jungle

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Amy Willerton and Joey Essex seem to have grown very close in the jungle and now this year's I'm A Celebrity contestants, they seem to be spending more time together than ever.

In Thursday night's episode of the show, the couple took a shower together, showing off their amazing bodies. 

Amy wore an emerald green triangle bikini and the make-up free star wore her favourite pearl necklace once again with her outfit. 

'I’m scared, it’s cold,' said Amy apprehensively as she walked towards the shower.

'Pretend it ain’t cold,' said Joey.

'It’s not cold,' Amy tried to convinced herself.

'I feel like we’re doing one of those spiritual music videos,' she added.

Amy, 21, was the first to dive in while Joey took a moment to steal a sneaky glimpse of the pretty star.

Joining her soon after, Joey, 23, showed off a surprisingly large pair of biceps and a very toned chest, while wearing a pricey pair of Louis Vuitton swimming shorts.

The reality star brought along a couple of bottles of toiletries and Amy had a simple bar of soap with her and it wasn't long before the pair got themselves lathered up.

At one point, Amy giggled as Joey gasped under the icy cold water but it gave him the perfect opportunity to flex his impressive pecs for the beaming beauty.

The pair have bonded since the first day they met on the show.

On Wednesday night, viewers witnessed Amy giving Joey a saucy shoulder massage which he really seemed to enjoy.

But the show of closeness made fellow camp mate and Olympian swimmer, Rebecca Adlington, feel uncomfortable. She told the pair: 'I can’t take the sexual tension anymore.

Edit

‘It’s so awkward for me and Steve [Davis] just sat here watching you two. I feel like I’m watching porn with my parents.’

But the close moments didn't end there with Amy also teaching Joey how to tell the time, while sitting closely together. 

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Amy revealed that she is looking for love before she entered the jungle.

She said: ‘I’ve been single for five months now and I’m open to meeting somebody. If there’s someone that I really like in there, maybe I’ll mingle.      

‘I would love a Tarzan to sweep me off my feet in the jungle. That would be amazing. I’m a real romantic. I’m definitely up for being a jungle Jane.’

Soap stars: It wasn't long before Amy and Joey Essex got lathered up in the shower

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Reem rinse: No doubt Joey was giving his precious hairstyle a bit of TLC

And it sounds like Joey's on the same page. He chose a two-seater blow-up boat as his luxury item to bring on the show with good reason. 

He said: ‘I can use it as a bed. And if there’s a salty potato [Essex slang for a pretty girl] in the jungle, I can take her for a little day out.’

At least Joey can rest assured that if he does start dating Amy, his friends will give him their seal of approval. 

 

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Earlier, Joey's close pal and fellow TOWIE star, James Argent told ITV talk show, Daybreak he was jealous of the duo's chemistry.

He said: 'She’s lovely… I am a bit jealous yeah,'

The cheeky Essex lad added: 'If it doesn’t work out with them two hopefully he’ll introduce me to her after... She’s naturally pretty, she’s well spoken, a bright girl.'

It was rumoured that Joey's ex-girlfriend Sam Faiers might be entering the jungle, which may have scuppered the budding romance but thankfully, ITV have now confirmed that this is not the case.

Celebrity News Kendra Wilkinson

Philadelphia Eagles wide receiver Hank Baskett recently married "Playboy" centerfold Kendra Wilkinson. The wedding took place at the Playboy Mansion, where the couple exchanged vows beside the infamous Wishing Well on the Mansion's front lawn.

Baskett secretly went shopping for an engagement ring for Kendra (who didn't even know that she was going to be proposed to) and he found it at Bernie Robbins Fine Jewelers, near his house in New Jersey. Hank had some difficulty buying the ring as whenever he was at Bernie Robbins', Kendra would call him.

"Kendra would just happen to call me then. Every time! I would be like, I'm getting my computer worked on, I'm at the shoe store. I made something up. I had to be sneaky about it because Kendra's a little inspector, always picking up clues," said Baskett.

Finally, Baskett was able to seal the deal and Wilkinson wound up with a ring featuring a 2-carat princess-cut diamond surrounded by 60 diamonds. The idea was to get a ring that the sparkle and fire of which could be seen "from all angles. I'd keep it in my safe. And I'd look at it every day before practice, then I'd clean it. I'd come home from practice and still clean it. No one else touched it, but I still cleaned it," Baskett said.

Baskett was nervous about how the proposal would go over. "I honestly felt this ring was the one. But there was still a lot of nerves. Like my god, I hope she likes this," Baskett says of his November, 2008 proposal. And Kendra said before the wedding, "I hope it turns out good. I'm nervous -- I don't like the 80's prom look. I like a simple look -- and it's hard to find it."

Despite the pre-wedding jitters, everything seemed to fall into place. "Everything looked so beautiful around me -- it was surreal," Kendra would later say of her wedding day.

It was a fairytale wedding, Mary Wilkinson, Kendra's grandmother, exclaimed. And Kendra's mother, Patty Wilkinson, added, "Watching [Kendra's brother] Colin walk Kendra down the aisle was really emotional and beautiful. She looked breathtaking."

"Holly cried like a faucet and I held back tears. I'm usually the emotional one. The ceremony was short and sweet and bombarded by helicopters. [Kendra looked] like a princess," said friend Bridgett Marquardt, who is another former Playboy model and another former Heffner blonde girlfriend.

Kendra should have looked like a princess with her ring and her $20,000 duchess-silk gown which was woven from 55 yards of fabric and covered by 1200 crystals; the dress was co-designed by Kendra and R-Mine Bridal's Armine Ohanessian.