Keith Richards on His First Solo Album in 23 Years


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First Listen: Lou Barlow, ‘Brace The Wave’

Brace The Wave keeps the Sebadoh singer’s sound stripped to its barren bones, an approach suited to the pleas and confessions therein.

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Ruth Reichl’s Making a Bay Area Appearance; There’s a Food Music Fest This Weekend

Ruth Reichl's Making a Bay Area Appearance; There's a Food Music Fest This WeekendQueen food writer Ruth Reichl is making an appearance at the Mountain View Center for Performing Arts on Monday, August 31 as part of the center's lecture series (and probably to promote her upcoming cookbook). The event brings together food from the likes of Chica, Hal Jr's Bar B Q and ShakeDown Ice Cream, craft beer from Henhouse and Fort Point and music from Crashing Hotels, Vanwave and more, all to benefit the San Francisco Rock Project. MISSION — 18 Reason's next pop-up dinner will feature Peruvian food from chef Nico Vera, who will talk about the history of the dishes he serves and play authentic Afro-Peruvian to eat to.



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Miley Cyrus Says Nicki Minaj Was ”Not Very Polite” During Video Music Awards Outburst—Plus, 7 More Things We Learned

Is there going to be awkward tension on Sunday?

Just as news breaks that the 2015 MTV Video Music Awards is going to open with a performance from Nicki Minaj (guess she doesn’t hate…


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Is Chief Keef Naming His New Baby After the Website That’s Selling His Album?

Will Chief Keef’s newborn baby be named after Hologram USA billionaire Alki David’s streaming TV and music platform FilmOn.com? It depends on whether…
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5 Seconds of Summer’s ‘Jet Black Heart’ Races Up Trending 140 Chart

5 Seconds of Summer received an unwelcome surprise as their song “Jet Black Heart” leaked online Thursday.
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Pink Wine Panic: Today’s the One Year Anniversary of the Great Hamptons Rose Shortage #NeverForget

It's only been one year since the Great Hamptons Rose Shortage of 2014—but oh, how easy it is to forget. Last year's pink wine panic had swishy Long Island seaside towns fraught with uncertainty. Page…









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Is There a Fashion Investment That Will Fund Your Old Age? One Writer Investigates

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When the stock market starts to go nuts, when you find the word volatility creeping into your conversations—and not just to describe your boss—you may find yourself thinking, “Where could I park my money that won’t be subject to such wild swings? Is there an investment I can make—preferably in something beautiful, something I can actually enjoy for decades!—that will also fund my old age?”

Of course, as in so much else in life, financial hindsight is 20/20: If only my dad had bought that little yellow house in Montauk for $ 14,000 in 1961! If only I had ripped a Keith Haring Radiant Baby graffiti off a subway station wall 30 years ago!

But if I have been spectacularly unsuccessful in my investment planning thus far, at least I have the right friends. I sit down with my compatriot B., who is a genius at flipping real estate, and is also a walking encyclopedia of high-end vintage goods. He agrees with me that the trouble with sinking your disposable income into a Fortuny gown or a Chanel frock from the twenties is that you can’t actually wear these things—a single drop of perspiration, an errant rain shower, can trigger a rapid deterioration that will destroy future earning potential. Think about it—even a stolid Birkin is worth much more in a pristine state. (But what fun is it to have a Birkin if you can’t take it out so your friends will say, “Oh look, you have a Birkin.”) To put it simply: The more you personally enjoy using your vintage fashions and accessories, the less they will be worth.

B. thinks gorgeous furniture is a great alternative, but I am not sure my dinky apartment is the right place for a Gallé breakfront. And you can’t wear a Gio Ponti credenza to the Met Gala, or string a Ruhlmann desk around your neck and go out to dinner.

Which brings us to jewelry! This stuff practically is money (Just ask a drug dealer, or a refugee from czarist Russia, what the best way to smuggle money across borders is, and they will point to a batch of bling hidden in their underwear.) B. says your pieces should be signed if at all possible, and that Van Cleef and Cartier are at the top of this glittering pyramid. To this duo, you can add Verdura and Bulgari, and more contemporary pieces by JAR.

But why stop with the brands that everybody knows? Substantial money, B. tells me, is secreted in far more obscure pieces—French Art Deco masterworks by people like Jean Després, Raymond Templier, Gustave-Roger Sandoz, and Suzanne Belperron. (Google their creations—your heart will stop.)

It begins to dawn on me that real scholarship is required to make the proper financial decisions—otherwise, how will you know if you bump into a Templier brooch at the Porte de Clignancourt flea market? At least he signed his creations—Suzanne’s glorious pieces are defiantly nameless. Asked once why she never signed her work, Madame Belperron replied: “My style is my signature.”

So start studying! Brush up on your French! Or forget the whole thing and call a broker.

The post Is There a Fashion Investment That Will Fund Your Old Age? One Writer Investigates appeared first on Vogue.

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PETA To Make A Killing Off Dentist-Slaying Lion Costume?

Minnesota dentist Walter Palmer has been chewed out since he killed Cecil the Lion in in Zimbabwe in July.

Now animal-rights group PETA has turned it into their own big game with a Halloween costume that depicts a dentist getting attacked and eaten by the king of the jungle.

The costume, called “Cecil’s Revenge,” sells for $ 139,99 and includes a bloody lab jacket with a stuffed lion pouncing on the back, according to a press release.

Customers can add to the effect by accessorizing with their own toothbrush, dental drill or bow and arrow.

“As animals continue to die in agony at the hands of trophy hunters, it’s only fitting for people to make fun of Palmer for his illegal, violent pursuit,” People for the Ethical Treatment of Animals president Ingrid Newkirk said in the release.

The carnivorous costume is a fundraiser for the organization.

A few days ago, Costumeish.com, a southern California-based costume company revealed it’s selling  an outfit depicting Palmer killing Cecil. 

Newkirk approves of that costume even though it depicts Palmer killing Cecil.

“Nasty little people try to make themselves feel good by killing wild animals who are minding their own business, so we at PETA think it most fitting that people make fun of the dentist for his sick, illegal pursuit by fashioning a hideous Halloween costume after him, as they would after Freddy Krueger or Jason,” she told HuffPost by email.

 

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Kim Kardashian Goes Topless For Sultry Magazine Cover Shoot

She may not have always been comfortable posing in the nude, but these days, Kim Kardashian is confident in her birthday suit. 

The 34-year-old took to Instagram Thursday afternoon to share a few new sultry photos from her September cover shoot with C magazine. In the black and white images, the “Keeping Up with the Kardashians” star covers her chest with her forearm as she looks off into the distance. Her brunette locks are slicked back and she’s sporting smoky eye makeup. 

Inside the issue, the expectant mother of one talks about balancing her many business ventures and being a parent. 

“If I’m working on an individual project, like my fragrance, I will only work on it if I’m 100 percent passionate about it, because that takes me away from my family,” she said. “I base my whole schedule around my daughter and my husband — that’s how life is now.” 

The reality star added that motherhood “taught me how to prioritize. And I was forced to take a break for awhile. I never liked downtime, but I decided I enjoy it — that’s when the fun ideas come about.” 

To read the whole interview, head to C magazine

 

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Trump: ‘Making America Hate Again!’

Trump’s official campaign slogan is “Make America Great Again!” Perhaps he should change it to the headline above.

The Huffington Post has made an editorial decision to put Trump articles in the Entertainment section instead of the political section. This seemed like a good idea at the time.

Admittedly he is the class clown — and the schoolyard bully. Oddly, also the teacher’s pet. But his toxic mix of egotism, cynicism and racism simply isn’t entertaining. It is, however, still a spectacle.

His now infamous tirade about Mexicans being criminals and rapists is well-known.

Recently two cowardly young thugs in Boston allegedly urinated on and used a metal pole to beat a 58-year-old sleeping Hispanic homeless man, fracturing his nose and causing other serious injuries. One of them reportedly told the police “Donald Trump was right, all of these illegals need to be deported.” (Apparently, the two assailants checked his immigration status before brutalizing him.) A news person asked Trump for his reaction, and Trump reportedly said “That would be a shame” adding this remarkable statement, “I will say, the people that are following me are very passionate. They love this country. They want this country to be great again. But they are very passionate. I will say that.”

His supporters chanted “USA! USA! USA!” when some protesters were thrown out of a Trump event in Phoenix — as if they were cheering at Wrestlemania.

This week at a press conference in Iowa, several times Trump ordered Univision anchorman Jorge Ramos, a respected journalist and an American citizen, to “Sit down,” as if Ramos were a dog being ordered by his unkind master to “Sit.” Trump also added to “Go back to Univision.” Then Trump nodded at one of his security guards who escorted Ramos out of the room.

In the hallway, a Trump supporter further humiliated Ramos telling him “Get out of my country.” Ramos responded with restraint, class, and dignity.

The delusional Donald has often claims that he will win the “Hispanic” vote. This assertion might be just another Trump empty promise. A recent Gallop Poll shows among Hispanic voters, he has the highest disapproval rate (65 percent) of any GOP candidate.

Apparently he is looking to carry Asian vote as well. Here’s Trump mocking them and doing a racially stereotypical impersonation of “these people”:

While Trump may not carry Latinos or Asians, he will likely carry the racists’ vote. It isn’t surprising that Trump is receiving endorsements from white supremacy groups and neo-Nazis. David Duke, former grand wizard of the Ku Klux Klan, has reportedly called Trump the best of the GOP candidates.

In an interview with Bloomberg’s Mark Halperin and John Heilemann, Trump reportedly said “I don’t need his endorsement; I certainly wouldn’t want his endorsement” and added “I don’t need anyone’s endorsement.” When asked if he would repudiate the endorsement, Trump is quoted as saying “Sure, I would if that would make you feel better.”

That doesn’t make me feel any better.

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Bieber, Diplo and Skrillex Make a Hit: Inside History of ‘Where Are Ü Now’

How Diplo and Skrillex turned a ballad by Justin Bieber into an E.D.M hit.
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First Listen: The Arcs, ‘Yours, Dreamily’

In his new band, The Black Keys’ Dan Auerbach plays immersive, funky R&B and soul that’s embellished with velvety harmonies, hissy tape recordings and lip-curling attitude.

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‘VAN Beethoven’ using VR to bring classical music to greater LA

A traveling VR experience will allow LA residents will be able to see and hear a performance inside Walt Disney Concert Hall.Starting in September, the Los Angeles Philharmonic will be giving people around LA the chance to virtually step inside Walt Disney Hall via an Oculus Rift headset. The virtual reality experience VAN Beethoven will be based out of a specially designed truck that will make its way around Los Angeles beginning on September 11, when it will be stationed outside Walt Disney Concert Hall, the home of the LA Phil, and ending on October 18 during CicLavia, which sees some of the city's streets closed to traffic. In between those two dates, the touring truck will make its way to the LA County Fair, the Hollywood Bowl, Museum Mile, Grand Park, the Levitt Pavilion and the LA Korean Festival, among other destinations — and with more to be added as the event approaches.



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Are You Team Matte or Team Glossy? The Best Fall Lip Trends Go Head to Head

Get ready to make one of the most important decisions this season.

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Oops! Justin Bieber Did It Again – With A Little Help From Britney Spears

Justin Bieber finished up his ‘What Do You Mean’ celebrity countdown series with a little help from Britney Spears.
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Insomniac’s Pasquale Rotella Launches Night Owl Radio on Sirius XM

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2015 MTV VMAs Preview: ‘We Have a Delay So We’re Prepared for Miley,’ Says Show’s Executive Producer

The MTV Video Music Awards is an annual treat for music fans. After all, you can always count on the show to deliver memorable television, be it…
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20 Moments We’ll Never Forget From the MTV Video Music Awards

The MTV Video Music Awards have been a spectacle since they started back in 1984—but certain moments are burned in our brains more than others. Here are 20 of the most unforgettable scenes in VMA…









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Unexpected Honeymoon Spots That Will Make You Rethink Your Plans

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Photographed by Arthur Elgort, Vogue, June 1998

Nothing brings you down from a post-wedding high faster than being herded onto a plane with hoards of other honeymooners. Rethink that traditional trek to Hawaii or Paris and head to one of these more under-the-radar destinations. You’ll have an unforgettable experience without feeling as if you’ve stumbled onto the set of The Newlywed Game.

The post Unexpected Honeymoon Spots That Will Make You Rethink Your Plans appeared first on Vogue.

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LOOKOUT! Big, Bad Pit Bulls Are Coming For You… With Kisses

AAAAAHHH RUN FOR YOUR LIVES!!

… if you hate kisses. 

The pitties in the video above are coming for you, armed with slobbering mouths and so much love. So if you’re allergic to snuggling or just downright despise some love from a furry friend, then we recommend you stay far, far away from these blocky-headed love bugs. 

Don’t say we didn’t warn you. 

 

For the second year, The Huffington Post is holding a week-long, community-driven effort to bust the myths and raise awareness about pit bulls, a maligned “breed” that often bears the brunt of dated, discriminatory legislation that can make it near impossible for these dogs to find a forever home. You can follow along with HuffPost Pit Bull Week here, or on social media where we’ll be using the hashtag #PitBullWeek.

 

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London: Churchill’s Tailor

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Winston Churchill had a very hard time holding onto money, throughout his life, yet he wore bespoke…well, everything. Henry Poole & Co. was not Churchill’s first bespoke tailor but it was his longest-lasting tailoring relationship. Henry Poole himself was long gone even by the time Churchill arrived, but Poole’s descendants continue to ply his elegant trade very close by to the family’s pioneering original location on Savile Row. I decided to pay them a visit.

I entered through the doors at Number 15 and waited. A very young Russian dandy was analyzing pocket square options (as near as I could decipher) in Russian with his girl friend. Their purchase finally made, the couple exited and the gentleman who had been attending to them, Sales Manager Anthony Rowland, pivoted to greet me.

I had a very cordial time working with the current Chairman of Poole & Co., Mr. Angus Cundey, putting together my book, CHURCHILL STYLE. Mr. Cundey was most forthcoming with facts and photos, including shots of Poole’s original, handwritten, account ledger pages for Winston Churchill going back to 1905. I could see those ledger books now spread out on a table in anticipation of my arrival. I gravitated to them.

“Mr. Cundey is here and expecting you,” Anthony Rowland informed me. “But he is engaged at the moment and, with apologies, asks that you wait.”

Gladly.

The ledger books make for great reading. Not only is the calligraphic script entrancing, Churchill’s life is spelled out in the margins. His wedding suit appears on the 1908 page. The ascendances (and descendances) of his career are all accounted for in the scrawled titles of his ever-shifting cabinet posts, as are his address changes, from his first bachelor flat at 105 Mount Street.

“He really was quite slim when we first got hold of him,” Anthony Rowland pointed out.

Churchill probably saw Mr. Cundey’s grandfather the first time he came in. We had over three hundred tailors back then, with fourteen cutters on the premises. If you can imagine, from the end of what is now Abercrombie & Fitch — which would have been the western branch of the Bank of England back then — Henry Poole occupied Numbers 36, 37, 38 and 39 along Savile Row. It was a massive enterprise and one big part of it was the livery department, where customers often spent far more outfitting their servants than they spent on themselves. The rest were workrooms and the showroom, which was a very grand, opulent place with pink marble columns and gilt ceilings.

I knew that Henry Poole, in 1848, had knocked down the stable block at the back of his 4 Burlington Street premises and built a new showroom fronting on Savile Row, where his rear staff entrance had been. He thus became Savile Row’s first tailoring establishment.

“The building next door was hit by an incendiary device during the Blitz,” Anthony Rowland now told me. “We had an oil drum on our roof that came alight. It ended up with the fire brigade hosing everything down. These ledgers were all tightly packed in the basement. The water found its way down there but the ledgers survived with just the outer parts damaged.”

“Henry Poole, when he took over from his father, James Poole, in 1846, threw out forty years-worth of ledgers,” Mr. Rowland laughed.

Lord knows whose names were in those! Louis Napoleon III was Henry’s first big royal customer; five years later, the Prince of Wales, soon to be Edward VII, came aboard. Both men became friends of Henry Poole’s. Henry was a masterful networker and marketer, for his day. He moved in all the right circles. That’s how we come to have forty different royal warrants from around the world; a world’s record, I believe. The couple I just had in here from Russia, I was showing them the royal warrants of Tsars Alexander II and III.

In 1961, Henry Poole & Co. was forced out of its venerable premises on Savile Row by the Westminster Council. “They basically took the property, compulsorily purchased it and tore down our grand showroom for a car park,” Mr. Rowland observed grimly.

We didn’t return to the Row for twenty years, until 1982, when Mr. Cundey brought us back. Unfortunately, Savile Row today is again changing very rapidly. Big businesses that can afford big rents are coming in and pushing out the bespoke showrooms. The Council doesn’t seem to care. They don’t seem to appreciate history or heritage. They will once it’s gone. Thankfully, we do still have the ledgers.

Henry Poole died in 1876. He left behind quite a mess; a morass of debts and a tangled will. His cousin Samuel Cundey had worked beside Henry for years. It was Cundey’s son, Howard, who rescued the business. Howard Cundey’s sons, Sam and Hugh, then navigated the company through the war, it’s aftermath, and the 1961 exile. Now Sam’s son, Angus, who brought Poole & Co. back to Savile Row, and Angus’s young son, Simon, maintain the present and point the way toward the future.

I looked up to see silver-haired, 78-year-old Angus Cundey approaching from the rear of the showroom, resplendent in a blue pinstripe suit.

“So, you want to talk about Winston Churchill,” he smiled, dropping down into a chair beside me.

Well, you know he first came to us in 1905, when he bought a vast quantity of clothes that we finally delivered to him in 1906. And that’s how it went for a very long time; quite large quantities. We made his overcoats, we made all sorts of elaborate court dress for him. The one garment that he particularly loved was the Trinity House uniform, which is today on display at Chartwell.

“I’ll tell you something sad,” Angus Cundey went on, after a moment.

Churchill’s orders with us went lower and lower following the Wall Street Crash. He must have gotten very depressed because he no longer came in to see us, he would summon a cutter down to Chartwell. And my father told me that the cutter always returned quite cross because Mr. Winston Churchill would keep him waiting for at least an hour. Then, to make matters worse, he stopped paying his bills. By 1937, he owed us about 160 pounds. This upset my father very much. Finally, in 1940, on the very day that Churchill became Prime Minister, our accounts clerk sent a bill to 10 Downing Street. That was a wicked thing to do. What happened to the accounts clerk, I can’t say, but to my father’s dying day, he rued the loss of Winston Churchill, who we’d clothed for the whole of his life. Sir Winston did eventually pay the bill, but he never came to see us again.

Anthony Rowland had brought out a strikingly familiar-looking grey pinstripe suit.

“This is a suit of Churchill’s that we still make today,” Angus Cundey beamed. “We call it our Churchill and it is a perfect copy of one we used to make for him. I’d say we’ve sold about a hundred of them over the years. This is the Churchill style.”

“In Churchill’s day, the suits were much heavier; made from an 18-ounce flannel,” Anthony Rowland added:

Whereas this one is really a 10. We’ve otherwise tried to maintain the identical marbled grey affect, with the same pinstripe going through it. It is a three button coat with a waistcoat. The blue lining is more our artistic license; it probably would have been grey for Churchill, maybe even a black. The trousers are cut for braces and there is a button fly. Zips didn’t really come in until after the war.

And how much does it cost, I asked, indiscreetly?

“About £3,515,” Angus Cundey answered. “Back in 1939, it probably cost the same in equivalent value. Still, I am the first to admit these are extravagant prices. But you must realize, a cutter makes every bit of it by hand, from the stitches to the button holes. And its all done right here.”

~

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5 Reasons Lauryn Hill’s Influence On Music Is Incomparable

This post is part of a weekly series celebrating #ThrowbackThursday with reflections of our favorite childhood memories, past pop culture moments and more!

Just 17 years ago, Hill released “The Miseducation of Lauryn Hill” on Aug. 25, 1998. This was her first and last studio album which was created in the midst of her own personal struggles. She wanted to “make honest music,” Chris Nickson quoted in his written biography on her life  – and she did. 

“[I wanted to] write songs that lyrically move me and have the integrity of reggae and the knock of hip-hop and the instrumentation of classic soul,” she told Rolling Stone in 1999. “[My engineer and I worked on] a sound that’s raw. I like the rawness of you being able to hear the scratch in the vocals. I don’t ever want that taken away.”

Hill went on hiatus after she recorded the live concert album “MTV Unplugged No. 2.0″ in 2001 and returned to the music world recently in the past few years. The former Fugees member hasn’t announced plans for a new album, but she has been performing more frequently and recorded new tracks titled “Neurotic Society” and “Black Rage.” 

Still, nothing she has done has been as impactful for hip-hop and R&B as her debut solo album. Take a look at some of the ways “The Miseducation of Lauryn Hill” redefined music:

1. She broke barriers for black female artists. 

“Miseducation” lifted boundaries for female artists. Though she wasn’t the first person to play with both genres, Hill’s songs resonated with the masses when she married hip-hop with R&B. Her debut album sold more than 420,000 copies it’s first week, surpassing Madonna’s record, and has sold more than 17 million copies worldwide to date. “What Lauryn is doing is opening doors for female artists who aren’t materialistic and flashing their titties,” Wu-Tang Clan’s RZA told MTV in 1998. “She represents a beauty and a wholesomeness that’s more down-to-earth. She makes music that people can relate to, which is why she’s done so well.”


2. “Miseducation” was the first hip-hop album to win a Grammy for Album of the Year.

Hill didn’t open doors for just women in the industry, but for the entire hip-hop genre. She was nominated for 10 Grammys and won five in 1999, a record for a female artist at that time. Her five wins created a more widespread audience and crossover appeal for hip-hop. 

3. The album was a subtle and honest act of feminism.

Not only did Hill burst through the industry’s glass ceiling, but many may not know that she created this masterpiece while pregnant. The emcee, songstress rejected society’s notion that they must choose between family and a career. The fourth track, “To Zion,” was for her son whom she carried while creating the album. “‘Look at your career,’ they said/’Lauryn baby use your head’/ But instead I chose to use my heart,” she sings, referencing those who told her to consider an abortion so she wouldn’t ruin her career.


4. She helped pioneer conscious lyrics in hip-hop.

Hill was “woke” before many artists like Talib Kwele, Kanye West and Kendrick Lamar came onto the music scene. She put her personal testimonies in her lyrics. Hill helped to create an avenue for honest and socially-conscious dialogue in music, from speaking about sexual objectivity in “Doo Wop (That Thing)” to failed relationships in “Ex-Factor” and other topics considered too taboo at the time. In 1999 she predicted that the music industry was about to shift without knowing that she would pave the way for many of today’s artists. “I think now people feel a little more comfortable playing with the parameters. Writing more intensely,” she told Rolling Stone. 


5. Her sound transcends beyond hip-hop and R&B. 

The soulfulness and realness of “Miseducation” knocked down boundaries in the music industry, especially for black artists. This year, it earned a place in the Library of CongressD’angelo noted that “churches were substituting God in the lyrics [for ‘Nothing Even Matters’]. Whenever they make a gospel version from a secular song, that’s significant.”  

“The Miseducation of Lauryn Hill” is musical genius and has influenced artists like Adele, Beyonce, Talib Kwele, Kanye West, Nas, John Legend (who launched his career playing the piano on the background of Hill’s song “Everything is Everything”) and many more. Legend said to Rolling Stone, “She did it better than anybody still has done it. People are still trying to capture that moment.”

Though no one knows if the world will see another studio album from Hill, the impact of this particular album is undeniable. 

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How to Regain a Sense of Community for Music Fans

There’s a fiction that we all want to be doing our own thing, burrowing down into holes of our own device, satiated with a world only we control. But the truth is we want to feel part of humanity — we want to belong — and the further we get away from the rest of
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Justin Bieber to perform at MTV Video Music Awards

FILE - In this Sunday, Aug. 23, 2015 file photo, recording artist Justin Bieber performs at the 2015 Billboard Hot 100 Music Festival at Nikon at Jones Beach Theater in Wantagh, N.Y. Bieber will perform “What Do You Mean,” the lead single from his new album, at the 2015 MTV Video Music Awards, airing Sunday, Aug. 30 at 9:00 p.m. ET/PT on MTV. (Photo by Scott Roth/Invision/AP, File)LOS ANGELES (AP) — Justin Bieber will be back on stage at the MTV Video Music Awards.



Music News Headlines – Yahoo News

Tom Hardy Is the King of Dubsmash—Here’s the Proof!

Tom Hardy has many claims to fame, and now, the bad boy Brit can add yet another accomplishment to his lengthy resume: King of Dubsmash.

The 37-year-old has a growing—and…


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Nile Rodgers: The Chic Album ‘Is Still Coming This Year’

When Nile Rodgers formally accepts the BMI Icon Award Friday night, the music legend says that in addition to the honor itself, another of the…
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Patti Smith Runs Wild With ‘Horses’ at Electric Lady Studios on Its 45th Anniversary

It’s hard to think of an album whose lyrics and attitude remain every bit as fresh and vital with each passing year. Patti Smith’s Horses is one of…
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Big News for Beauty Addicts: Introducing the Lipstick Index

Sports fans have ESPN for obsessively checking stats on their favorite players and teams. Stock market watchers have the Dow and S & P. And now, beauty lovers (ahem, us) have the Lipstick Index. Welcome…









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This Fashion Label Is Making It Easier Than Ever to Tap Into French-Girl Cool

atlantique ascoli

Brooches, stoles . . . estate-sale chic is going strong. And even for those who aren’t quite ready to embrace an eclectic vision à la Alessandro Michele, a little bit of ladylike appeal goes a long way. Enter Atlantique Ascoli, the eponymous brainchild of a Parisian musician, whose cult-y range of polished blouses has won her an array of well-heeled fans since launching in 2013.

A labor of love if ever there was one, like many before her, for Ascoli it wasn’t a gap in the industry she was combating so much as it was a gap in her wardrobe. “I didn’t think in terms of market,” she says, “as I didn’t know anything about it. I started the line organically because I had in mind particular shapes, textures, volumes, and how clothes hang on the body that I couldn’t find elsewhere and that I wanted to wear myself.” The result is a range of tops, whipped up in crisp al prato cotton, that plays with sculptural, Victorian ruffles and quietly eccentric levels of volume. New to the lineup are her skirts and dresses, equally easy and soigné. There’s an ineffable quality to Ascoli’s designs—girlish in places but all woman; her impeccable, high-necked blouses are clearly the clothes of she who has her life in order. The dichotomy between frilly and purely feminine stems from Ascoli’s hometown style. As she tells it, “I think the Parisian cares and is conscious about her allure, but when she gets going, she lets go and forgets about it.” Perhaps that accounts for the wide-ranging appeal of her considered pieces, a blank slate for women of all ages looking to add a touch more polish to their day-to-day. Case in point: Atlantique Ascoli has proved just as logical a buy for stockists like Dover Street Market as it is for ladies who lunch snapping them up at Barneys. You’ll find Ascoli’s latest offering at both, as well as Colette, The Webster Miami, and Net-a-Porter.

The post This Fashion Label Is Making It Easier Than Ever to Tap Into French-Girl Cool appeared first on Vogue.

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Fastest Man On Earth No Match For Out-Of-Control Segway

Life comes at you fast, but Segways come at you faster. So learned Usain Bolt on Thursday just moments after winning the the 200 meters at the track and field World Championships in Beijing, China.

What’s that? You want an alternative angle? 


Pretty cool recovery, to be honest. 

 

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London: Churchill’s Tailor

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Winston Churchill had a very hard time holding onto money, throughout his life, yet he wore bespoke…well, everything. Henry Poole & Co. was not Churchill’s first bespoke tailor but it was his longest-lasting tailoring relationship. Henry Poole himself was long gone even by the time Churchill arrived, but Poole’s descendants continue to ply his elegant trade very close by to the family’s pioneering original location on Savile Row. I decided to pay them a visit.

I entered through the doors at Number 15 and waited. A very young Russian dandy was analyzing pocket square options (as near as I could decipher) in Russian with his girl friend. Their purchase finally made, the couple exited and the gentleman who had been attending to them, Sales Manager Anthony Rowland, pivoted to greet me.

I had a very cordial time working with the current Chairman of Poole & Co., Mr. Angus Cundey, putting together my book, CHURCHILL STYLE. Mr. Cundey was most forthcoming with facts and photos, including shots of Poole’s original, handwritten, account ledger pages for Winston Churchill going back to 1905. I could see those ledger books now spread out on a table in anticipation of my arrival. I gravitated to them.

“Mr. Cundey is here and expecting you,” Anthony Rowland informed me. “But he is engaged at the moment and, with apologies, asks that you wait.”

Gladly.

The ledger books make for great reading. Not only is the calligraphic script entrancing, Churchill’s life is spelled out in the margins. His wedding suit appears on the 1908 page. The ascendances (and descendances) of his career are all accounted for in the scrawled titles of his ever-shifting cabinet posts, as are his address changes, from his first bachelor flat at 105 Mount Street.

“He really was quite slim when we first got hold of him,” Anthony Rowland pointed out.

Churchill probably saw Mr. Cundey’s grandfather the first time he came in. We had over three hundred tailors back then, with fourteen cutters on the premises. If you can imagine, from the end of what is now Abercrombie & Fitch — which would have been the western branch of the Bank of England back then — Henry Poole occupied Numbers 36, 37, 38 and 39 along Savile Row. It was a massive enterprise and one big part of it was the livery department, where customers often spent far more outfitting their servants than they spent on themselves. The rest were workrooms and the showroom, which was a very grand, opulent place with pink marble columns and gilt ceilings.

I knew that Henry Poole, in 1848, had knocked down the stable block at the back of his 4 Burlington Street premises and built a new showroom fronting on Savile Row, where his rear staff entrance had been. He thus became Savile Row’s first tailoring establishment.

“The building next door was hit by an incendiary device during the Blitz,” Anthony Rowland now told me. “We had an oil drum on our roof that came alight. It ended up with the fire brigade hosing everything down. These ledgers were all tightly packed in the basement. The water found its way down there but the ledgers survived with just the outer parts damaged.”

“Henry Poole, when he took over from his father, James Poole, in 1846, threw out forty years-worth of ledgers,” Mr. Rowland laughed.

Lord knows whose names were in those! Louis Napoleon III was Henry’s first big royal customer; five years later, the Prince of Wales, soon to be Edward VII, came aboard. Both men became friends of Henry Poole’s. Henry was a masterful networker and marketer, for his day. He moved in all the right circles. That’s how we come to have forty different royal warrants from around the world; a world’s record, I believe. The couple I just had in here from Russia, I was showing them the royal warrants of Tsars Alexander II and III.

In 1961, Henry Poole & Co. was forced out of its venerable premises on Savile Row by the Westminster Council. “They basically took the property, compulsorily purchased it and tore down our grand showroom for a car park,” Mr. Rowland observed grimly.

We didn’t return to the Row for twenty years, until 1982, when Mr. Cundey brought us back. Unfortunately, Savile Row today is again changing very rapidly. Big businesses that can afford big rents are coming in and pushing out the bespoke showrooms. The Council doesn’t seem to care. They don’t seem to appreciate history or heritage. They will once it’s gone. Thankfully, we do still have the ledgers.

Henry Poole died in 1876. He left behind quite a mess; a morass of debts and a tangled will. His cousin Samuel Cundey had worked beside Henry for years. It was Cundey’s son, Howard, who rescued the business. Howard Cundey’s sons, Sam and Hugh, then navigated the company through the war, it’s aftermath, and the 1961 exile. Now Sam’s son, Angus, who brought Poole & Co. back to Savile Row, and Angus’s young son, Simon, maintain the present and point the way toward the future.

I looked up to see silver-haired, 78-year-old Angus Cundey approaching from the rear of the showroom, resplendent in a blue pinstripe suit.

“So, you want to talk about Winston Churchill,” he smiled, dropping down into a chair beside me.

Well, you know he first came to us in 1905, when he bought a vast quantity of clothes that we finally delivered to him in 1906. And that’s how it went for a very long time; quite large quantities. We made his overcoats, we made all sorts of elaborate court dress for him. The one garment that he particularly loved was the Trinity House uniform, which is today on display at Chartwell.

“I’ll tell you something sad,” Angus Cundey went on, after a moment.

Churchill’s orders with us went lower and lower following the Wall Street Crash. He must have gotten very depressed because he no longer came in to see us, he would summon a cutter down to Chartwell. And my father told me that the cutter always returned quite cross because Mr. Winston Churchill would keep him waiting for at least an hour. Then, to make matters worse, he stopped paying his bills. By 1937, he owed us about 160 pounds. This upset my father very much. Finally, in 1940, on the very day that Churchill became Prime Minister, our accounts clerk sent a bill to 10 Downing Street. That was a wicked thing to do. What happened to the accounts clerk, I can’t say, but to my father’s dying day, he rued the loss of Winston Churchill, who we’d clothed for the whole of his life. Sir Winston did eventually pay the bill, but he never came to see us again.

Anthony Rowland had brought out a strikingly familiar-looking grey pinstripe suit.

“This is a suit of Churchill’s that we still make today,” Angus Cundey beamed. “We call it our Churchill and it is a perfect copy of one we used to make for him. I’d say we’ve sold about a hundred of them over the years. This is the Churchill style.”

“In Churchill’s day, the suits were much heavier; made from an 18-ounce flannel,” Anthony Rowland added:

Whereas this one is really a 10. We’ve otherwise tried to maintain the identical marbled grey affect, with the same pinstripe going through it. It is a three button coat with a waistcoat. The blue lining is more our artistic license; it probably would have been grey for Churchill, maybe even a black. The trousers are cut for braces and there is a button fly. Zips didn’t really come in until after the war.

And how much does it cost, I asked, indiscreetly?

“About £3,515,” Angus Cundey answered. “Back in 1939, it probably cost the same in equivalent value. Still, I am the first to admit these are extravagant prices. But you must realize, a cutter makes every bit of it by hand, from the stitches to the button holes. And its all done right here.”

~

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New Artists Review: no:carrier

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The West Coast of the United States has always emanated a romantic vision of rainbow sherbet sunsets, velvety golden hills, healthy living, and progressive thinking. The psychedelic Renaissance of the 1960s played a large role in this imagery as Ken Kesey and his Merry Pranksters roamed around the country, sharing their California sensibilities (and LSD) with those who were willing to be “turned on.” Though California is undoubtedly one of the most geologically diverse and beautiful places to live, like everything bright, it also has a dark side.

Hailing from Germany but transplanted to San Francisco, songwriter and producer Chris Wirsig of the electro-noir-pop duo no:carrier, depicts a more obscure vision of California. The other half of the duo, Cynthia Wechselberger who is the singer, still remains in Germany which does not impede on their musical partnership. Released in May of this year, their four track EP Ghosts Of The West Coast, is a haunting collection of cover songs that they describe as “the American dream gone wrong.”

The album begins with a rendition of Don Henley’s “The Boys Of Summer” which tells the story of a lurking ex-boyfriend who is woefully looking for his lost love at the end of summer. Next comes Belinda Carlisle’s tragic track, “California,” which warns the listener of the perils of fame and show business, referencing the late River Phoenix as a victim of this peril. Following “California” is Tony Carey’s “Room With a View,” an unfolding tale of broken dreams and misfortune which eventually lead to homelessness and anguish. The final track, “She Moved Through The Fair,” is a traditional Irish song about lost love and a strange choice to put on an EP titled Ghosts Of The West Coast as it breaks the thematic cohesiveness of the album.

Each track is sung by a different singer which creates a unique feel to each song. The only track performed by Wechselberger is “She Moved Through The Fair”; Melissa Harding sings “California,” Kalib Duarte sings “The Boys of Summer,” and Lauralee Brown sings “Room With a View.” Though the entire EP is cover songs, the haunting and somber vibe of Ghosts Of The West Coast possesses an inimitable sound that reinvents old tunes.

“We can’t be compared easily. We have our very own sound that includes elements from several styles – from dark wave to synthpop, from acoustic to electro,” says Wirsig. “We’re not going on the trodden paths, we stay true to our ideals and write and record exactly the songs we want.” Founded in 1995 in Germany, no:carrier was unafraid of sound experimentation and emotive tracks.

After releasing their critically acclaimed third album Wisdom & Failure in 2014, no:carrier has been experiencing a momentous pinnacle in their career in 2015. Later this year, the duo plans to release a remix collection of new original material that promises the same melancholic and bittersweet tones that they have spent the last few years building and establishing.

Soundcloud: www.soundcloud.com/nocarriermusic
Website: www.nocarriermusic.com
Facebook: www.facebook.com/NoCarrierMusic

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The MTV Video Music Awards needs Miley Cyrus more than she needs it, though the two entities have become completely intertwined following the telecast two years ago when the singer’s ass-shaking “We Can’t Stop”/”Blurred Lines” duet electrified the outrage of a PC nation. Their symbiosis carried over into last year’s ceremony too, when MTV invited the then-21-year-old provocateur …
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ADULT ENTERTAINMENT NEWS UPDATE:Gabby Love’s top pick! Click and enjoy!

Viking’s Choice: Foxing, ‘The Magdalene’

When raised in the church, sex and God can be…complicated. The St. Louis emo band’s song tackles the guilt of earthly pleasures in a devotional tone, yet pulsing with curiosity.

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Country music provocateurs Maddie & Tae come out swinging

Maddie Marlow, left, and Tae Dye, of Maddie & Tae, pose for a portrait at Love Shack Studio in Nashvile, Tenn., on Thursday, Aug. 27, 2015. Country music’s young provocateurs came out swinging last summer with their on-point criticism of lyrics that portrayed women as simply objects of desire in cutoff jean shorts and bikini tops. Now that they’ve got everyone’s attention, Marlow, 20, and Taylor “Tae” Dye, 19, have got much more to say on their debut album, “Start Here,” coming out on Aug. 28. (Photo by Donn Jones/Invision/AP)NASHVILLE, Tenn. (AP) — The country duo Maddie & Tae took on gender stereotypes in their first platinum single, "Girl in a Country Song," and now they are targeting another overused effect in today's country music: electronic drum machines.



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Simon Cowell Says One Direction’s Break Is Necessary: ”Having a Year Off Is Going to Be a Healthy Thing”

Fans may not be too happy about One Direction’s break, but boss Simon Cowell insists it’s going to be a good thing.

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A special education teacher named Stephanie Stephens from James L. Capps Middle School turned her classroom into a ‘Harry Potter’ dreamscape.
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Queen Latifah on Emmy-Nominated ‘Bessie’ Role: ‘She Challenged Me on Every Level’

Queen Latifah is vying to win her first Emmy for her stirring performance in the HBO film Bessie, but her portrayal of blues legend Bessie Smith has…
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The Models Redefining American Beauty Today

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In the modeling industry, America has always had its share of superstars—Jerry Hall, Cindy Crawford, and Karlie Kloss, anyone?—but in recent history, it’s begun to feel like the influx of international beauties has overwhelmed the presence of homegrown talent. But just like that, a new generation of “Born in the U.S.A.” beauties has begun to dominate the industry. Effortlessly cool best friends Lexi Boling and Binx Walton have led the charge, followed by the rise of Instagirls like Kendall Jenner, Hailey Baldwin, and Gigi Hadid; Texan Vanessa Moody was among the season’s top walkers; Californian newcomer Alice Metza is already a Prada regular; and Midwesterner Grace Hartzel emerged as the campaign star to beat, starring in ads for Calvin Klein, Tod’s, Valentino, and Hugo Boss.

According to Jeff and Mary Clarke of Mother Model Management—the scouts who first discovered both Kloss and Hartzel—the resurgence of the American model all comes back to the charisma of the girls themselves. “There will always be something undeniable about a fresh American beauty,” says Mary. “They are inspiring to young teenage girls in middle America, to women who find them more relatable, and to the casting directors and designers who find them a refreshing image to build on.” Given the renewed focus on models as celebrities, it makes sense that the American girls who resonate are all blessed in the personality department. As the definition of all-American expands, the models selected are beginning to reflect the nation’s variety, as well. “It is an exciting time in the fashion world,” says Mary. “We are happy to see the term American beauty embrace more cultural and ethnic diversity.” Get to know eleven of the models representing the new era of what it means to be all-American.

 

The post The Models Redefining American Beauty Today appeared first on Vogue.

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Netflix, Binging And Quality Control In The Age Of Peak TV

Matt Singer posed a timely question today: Why is it that the original programs made by Netflix — the place that perfected binge-viewing — aren’t necessarily all that binge-able? 


By downplaying the importance of individual episodes in favor of longform narratives, the company has also downplayed the propulsive storytelling style and shocking cliffhangers that define the best binge-watch shows. A television show structured as a one giant 13-hour story can be highly absorbing. But without those big hooks and twists at the end of every episode, it’s very difficult to make it addictive.

Singer’s onto something here: I’ve spent the summer rewatching “The X-Files,” and there’s something about traditionally made, pre-“peak TV” dramas that often makes them deliciously binge-able. Writers on the kinds of shows that eventually made binging a thing were often under pressure from networks to hook viewers, through juicy relationship arcs, propulsive stories, exciting mythology reveals and hints that something big was coming in the next week. Not all good “binge-ers” have those elements, but many of the good ones are very good at serving up self-contained episodes, distinctive characters and moments so entertaining that you just want another hit of whatever they’re selling. 

Obviously television’s ambitions have expanded since the heyday of binge-inducers like “Alias,” “Lost” and “24,” and Netflix is among the many outlets testing the boundaries of what kinds of television can sustain an audience for a binge or a leisurely stroll, even as TV redefines what success means in an era of micro-niches and all manner of nonlinear viewing opportunities.

That said, my first reaction to Singer’s piece on the binge-resistance of Netflix’s dramas consisted of a question: I really wonder how much of that is intentional. It may not be a feature, but a bug.

Singer’s theory is that Netflix executives don’t really care if it takes a few months to watch one of their original series; that’s actually a good thing, if the slow pace keeps a subscription active. That makes sense from a business perspective, but, based on statements Netflix executives have made and the shows they’ve released, I wonder if that’s their primary intent.

My theory’s different: I think Netflix and Amazon executives give their creative types a lot of rope, and I’ve often had occasion to wonder is they’re giving them too much rope. It’s common for their dramas to get tangled up and slow down, even at the pilot stage, and in the middle of seasons, Netflix dramas often sag and meander, and — as Singer notes — they take a long time to work up a head of steam. 


My first reaction to Singer’s piece on the binge-resistance of Netflix’s dramas consisted of a question: I really wonder how much of that is intentional. It may not be a feature, but a bug.

But this isn’t just the case at streaming services: It’s happening a lot in the more ambitious realms of television. Maybe it’s just me, but when it comes to many shows, especially dramas, in the cable, pay-cable and streaming arenas, I see a trend toward laxness and a lack of energy and dynamic tension. There’s more ambition than in a derivative NBC or CBS procedural, sure, but there’s also often a lack of urgency within an episode and, most notably, over the course of a season.

It’s also fairly common to find that the character development is not strong and vivid enough to make me want to revisit these shows while they figure out how to crank up the narrative drive, as was the case with Amazon’s “Bosch” and USA’s “Complications.” I did finally begin to enjoy AMC’s “Halt and Catch Fire,” especially in its second season, but most people had checked out well before it kicked into high gear, and that may have doomed the show (though I hope not). 

Of course, it’s unfair to cherry-pick the best examples, but let’s face it, this wasn’t too often the case with with the best binge-ers the Commercial Television Machine produced. Even in a bad episode of “The X-Files” or “Lost,” the Mulder and Scully banter or the Hurley quips make up for a lot. Hence my current obsession with what I call B-movie TV: Genre fare that is smart and subversive but also energetic and not overly concerned with being Important. (The two best new shows of the year, Lifetime’s “UnREAL” and USA’s “Mr. Robot” may not neatly fit in the B-movie TV category, but both were pleasingly knotty, had great characters and were suspenseful from the jump. They’re binge-ers, for sure.)  

Sag and drift problems have cropped up throughout TV history, obviously. But I think it’s telling that it’s cropping up a lot lately, often at places that could and should know better (despite its great cast and terrific moments, I gave up on the rudderless “Masters of Sex” near the end of Season 2 and haven’t seen a compelling reason to jump back on board). As Todd VanDerWerff has pointed out, TV is fumbling for direction in the age of binging and stacking and all episodes of television existing simultaneously everywhere (well, not really, but it feels that way sometimes). So as TV figures out the creative implications of the nonlinear era, some sloppiness and experimentation is to be expected.

But I think there’s more to it than that. The competition for talent and the huge desire lock down hot writers while also trying to create Signature Programs has led to situations where executives have let way too much bad writing slide.

There’s an enormous scramble for content at the moment, so much so that multiple seasons are being ordered at an accelerated pace and it’s almost normal for shows to be renewed before they debut. That was decidedly not normal only a few years ago. But Netflix, Amazon, Hulu and any number of other new players have changed the game, just as cable did a decade or so ago.

As I’ve argued elsewhere, this is a good thing, overall. Not every show in Ye Olde Golden Age was a keeper, but almost every network was forced to raise its game and give writers more leeway. Hooray!

But there was sigh-inducing side to that revolution: There was too much imitation and a blind pursuit of uninspired dramas about tortured white guys. These days, as TV expands into what FX president John Landgraf has called peak TV, there’s a lot of great TV, but the signal-to-noise ratio is not necessarily heading in a reassuring direction. As TV competes to keep eyeballs on its ever-expanding array of content, we’re being subjected to a lot of empty spectacle and rote brand extension. And it’s worth pointing out, as Linda Holmes does in her great essay series on TV’s growing pains, that the kinds of people who get to make TV now are usually the kinds of people who always have gotten to make TV. Diversity is a buzzword executives know they should throw around these days, but their commitment to it seems tenuous at best.

So this revolution has its frustrations, among them the problems Singer neatly delineates. And given that the issues he noticed and I’ve described are mostly taking place in the streaming, cable and pay-cable arenas, the following statement mostly applies to them: Maybe its because they have too many shows to keep track of, or maybe it’s because they’re working with writers they think might try to get a better deal somewhere else, but I get the sense that a number of networks and executives are not exercising the quality control they used to. It’s a problem.

Too many times lately, with too many shows that are well cast and clearly expensive, I’ve wondered why the people in charge appear to be asleep at the switch. “Fear the Walking Dead” is repetitive and boring, but AMC wants to keep “Walking Dead” mogul Robert Kirkman in the corporate family, so that show’s going to be what Kirkman wants it to be, for good or ill. The last two seasons of “American Horror Story” haven’t been very good, but they’ve been noisy enough to get a lot of eyeballs, and FX wants to be in business with Ryan Murphy, so that show will continue to be variable and frustrating (and maybe occasionally excellent, who knows). “Bloodline” assembled various prestige TV markers without going anywhere all that compelling with them, but it seems like the kind of show Netflix should be making — and if they didn’t make it, someone else might — so it got renewed. And so on.

The power dynamics in the industry are unstable — only in certain places, of course, and only for certain people. But the current scramble for talent has given some writer/producers more power than these kinds of folks have ever had in the past, and the side effects of that development aren’t always good. For one thing, in part due to talent flight, drama pilots on the broadcast networks have been mostly lame and terrible for years, with a few rare exceptions, because those who don’t want to deal with a lot of network interference are going elsewhere. (The CW, which has been on a roll, is the exception among the broadcast networks, but that’s a story for another day.)


The current scramble for talent has given some writer/producers more power than these kinds of folks have ever had in the past, and the side effects of that development aren’t always good.

As many writer/producers head to what they perceive to be greener pastures, executives are doing whatever they can to lock down talent, and the end result of this whole process can sometimes be self-indulgent and lazy television. Drift, repetition and laxness are things a good executive can spot, catch and help correct. With the good or improving shows, that’s likely at least part of what’s happening. Given the glut of bad, lazy or directionless dramas, that’s not happening enough, or some creatives just aren’t listening. When a drama like “True Detective” goes that off-course and wastes that much potential, it’s not just a chance to have fun with memes and hashtags, it’s a sign that something has seriously gone awry in the quality-control systems that helped TV get to where it is now. 

HBO, once the strutting king of the TV scene, can’t openly criticize newcomer Nic Pizzolatto, lest he bolt and the network’s reputation as a welcoming haven for top talent take a hit. Netflix and Amazon go further: They openly celebrate their hands-off approaches. Executives at both places have basically said that because they’re not married to the usual commercial television models, they’re letting their talent do … whatever. 

“We are not really in the solid outcome business, you know,” Amazon Studios head Roy Price said at an Amazon executive panel at the Television Critics Association press tour recently. “We are not really in the programming business.”

“It’s not the intent to draw the biggest audience from any single show,” Netflix content chief Ted Sarandos said at TCA. “The shows are built and designed and we invest in them based on the audience that we believe the show can attract. And it’s successful if it attracts that audience segment.”

Joe Lewis, Amazon’s comedy chief, said something similar: “I think we are … just looking for shows that are our customers’ favorites.”

That all sounds good, in theory. And in practice, it’s occasionally resulted in wonderful television. Netflix’s “BoJack Horseman” is as weird a concoction as I can think of, but it’s incisive and funny even as it goes to some heartbreaking places. I’m glad that Amazon is betting big on “The Man in the High Castle,” which may supply the smart sci-fi I’ve been searching for. And of course, all of television is a crapshoot; most shows fail, good ones are always hard to make and great ones are always rare.

But these streaming executives are indicating that they think non-interference is the only way to get good shows.

“[W]e built the company on this in this internal culture of freedom and responsibility, and we really did apply that to our showrunners too,” Sarandos said at TCA. “We decided it would be our role not to coach the creatives because it really wasn’t our wheelhouse. It was going to be our role to pick the right projects, pick the right worlds, pick the right talent to run those shows, and then really try to create an environment for them to do the best work of their lives.”

This statement kind of floored me, honestly. If the executives not there to make shows better, what are they there for? Also, can I have an executive job at Netflix? Because I would really like to make a lot of money to not do things. They give many millions to those making their shows, but telling them how to spend that money wisely? LOL, pass. 

Of course, some of this is just the kind of chest-thumping tech-exec hyperbole that “Silicon Valley” lampoons so well. And that’s the analogy I’ll stick with: Amazon and Netflix executives don’t seem to consider themselves TV executives, and it may be more useful to think of them as the kinds of guys who run Uber and other boastful, well-funded startups. They hacked television, bro, and they’re going to do it better.

Except … really? They think they’re going to do it better than the kinds of people responsible for the Commercial Television Machine? I mean, maybe someday they will, and if they get to that point, break out the Champagne. But their track record isn’t nearly there yet, and it’s more than a little grating that they’re so dismissive of the kind of TV-making processes that led to the creation of so many good and great shows — the very binge-able content they so eagerly bought up and built their businesses on top of. 

And that brings me back to my reaction to Singer’s essay, which boils down to this: Giving people a lot of rope is not necessarily how the best TV gets made. It can produce good results, in the hands of a disciplined professionals who know what to do with that freedom — and what not to do with it. If the discipline, vision and restraint are lacking and are not supplied by the showrunner or by executives, the results are usually ponderous messes (“House of Cards,” “Hand of God,” “Low Winter Sun”).

It’s worth noting that Jill Soloway (“Transparent”) and Jenji Kohan (“Orange Is the New Black”), who created the best shows in the streaming realms, are longtime veterans of the Commercial Television Machine. And all that has happened before has happened again. Long before those shows were a gleam on some site’s server, Ron Moore reinvented “Battlestar Galactica” by taking the best of what he’d learned in a long career as a writer for various “Star Trek” TV series and blowing up the rest. I really wish streaming executives wouldn’t valorize throwing out the baby with the bathwater, at least not until their rosters have more shows like “Transparent” and “OITNB” and “Battlestar Galactica” and fewer sludge piles like “Hand of God” and “Marco Polo.”

Quality control matters in television; look at how USA nurtured “Mr. Robot” into an accessible yet deeply adventurous show, and the showrunners of “The Americans” often talk about how executive input helped the show go from good to great, to name just two examples. And this concept matters even more when you think about the fact that Amazon and Netflix — like many networks — are ramping up their content machines. The efficacy of quality control is partly related to volume, and it’s moderately terrifying that this phenomenon of peak TV could result in 400 primetime scripted shows in 2015 alone.

 At TCA, Landgraf said he’s capping the number of shows FX and FXX make.

“I really don’t care how much money a business has to spend. As someone who struggles every day to program good and great television, who still reads nearly every script and watches every rough cut of every episode we program, I believe it’s impossible to maintain quality control with too many shows,” Landgraf said.

 His Peak TV speech contained a lot of food for thought, some of which good critics are still chewing on, but he’s right about that. Despite my fears for my sanity, I generally think Peak TV is a good thing — without it, we don’t get weird gems like “Rectify” and “BoJack” and a more diverse array of creators and protagonists. Given how many more shows are being made and how many of them have less experienced or inexperienced showrunners, however, now’s not the time for executives to just let people sink or swim, but signs of floundering are already all over the place. All in all, I am very concerned about whether we’re going to get more good TV, or just more TV. 

There are certain kinds of quality control that Netflix and Amazon executives seem amused by or appear to think is unnecessary. And stories of the excesses of overly controlling, uninspired and unhelpful networks executives are not hard to find and easy to mock, but the good ones are also partly responsible for sweetest fruits of the Commercial Television Machine. 

Of course, writers, actors and directors are incredibly important when it comes to a show’s quality, but knowing how to shepherd, shape and market a show — these are real and important skills. If you read Difficult Men and The Revolution Was Televised, you’ll come across many instances of writers doing their best to rebel against whatever network strictures had frustrated them in the past. But you’ll also come across TV executives who knew what they were doing and helped birth great shows and unquestionably helped turn those programs into the juggernauts that they became. These are the shows we all binged at some point or want to binge someday — and they didn’t appear by magic.

Covering TV for the past 15 years has taught me that the best shows tend to have two elements embedded in their DNA: Collaboration and tension. I don’t mean conflict, not exactly, which is not unknown on the sets of ambitious shows, of course. Conflict is inevitable when grown people work together on any project for any length of time. But what I’m referring to is the kind of creative tension that exists when people who work together don’t always agree but find ways to let the better and smarter ideas win. Sharp people questioning each other, pushing each other, testing each other and leading each other to epiphanies — those are among the conditions that can lead to great TV, and sometimes those exchanges involve executives who care and know television. They exist, and right about now, I wish there were more of them. Maybe they exist at Amazon and Netflix, but if so, I wish their bosses weren’t so disparaging of the work they were (possibly) hired to do.

Every writer I’ve ever spoken to has told stories about executive notes that were dumb — and notes that were brilliant. Dealing with feedback from an executive — even an executive a creator doesn’t much like — can force a writer to better articulate her vision. Probing questions can lead to stronger and clearer choices and even dumb questions can lead to breakthroughs. As Joss Whedon has said, “It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.”

Who is asking questions these days? How smart or dumb are the ideas under consideration? And is anyone listening? As we head into the uncharted waters of peak TV, those are some of the questions I have. 

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15 Bridal Parties Who Totally Nailed The Ombré Dress Trend

There’s nothing wrong with a uniform bridesmaid look — all of the girls wearing the same dress in the same exact color.  

But if you want something a bit more eye-catching, consider an ombré color scheme. Not sure what that means? Basically, you choose a color and then have the bridesmaids wear dresses in a slightly different shades — some lighter, some darker and some in the middle so that they gradually blend into each other. 

Below, check out 15 gorgeous executions of the ombré dress trend. Get inspired! 

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Trump: ‘Making America Hate Again!’

Trump’s official campaign slogan is “Make America Great Again!” Perhaps he should change it to the headline above.

The Huffington Post has made an editorial decision to put Trump articles in the Entertainment section instead of the political section. This seemed like a good idea at the time.

Admittedly he is the class clown — and the schoolyard bully. Oddly, also the teacher’s pet. But his toxic mix of egotism, cynicism and racism simply isn’t entertaining. It is, however, still a spectacle.

His now infamous tirade about Mexicans being criminals and rapists is well-known.

Recently two cowardly young thugs in Boston allegedly urinated on and used a metal pole to beat a 58-year-old sleeping Hispanic homeless man, fracturing his nose and causing other serious injuries. One of them reportedly told the police “Donald Trump was right, all of these illegals need to be deported.” (Apparently, the two assailants checked his immigration status before brutalizing him.) A news person asked Trump for his reaction, and Trump reportedly said “That would be a shame” adding this remarkable statement, “I will say, the people that are following me are very passionate. They love this country. They want this country to be great again. But they are very passionate. I will say that.”

His supporters chanted “USA! USA! USA!” when some protesters were thrown out of a Trump event in Phoenix — as if they were cheering at Wrestlemania.

This week at a press conference in Iowa, several times Trump ordered Univision anchorman Jorge Ramos, a respected journalist and an American citizen, to “Sit down,” as if Ramos were a dog being ordered by his unkind master to “Sit.” Trump also added to “Go back to Univision.” Then Trump nodded at one of his security guards who escorted Ramos out of the room.

In the hallway, a Trump supporter further humiliated Ramos telling him “Get out of my country.” Ramos responded with restraint, class, and dignity.

The delusional Donald has often claims that he will win the “Hispanic” vote. This assertion might be just another Trump empty promise. A recent Gallop Poll shows among Hispanic voters, he has the highest disapproval rate (65 percent) of any GOP candidate.

Apparently he is looking to carry Asian vote as well. Here’s Trump mocking them and doing a racially stereotypical impersonation of “these people”:

While Trump may not carry Latinos or Asians, he will likely carry the racists’ vote. It isn’t surprising that Trump is receiving endorsements from white supremacy groups and neo-Nazis. David Duke, former grand wizard of the Ku Klux Klan, has reportedly called Trump the best of the GOP candidates.

In an interview with Bloomberg’s Mark Halperin and John Heilemann, Trump reportedly said “I don’t need his endorsement; I certainly wouldn’t want his endorsement” and added “I don’t need anyone’s endorsement.” When asked if he would repudiate the endorsement, Trump is quoted as saying “Sure, I would if that would make you feel better.”

That doesn’t make me feel any better.

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Kanye West’s Music Videos Prove That He’s Been a Dedicated Fashion Fan Since Day One

holding-sq-kanye-runaway

Kanye Wests dedication to fashion has been unrelenting since day one, and his impressive arsenal of music videos—for which he will receive the Michael Jackson Video Vanguard Award at the VMAs this weekend—reads as a testament to that quest for personal style. In videos as in life, West is never afraid to take risks: his oeuvre ranges from irreverent social commentary in “All Falls Down” to his more recent, less-than-subtle art house Yeezus-era provocation, that takes its boundary-pushing cues from British director Steve McQueen.

Perhaps his most audacious project, “Runaway,” from the 2010 critically lauded My Beautiful Dark Twisted Fantasy, is a 35-minute-long sonic and visual revelation, with a truckload of fashion thrown in for good measure. His latest contributions, “Only One” and “FourFiveSeconds,” reflect a changed man—a husband, a father, and in the latter, an artist among artists—and pared-down, both tell a fashion story of understated chic. And though insouciance is hardly his m.o., he has never been anything but sincere, sartorially or otherwise. Here, eight of Kanye West’s audacious music video fashion moments.

 




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“Runaway,” 2010

 

Phillip Lim designed the menswear wardrobe for the 35-minute mini-film, directed by West himself, imbuing the video with elegance through a restrained color palette. (For example, West’s white tuxedo jacket, with a black collar, plays against the dancers’ black ballet attire.) Selita Ebanks, resplendent as the phoenix rising through the ashes, came to life through the work of costume designer Martin Izquierdo, the man responsible for the Victoria’s Secret Angels’ wings and Heidi Klum’s outrageous Halloween ensembles.

 




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“FourFiveSeconds,” 2015

 

Photography duo Inez van Lamsweerde and Vinoodh Matadin directed this black-and-white video, done in a square format, for this stripped-down song. A serious jeans moment, starring Paul McCartney and Rihanna as well, the video conjures the retro Calvin Klein Jeans ads and the designs of Marques ‘ Almeida.

 




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bound kanye

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“Bound 2,” 2013

 

Here, West wears two artfully tacky outfits: one, an counterintuitive plaid-on-plaid getup partially supplied by a design idol of his, Ralph Lauren; another, a tied-dyed, vintage Iron Maiden tee. The video was both loved and mocked, most famously in the Seth Rogen and James Franco parody “Bound 3.”

 








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“All Falls Down,” 2004

 

For the third single off his first album, The College Dropout, West—clad in his collegiate pink polo and brown corduroy blazer—chases down a plane with Stacey Dash, otherwise known as Dionne in Clueless in an airport. Stunning but materialistic, Dash wears a Juicy Couture–esque baby blue tube dress and Louis Vuitton tote, with blinged-out sunglasses and earrings to boot. The song riffs on the empty promise of retail addiction and status insecurity, giving the rapper some of the best fashion-related lyrics: “Man, I promise, I’m so self-conscious . . . / I can’t even pronounce nothing, pass that Ver-say-see.” We suspect he has mastered it by now.

 




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only one kanye

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“Only One,” 2015

 

Shot by Oscar-winner Spike Jonze, this video starring West and his then-one-year-old daughter, North West, has an intimate home movie vibe with father and child strolling through a gray countryside. The look is matching parkas, dark jeans, and outdoor boots—equal parts utility and Paris Fashion Week.

 




kanye in paris



kanye in paris

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“Ni**as in Paris,” 2011

 

Despite his athletic frame, West isn’t afraid to flirt with androgyny in his wardrobe—remember, this is a man who has rocked a women’s Céline blouse on stage. So it only makes sense that he wears a custom-made leather Givenchy kilt with his Givenchy graphic T-shirt and leather pants.

 








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“All of the Lights,” 2010

 

A warning is given at the beginning of the Hype Williams–directed music video for “All of the Lights”: “This video has been identified by Epilepsy Action to potentially trigger seizures for people with photosensitive epilepsy.” So it’s no shock that West’s look here is that of a sunglasses-clad club kid in a tank and gold chain. Only difference? West sports grills—a look that would soon after be replicated by Beyoncé, Rihanna, and Miley Cyrus.

 




kanye new workout plan



kanye new workout plan

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“The New Workout Plan,” 2004

 

The playful music video for “The New Workout Plan,” a thoroughly underrated song off his first album The College Dropout, has Kanye at his preppy polo-wearing high point, with his unmistakable penchant for the popped collar. Flanked by a Richie Tenenbaum–lookalike and a tennis chic babe, he makes the old school new again, keeping his unique sense of humor on display.

 

Photographed by Annie Leibovitz, Vogue, April 2014

The post Kanye West’s Music Videos Prove That He’s Been a Dedicated Fashion Fan Since Day One appeared first on Vogue.

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LOOKOUT! Big, Bad Pit Bulls Are Coming For You… With Kisses

AAAAAHHH RUN FOR YOUR LIVES!!

… if you hate kisses. 

The pitties in the video above are coming for you, armed with slobbering mouths and so much love. So if you’re allergic to snuggling or just downright despise some love from a furry friend, then we recommend you stay far, far away from these blocky-headed love bugs. 

Don’t say we didn’t warn you. 

 

For the second year, The Huffington Post is holding a week-long, community-driven effort to bust the myths and raise awareness about pit bulls, a maligned “breed” that often bears the brunt of dated, discriminatory legislation that can make it near impossible for these dogs to find a forever home. You can follow along with HuffPost Pit Bull Week here, or on social media where we’ll be using the hashtag #PitBullWeek.

 

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15 Bridal Parties Who Totally Nailed The Ombré Dress Trend

There’s nothing wrong with a uniform bridesmaid look — all of the girls wearing the same dress in the same exact color.  

But if you want something a bit more eye-catching, consider an ombré color scheme. Not sure what that means? Basically, you choose a color and then have the bridesmaids wear dresses in a slightly different shades — some lighter, some darker and some in the middle so that they gradually blend into each other. 

Below, check out 15 gorgeous executions of the ombré dress trend. Get inspired! 

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New Artists Review: no:carrier

2015-08-28-1440727547-5939939-nocarrier5.jpg

The West Coast of the United States has always emanated a romantic vision of rainbow sherbet sunsets, velvety golden hills, healthy living, and progressive thinking. The psychedelic Renaissance of the 1960s played a large role in this imagery as Ken Kesey and his Merry Pranksters roamed around the country, sharing their California sensibilities (and LSD) with those who were willing to be “turned on.” Though California is undoubtedly one of the most geologically diverse and beautiful places to live, like everything bright, it also has a dark side.

Hailing from Germany but transplanted to San Francisco, songwriter and producer Chris Wirsig of the electro-noir-pop duo no:carrier, depicts a more obscure vision of California. The other half of the duo, Cynthia Wechselberger who is the singer, still remains in Germany which does not impede on their musical partnership. Released in May of this year, their four track EP Ghosts Of The West Coast, is a haunting collection of cover songs that they describe as “the American dream gone wrong.”

The album begins with a rendition of Don Henley’s “The Boys Of Summer” which tells the story of a lurking ex-boyfriend who is woefully looking for his lost love at the end of summer. Next comes Belinda Carlisle’s tragic track, “California,” which warns the listener of the perils of fame and show business, referencing the late River Phoenix as a victim of this peril. Following “California” is Tony Carey’s “Room With a View,” an unfolding tale of broken dreams and misfortune which eventually lead to homelessness and anguish. The final track, “She Moved Through The Fair,” is a traditional Irish song about lost love and a strange choice to put on an EP titled Ghosts Of The West Coast as it breaks the thematic cohesiveness of the album.

Each track is sung by a different singer which creates a unique feel to each song. The only track performed by Wechselberger is “She Moved Through The Fair”; Melissa Harding sings “California,” Kalib Duarte sings “The Boys of Summer,” and Lauralee Brown sings “Room With a View.” Though the entire EP is cover songs, the haunting and somber vibe of Ghosts Of The West Coast possesses an inimitable sound that reinvents old tunes.

“We can’t be compared easily. We have our very own sound that includes elements from several styles – from dark wave to synthpop, from acoustic to electro,” says Wirsig. “We’re not going on the trodden paths, we stay true to our ideals and write and record exactly the songs we want.” Founded in 1995 in Germany, no:carrier was unafraid of sound experimentation and emotive tracks.

After releasing their critically acclaimed third album Wisdom & Failure in 2014, no:carrier has been experiencing a momentous pinnacle in their career in 2015. Later this year, the duo plans to release a remix collection of new original material that promises the same melancholic and bittersweet tones that they have spent the last few years building and establishing.

Soundcloud: www.soundcloud.com/nocarriermusic
Website: www.nocarriermusic.com
Facebook: www.facebook.com/NoCarrierMusic

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Models Who Love Their Dogs More Than Their Selfies

Photo: Courtesy of Jessica Hart / @jessicahart

If your feed was infiltrated by tail-wagging, floppy-tongued pups juxtaposed with the gleaming faces of models today, you can thank National Dog Day. And it was courtesy of that trending hashtag that we found that plenty of pretty catwalkers lead pooch-centric lives, on and off the runway. Take it from Miranda Kerr, who has posed for editorials and campaigns alongside her Yorkie, Frankie; or Jessica Hart and her dog, Floyd, who has his own instagram account dedicated to his adventures. And even Angel Rutledge, Chipotle’s finest find, maintains a social media presence for her hound dog, Mo.

There’s also Alana Zimmer, who has mastered the art of selfies with her tuft-coiffed canines, Angel Rea and Zip, while Willow Hand always seems able to have her bite-sized little one ready for a snap. Suvi Koponen Riggs gets her exercise at the dog park, while Martha Hunt takes her little one, Bear, for long walks on the beach. But who has the best time of all? Georgia May Jagger knows how to capture a heartwearming, pillow-laden moment with her four-legged “Dink.” Woof!

 

The post Models Who Love Their Dogs More Than Their Selfies appeared first on Vogue.

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The Most Dangerous Antihero On TV Is … The Star Of Comedy Central’s ‘Review’?

Occasionally Forrest MacNeil, the protagonist of “Review,” realizes just how badly his life is going. At the end of the most recent installment of the Comedy Central show, which depicted extensive plastic surgery as well as a cult indoctrination gone very, very wrong, he thinks he’s identified the culprit.

“It was, by far, the most terrible experience this show has subjected me to,” he narrated over footage of the horrifying wreckage his bad decisions had led to.

As he has in the past, Forrest blamed the show he’s appearing on, which forces him to evaluate various life experiences and give them one- to five-star ratings, for the bewildering and bad choices he’s made. 

But wait — is Forrest actually forced to do any of these things? Did he really have to break up his marriage, become a suspect in an arson and blackmail a girlfriend? Well, no. But his misguided commitment to the premise of the show makes him think the answer is yes. Any rational person would have opted out of the whole scenario long ago, but Forrest has an almost unshakeable devotion to “Review,” not to mention a frightening vulnerability to the manipulations and the ice-cold glares of his shady producer, Grant (the typically great James Urbaniak).

The tension between Forrest’s enthusiastic, open-hearted embrace of possibilities of each scenario and his inability to put any limits on what he’ll do for his job supplies “Review” with a great deal of its painfully hilarious comedy. With the best of intentions — or at least a great deal of energy — Forrest wades into every situation thinking it’ll turn out better than the last one, but since the show debuted last year, things have only gotten worse for the “Review” star. Creator Andy Daly, who plays Forrest, has imbued the show with a great deal of deftly handled pathos as he has piled indignities and misadventures on the hapless host; Forrest’s story has only gotten more serialized, tragic and delightfully bizarre as time has gone on.


Forrest’s story has only gotten more serialized, tragic and delightfully bizarre as time has gone on.

As Daly notes in our interview, the goal of “Review” was always to construct an ongoing narrative about Forrest’s life. Even if the genial host can’t consistently accept that his voluntary participation in the show has brought about the terrible events that continue to play out in his life and in the lives of those around him, the audience can clearly see that he has the freedom to walk away, if only he’d take it. After all, this season Forrest is able to veto the review choices that his viewers make for him — but he keeps choosing to take their often dangerous suggestions anyway. It’s easier to blame his circumstances for his bad choices, rather than himself, and the audience can’t quite sit in judgment of the character, because we’ve all hidden behind that excuse at one time or another. 

As I wrote last year of “Review,” Forrest is not the first man “whose delusional obsessions destroyed his family and everything else he touched. Walter White has left us, but his brand of khaki-clad, suburban-dad mania lives on in… ‘Review,’ which mines Heisenbergian commitment for maximum comedic value.” As critic Sean Collins noted recently, Forrest’s relentless quest to avoid his own culpability serves as sly yet pointed commentary on the antihero vogue in TV.

I asked Daly, who’s also appeared on “Modern Family,” “Adventure Time” and “Silicon Valley,” among other shows, about the origins of Forrest’s story, the character’s unique brand of optimistic idiocy and what’s different about the acclaimed show in Season 2. 

(By the way, in an homage to one of the episodes that put “Review” on the map, as we talked, we ate pancakes. Turns out the secret to a truly enjoyable pancake experience is this: Just add ricotta cheese and blueberries to the batter — and don’t eat 15 of them in one sitting.)

So the show is an adaptation. How did it come to you?

It came to me without explanation on my doorstep in an envelope from my agent, who had seen it, and my name had been thrown around in relation to it. I don’t remember how many episodes I had been given, but not more than three, I think. I was watching it, and in [the original’s] second episode, their main character, Miles Barlow, has to review divorcing his wife. They have that custody-hearing scene that we did in our “Batman” [episode]. He has things thrown at him that he’s done previously — in the context of this custody hearing, the opposing lawyer said, “He’s trained with Al Qaeda, he’s hunted whales in protected waters.” Even though you didn’t see those things, you understand these were things he did in the context of being a life reviewer.

That was a lightbulb moment to me — “Oh, that’s what the show is.” If it were just segments where we reset at the end of each one, it wouldn’t be all that interesting. But to say, “He has a pre-existing life and these experiences are coming into his pre-existing life and affecting them for real and forever” — that is fascinating to me. I wanted to see that happen.

I love the idea of a stealth show, where it seems to be about one thing, but it’s really doing a different thing. So it’s not just a guy reviewing life, obviously, it’s about a guy who commits to an idea to a ridiculous degree. That’s kind of a central idea in comedy or even in being an actor — if you’re not going to commit to the premise or the character, then you might as well not do it.

Yeah. In interviews, people have been asking me, “Who are your comic influences?” and for a long time, I’ve shied away from citing Andy Kaufman, because it’s such a cliche. Comedians always say they were inspired by Andy Kaufman. But I really was. I read about him in the backstage history of “Saturday Night Live” when I was 15 years old, I sought out everything he was ever in, “My Breakfast with Blassie,” his Carnegie Hall concert.

What I took away more than anything was, I don’t think I could ever have the courage to be, under my own name, that confrontational and upsetting. But the commitment, the 100 percent commitment to his ideas — there’s no sense that there is a comic actor behind there, peeking out and saying, “It’s really just me, guys! We’re safe here.” We’re not safe, you know what I mean? You’re not safe, because he was so thoroughly committed to what he was doing that anything could happen. I love that and I love to try to bring that into Forrest MacNeil — the feeling that we’re not safe. Andy Daly is hopefully not peeking out and saying, “I’m just a comic actor and we’re just doing a funny show and this is all jokes.” I aspire to have people feel like, “I’m watching a guy who is so overly committed to what he’s doing that anything can happen.”

You’ve been involved in comedy for a long time, and just referring to the kind of discomfort and awkwardness Andy Kaufman would produce — you’d see that occasionally on “SNL” and here and there back then, but it’s a much more prominent comedy style now.

Yeah. I might be wrong, but I chalk it up to — everybody in comedy is trying to surprise their audience. I think Doug Benson has said funny is just really a synonym for surprising. Every joke, there’s a misdirect and there’s a surprise. The desire to find more and more ways to surprise has led to this idea of playing around with dramatic moments — “I don’t know if this will have a happy ending or not.” This show has shown me that it can have a sad ending, actually. It keeps you off-balance and it keeps you more prone to being surprised. 

One of the great things about Forrest is that he is surprised also. That’s where the drama comes from. 

Yeah, he’s no Sherlock Holmes. Forrest, to his credit as, let’s say, an amateur social scientist, goes into every experience without preconceived notions of what he’s going to discover. He has an open mind and he’s following this thing wherever it takes him, no matter what, however challenging and confronting it may be. So yeah, he is constantly being surprised himself.

And if you’re a comic performer, or any performer, isn’t that the goal — to not be shut down, to be open? If the characters and performers are discovering new things, it just seems like it creates a different energy. 

Absolutely. That’s why we’re constantly improvising. The whole experience of [working] it out in the room with the writers, all the way to the set and improvising with the actors and coming up with new ideas on the fly, it feels like that’s staying open and following this comic idea wherever it goes, and maybe it’ll work, maybe it won’t. Jeff Blitz, who directs all our episodes, is so great about that, about creating a safe environment to explore a new, funny idea. If it doesn’t work, we won’t use it, but there’s no reason not to try it.

Forrest is so open to where things take him, but he goes so horribly awry when it comes to having any kind of useful perception. Where do you think that comes from? 

I think his main problem is, he’s bought into this inflated view of himself as someone who is uniquely qualified to perform this crucially important public service.

The crucially important job of reviewing things? Do go on!

[Laughs] No, but specifically of reviewing life experiences. It’s such a stupid idea. It’s a really dumb idea. “I don’t want to have road rage myself, but I want you have it and then extrapolate from your experience of it some universal wisdom for me, so that I might understand what it would be like if I did it.” That’s an idiotic idea for a television show and if you were going to choose anybody to do it, Forrest would be the last person, because of his various blindnesses and ignorances. But he doesn’t see it that way, and that’s his fatal flaw — both that he thinks the show is incredibly important and that he is somehow qualified to do it. That leads him to ruin again and again.

That serious miscalculation — but isn’t that something we all do? We convince ourselves that something’s true. “I have to get that job.” “I absolutely have to buy a house by this age.” We set up these goals and turn them into truths, but really, do we have to do these things? We fixate to the point that we lose sight of the point that things are just ideas, they aren’t absolute rules. 

Right. As a TV nerd, I’ll bring it back to a great episode of “Taxi,” where Bobby Wheeler says, “If I didn’t make it as an actor by 30, I have to leave town, I have to pack up and go.” He struggles with it throughout the episode, until someone — probably Alex — says to him, “Well, you made the rule, why don’t you extend it by five years?” And his mind is blown. “Oh, I made the rule, I can change the rule!” But Forrest isn’t there. Forrest agreed to do this show in the way that it is done, and he has not lost faith in the importance of that idea or in his show.

Maybe Forrest’s biggest fault is his gullibility. He’s so easily manipulated by Grant, the producer, who is Jedi mind-tricking him all the time: “This is a real, important thing you definitely have to do.” 

I always felt like their dynamic is that when setting out on the project, Forrest said to him, “Do not let me back down. Things are going to be difficult — don’t let me waver.” It’s almost like that “Young Frankenstein” scene — “No matter what I say, don’t open this door.” 

There’s that great moment in the Season 1 finale, where Grant is walking toward the camera, away from Forrest, and he has this devilish grin on his face, like, “We’re going to get great footage.” 

Oh, definitely. That is a Jeff Blitz directorial flourish, I believe. I think almost every scene that Grant is in, he looks right down the barrel of the lens, almost as though he’s communicating to the editors or the cameraman or something like that — “This is good stuff.” It is a very evil glare.

To go back to Season 1, it took a little while to have viewers realize that there wasn’t going to be a reset button every week. Did you worry that viewers had to spend a few episodes with “Review” to get what it was actually doing? 

For sure, yeah. I thought Episode 1 by itself might make it clear to people that we don’t hit the reset button after each review. For instance, he steals the dog and then we see the dog [later in the episode]. He acquires a cocaine addiction in the Addiction segment and he still has it in the Prom segment. But those are sort of fine points, and though there are callbacks, it’s not until you get to Episodes 3 and 4 that you see that these things are for real and are sticking around. They’re cumulative and they’re having an effect on him. He’s not just breezing through these things like a cartoon character.

And, as viewers, we’re so trained by television to expect the reset button, and then also, there is a lot of sketch comedy, on Comedy Central and elsewhere, in which premises and characters don’t continue. So what you were doing took a little time to figure out.

Yeah. I don’t think it was possible in Season 1, or we didn’t find a way, to promote the show in a way that allowed people to understand that it was a continuing story line — a season-long arc. We did send four episodes to reviewers hoping they would pick up on it and communicate it, and some of them did. But yeah, a lot of people didn’t pick up on it until a few weeks in, which meant that they had to sign on to a show that was “Nerdy guy does extreme things in self-contained pieces,” and hang around for the change. 

But people did find the show, and the buzz definitely grew over the course of the season. What was your perception of people’s engagement with
“Review” during the course of that season?
 

I never stopped being worried. My wife will tell you every week, the night before an episode aired, I would say, “This is the one where we’re going to lose people. People are not going to put up with this.” I really thought people were going to be mad when we killed Fred Willard. I was worried a lot.

That was my favorite segment. 

[laughs] It was very gratifying over the course of the season, to first have that critical response, where the critics got it, then to see, over the course of the season, to see people throwing catchphrases back and forth on Twitter and talking about recommending it to one another on social media.

I do have to say, and I don’t know if this is something Comedy Central would like me to say, but when [Season 1] moved to Amazon Prime, I felt like I started to hear more about it than I had during the run on Comedy Central, which I think may be because of the binge-watch thing. It’s easier for someone to recommend something if it’s all in one place. But it can also be satisfying to watch a show week to week, as I do with “Game of Thrones.” What I’m saying is that “Review” is a “Game of Thrones” clone.

Obviously. So in thinking about Forrest, I’ve been thinking about the legal concept of the “reasonable person.” You know, what would a reasonable person be expected to do in a particular situation? In a way, the concept of “Review” is, here’s a Reasonable Man — but you’re intentionally subverting that idea so people have to confront the possibility that there is no Reasonable Person. Everyone can be a nightmare or a hero or incredibly destructive, based on the right circumstances.

One thing we sometimes try to do is have it be a “frog in a boiling pot of water” situation for Forrest. He doesn’t start out his exploration of something in a crazy place, but certain stances plus his own bad decisions get him to someplace catastrophic. We do make an effort to make it so that when things go wrong for Forrest, it’s his own stupid fault. But sometimes circumstance nudges him along.

There can be something irresistible about following a bad path in certain situations — “Well, if I’ve gone this far, I might as well go a little further … “  

Sure. In our first episode of the season, he has to review what it’s like to blackmail someone, so he’s extracting $ 500 a week from poor Alison Tolman, and then she won’t pay anymore. It’s like, well, it’s terrible, but he has to make good on the threat, right?

If he doesn’t, in a way, he’s a dishonorable person. 

Yeah. It’s part of the blackmail experience that he signed on for. And he never saw it coming. He never in a million years realized he’d have to make good on the threat. But she wouldn’t pay, so he has to.

At first glance, Forrest is the kind of character that you’d expect to be the straight man. 

What’s weird is that he’s a square, but he’s not the straight man in this world. His ex-wife is the straight man, to some extent. [His assistant] Lucille, [co-host] A.J. — they’re more sensible than him. Even though he’s not wacky, he is really not the audience’s voice. He is the incongruous element. 

Just how much does A.J. [Megan Stevenson] hate him?

A.J. can’t stand him. She just thinks he’s such a corny idiot. 

I think she’s just waiting for him to die in one of these stunts so she can take over. 

Tragically, that seems to be the attitude of a lot of people on the show. [laughs] Nobody is trying to save him from himself. We did have in an early draft [of the second season premiere] — some examination of the fact that A.J. had expected to take over Season 2. But it felt like we already spend so much time in the studio getting up to speed on Forrest’s state of mind before we get to [the review segments], that we just wanted to barrel into that first one. In fact, we got very few notes from the network this season, but one of them was, “How quick can you get to the excitement or the action of this piece?”

One difference in Season 2 is that Forrest has a veto. How often can he use it? 

Only twice over the course of the season. You get the feeling it might have come out of [an off-screen] conversation with Grant. Something like, “Look, I didn’t expect people were going to ask me to do such dangerous and challenging and wrong things, and I really don’t want my life to unravel again. Is there some way to safeguard against that?” And Grant said, “Why don’t we give you two vetoes?” Or maybe he said one and they negotiated their way up to two. But actually, I don’t think he wants to deploy these vetoes. It feels wrong to him; it feels like cheating.

Season 1 got pretty serialized and now that you’ve got the setup out of the way, is “Review” even more serialized in Season 2? 

Well, we always aspire to have it be that someone could drop in on Episode 4 without having seen Episodes 1, 2 and 3. Or they could even watch a given segment from Episode 4 all by itself without having watched anything else of the show, and appreciate and understand it. Forrest, for the benefit of his audience, catches you up to speed on things and puts things in context. But yeah, it’s very serialized and maybe it’s more serialized only because we knew, going into writing this season, that a really important feature of the show is a narrative-long arc.

Season 1 was the destruction of Forrest’s personal life. Is Season 2 an attempt to rebuild? 

That’s how I’ve been thinking about it or describing it. Season 1 was about a guy who brought this ridiculous exercise into a solid, pre-existing life and had his life destroyed by it. In Season 2, it’s about a man who’s trying to rebuild his life or build a new life, while still doing this job, fully believing that it can be done.

Forrest is not done with Suzanne [his ex-wife, played by Jessica St. Clair]. It takes a while before we get to it, but what happens between Forrest and Suzanne in the back half of the season is very exciting, and wonderful to me. 

It strikes me that this is the kind of show that going to build over time on the layers you’re creating over the course of several seasons — so what would constitute him learning perspective or judgment? 

It is a little hard to imagine Forrest growing.

That’s why I came up short when thinking about where the show would go. He’s not a guy with a lot of self-awareness. 

One of the interesting challenges of the show, to me, is that we don’t really peer between the curtain of the show. What you see is Forrest’s show. In other words, he is always reviewing life experiences. There wouldn’t be a time in which you’d see an episode of the show in which he’s not reviewing life experiences. If we’re seeing it, it’s because he’s doing it.

What that means is, he will always be reviewing life experiences, and if he’s doing that, he’s making a bad decision. The show is always a dumb thing for him to do. So he can’t grow so much that he would be smart enough not to do this show, or we wouldn’t see it.

So there’s not a ton of room for him to change. But if you watched “The Sopranos,” Tony’s journey was really a circle. And I had a similar reaction to the end of “Mad Men.” Do people change? I hope we do, while I can still recognize elements of myself from when I was 12. 

Right. Some things change and some don’t. I could see Forrest becoming a little more unhinged. I can see him becoming more troubled and more wary of the world. But I think his essential stupidity to do this work, and his optimism that one of these things that could turn out well — it’s hard to imagine these things leaving his character.

The darkest timeline is Forrest becoming cynical. 

Yeah. That would be a bummer. The world is quite cruel to Forrest. The people who ask him to do these things are really not looking out for him, and neither is anybody else. But I think he’s the author of all of [the misfortune], because he signed on to this thing, and he could walk away at any moment.

Maybe that’s the final episode, the last frame, he finally says, “You know what, I’m done.” 

But I think it’s the same with “Breaking Bad.” I always thought, why does he continue to do this? At the point that Tuco has been killed — that was the moment where I thought, “OK, you’re out. You’ve made some money, this thing has clearly demonstrated that it could get you killed and you narrowly escaped with your life. Hang it up.” But … 

But that show is also about self-delusion and the justifications people make to do the things they wanted to do anyway. 

Right.

So for this season, what did you want to do differently, without essentially changing Forrest much? 

Just from a comedy point of view, we said to ourselves that a second season should go further. It should be more insane but also from a storytelling point of view — Forrest walked away at the end of Season 1. That was a smart decision. It’s the only smart thing we’ve ever seen him do. And he walked that decision back. He has come back for Season 2. He is therefore deserving of more things going off the rails for him. For both of those reasons, the ante is up in Season 2 and it’s fair to say we will see Forrest suffer more.

How far can you go before it’s too far? Do you ever talk about what’s too much? 

We talk a little bit about what’s too far plausibility-wise. It’s important to me that this show feels grounded in our real world. That doesn’t mean there can’t be certain things that would inflame a logic cop. For instance, there is no commercial space flight available, so in the real world, we could not have killed Fred Willard. So sometimes we take liberties, if it’s worth it. So we talk about going too far from a plausibility point of view, but I can’t recall too many conversations about going too far from a “hurting Forrest” or “sadness” point of view.

I have to say, the show depicts despair pretty well. 

It’s fun to see Forrest in a quagmire and not knowing what to do.

He’s doing that for us — it’s our catharsis and we don’t have to experience that despair. I mean, that’s kind of what “Review” does, or what TV does in general — it allows us to see what making certain choices would be like.  

Yeah, that’s something we often try to put into the show, some sense of wish fulfillment. There was a lot of that in Season 1 in particular, the idea that some people might want to know what it’s like for a regular person to plan a bank robbery or whatever.

Being Irish was clearly amazing. 

Five stars, according to A.J.

Can you please rate this interview? 

Until you asked me to rate it, five stars. I’ve dropped down to three and a half now.

Tough but fair.

 

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This Teacher’s Harry Potter-Themed Classroom Is Truly Magical

An Oklahoma teacher hopes her new Harry Potter-themed classroom will inspire her students to immerse themselves in reading.

Stephanie Stephens teaches elective math and reading classes for sixth through eighth graders at James L. Capps Middle School in Oklahoma City. “One of the toughest things as a reading teacher is instilling a love of reading in students that do not like reading,” she told The Huffington Post.

While working at a camp over the summer, Stephens came up with the idea to decorate her school classroom with Harry Potter-themed details after her enthusiasm for the series prompted a few other adults to read the books. “It got me thinking that if I can get adults to be excited about reading using Harry Potter, I can get my students excited about reading as well!” she recalled.

The teacher spent a week planning and ordering decorations related to the series’ first book, Harry Potter and the Sorcerer’s Stone. “I thought of all the magical things Harry saw and experienced and put myself in his shoes and picked the things that I could pull off in a classroom,” she said. Stephens ordered signs from Etsy, stuffed animals and fabrics from a variety of websites and used a free font download to put together more quotes and classroom labels.

She also persuaded her artist sister to paint her “Mrs. Stephens’ Room” board. Once she had all the items and fabrics, it took the teacher “four days or so” to pull it all together, she said. Eventually, she plans to add a broom and Mirror of Erised to the classroom.

In total, Stephens paid between $ 400 and $ 500 dollars of her own money for all the classroom decor. “I chose to go with the Harry Potter theme because if I am excited and enthusiastic, students tend to follow suit,” she told HuffPost. “My goal is to help students find at least one book or genre that they can find exciting and be as enthusiastic about as I am regarding Harry Potter.”

When the first day of school arrived on August 20th, some students were confused because they were unfamiliar with Harry Potter. But, Stephens added, “Most were excited and were immediately drawn into the class and the fun activities that are planned for the year!”

“Their favorite part of the entire classroom are the potions,” she continued. “They love playing with them while waiting for class to start.”

Stephens husband shared photos of his wife’s Potterific classroom on Reddit, where they’ve been viewed over 22,000 times. The teacher wants people who see the photos of her classroom to feel inspired to read or do something creative.

“My hope is to bring magic back into people’s hearts,” she said. “The Harry Potter generation is growing up, and sometimes, returning to our younger selves can inspire us to pick up a book or share a piece of our past with others around us.”

Keep scrolling for more photos of Stephens’ awesome Harry Potter-themed classroom.

H/T Babble

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9 Back-To-School Resolutions Inspired By Our Favorite Teen Blockbusters

You’re ready. In fact, you’re positively glowing — the result of some much-needed R&R and that tan you baked like a brisket all summer long. You have a notebook for every class, you laid out your first-day-of-school outfit, and you mapped out the best route from class to class, so you don’t accidentally sit through 10 minutes of advanced interpretive dance (that was embarrassing).

You’ve never been so organized, so why not harness this preparedness (because it may not last) to make some resolutions and ensure it’s the best school year yet? For some inspiration, look no further than your favorite blockbusters. In partnership with Juicy Fruit, we rounded up some back-to-school resolutions drawn from classic teen films. After all, aren’t these movies what we model our entire educational experience after in the first place? Happy New School Year!

1. Live In The Moment

ferris

“Ferris Bueller’s Day Off” taught us all something about being more spontaneous. It even foreshadowed the flash mob before it became a sensation … spooky.

This year, hijack a mic and start lip-syncing to “Twist and Shout” … metaphorically speaking. Make sure you enjoy a little Bueller-style, spur-of-the moment fun with friends. Plan not to plan out every single day, so the spectacular now won’t just pass you by.

2. Seize The Day

dead poet

School is back in session, but the world is still your oyster. Embrace the carpe diem spirit of the impassioned boys of “Dead Poets Society.” Follow their lofty example and resolve to take advantage of every opportunity to experience the extraordinary.

Stand up, “Oh Captain! My Captain!” (Just make sure your desk is sturdy.)

3. Take Some Chances In Love

say anything

Ah, to be young and in love! It’s actually pretty… awkward. Just ask the guy holding a boombox over his head.

But “Say Anything” shows that it does pay to take risks and be brave when it comes to matters of the heart, no matter how emotionally (or physically) uncomfortable it may be. Find inspiration in this movie’s title and, this school year, don’t let your feelings go unsaid. Pro tip: handwritten notes always go over very well.

4. Play Hard

remember

In “Remember The Titans,” the team doesn’t need a victory before they break out in dance. They play for love of the game, and no matter how steep the competition is, they show it’s important to just have fun with your teammates and give it your all.

Whatever you play this year, do remember those Titans and play hard — on the field and off.

5. … And Play Nice

mean girls

All those teenagers dealing with oh so many feelings … school can be a lot like the jungle — complete with predators and peril.

Rivalries and cliques are par for the course, but “Mean Girls” captures how wild the antics can get. This year, cut out the drama and resolve to play nice — especially on social media. Because it’s way more fun to make friendships than break them — #YesNewFriends.

6. Give Yourself A Makeover From The Inside Out

clueless

You cut your hair (finally!), you’re rocking an adventurous flash tattoo, and you can’t wait for the compliments to roll in.

Back-to-school makeovers can be about more than looks. This year, why not take a clue from “Clueless” heroine Cher Horowitz and stage a mini-makeover from within. Use the new school year to jump-start positive habits — your friends and peers will be sure to notice the new and improved you! Reminder: it’s not a habit if you only do it spo·rad·i·cal·ly.

7. Dance Like Nobody’s Watching

napoleon

The title character of “Napoleon Dynamite” captured America’s hearts with his quirky, offbeat style — proving that we, as unique individuals, are pretty awesome — even if our peers don’t necessarily recognize it. (Though he could be nicer to his llama.)

Bust out some sweet moves, and discover how much fun it is literally dancing to the beat of your own drum. It’s OK sometimes to do whatever you feel like. Gosh!

8. Blaze Your Own Trail

perks

“The Perks of Being a Wallflower” shows that all of us — even the quiet introverts and self-professed wallflowers — can forge our own exciting paths and accept all the love we deserve.

This year, spread your wings and prepare to fly alongside the awesome friends who are there to support you along the way. Adventure awaits! Don’t be afraid to stand out … just don’t do it from the back of a moving pickup.

9. Free Yourself From Labels

breakfast

After spending one Saturday detention together, the high schoolers in “The Breakfast Club” learned to come together despite their differences for an unforgettable good time.

Go back to school resolved to be a label Bender. And who knows? You just may discover unlikely friends (or perhaps an unlikely side to your multifaceted self) and run the halls with your newfound motley crew. Make it an epic year!

Say Yes to Fun and create unforgettable memories this school year with Juicy Fruit.

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3 Clever Ways To Make a Guy Attracted To You

Sex appeal all boils down to one thing – confidence. This article explains the keystones of emanating that swagger in the presence of men, whether that be in a club or on an official date, these tips are sure to work!
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