Just when you thought you couldn’t love Randall (Sterling K. Brown) and Beth (Susan Kelechi Watson) any more, This Is Us releases the above sneak peek, exclusive to E! News, and suddenly you…
E! Online (US) – TV News
SPECIAL TIP UPDATE!
Just when you thought you couldn’t love Randall (Sterling K. Brown) and Beth (Susan Kelechi Watson) any more, This Is Us releases the above sneak peek, exclusive to E! News, and suddenly you…
E! Online (US) – TV News
SPECIAL TIP UPDATE!
Maybe it’s about time, but streetwear’s Elizabeth Birkett Gibbs is on a path to building her label Bephie, bringing a new perspective into the category now more than 15 years in the making.
The fledgling streetwear brand quietly surfaced in late 2017 and will slowly build its way into the market via collaborations, the most recent of which is with Los Angeles genderless fashion brand No Sesso set to officially debut Saturday during a presentation at the Underground Museum. The pieces will be available for pre-order, in addition to T-shirts available at a pop-up during the celebration. It will also be sold exclusively at Union Los Angeles.
The collection, totaling under 20 pieces, is what Birkett Gibbs called “our version of streetwear with a little more edge.”
“We’re taking our silhouettes that we like to use everyday and making our own uniform,” Davis added.
The collection draws inspiration from the communities in the black church and hair as part of a celebration of Black History Month. Davis drew sketches of black women and their different hairstyles, which formed the basis of a print that’s seen on jumpers and pullovers, accented with neon zippers.
“That’s our streetwear,” Davis said.
“My hairstyle changes once a week,” Birkett Gibbs
Discover Hot Offers Today From Walmart!
CARAMEL CARNY: Carnival life at Christmas, how stylish can it get? The answer from Beth Ditto came in the form of a bright silk dress, a huge, round hair bun — jet black — and her crystal-clear voice, strong enough to cut through thumping rock music in Galeries Lafayette.
The Parisian department store’s official theme this season is “Spectacular spectacular,” a chic and sugary rendition of the carny spirit of yesteryear.
First off, the red-carpet window unveiling with the group’s executive chairman Philippe Houzé; his son, the director of image and patronage Guillaume Houzé; and Haussmann flagship director Agnès Vigneron. Crowds jostling for a glimpse of the sparkly-heeled celebrity were also served colorful scenes of rotating toy carousels and ferris wheels in the windows behind the group.
The party quickly moved indoors, away from the brisk temperatures, past policemen in full riot gear — no, their costumes were not part of the show — and just beyond a giant red and white carousel display. Tucked between the horses, the red velvet, fur and studded handbags carry price tags in the 2,000 euro range and labels like Alaïa and Miu Miu.
The performance took place in the heart of the store, on a platform above
Even those who have never attended a wedding in the South will find laughter in the pages of this deliciously entertaining slice of Southern life and love, complete with recipes, advice, and a huge dose of that famous charm.
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ACRX Recognition Gallery: American Consultants Rx
http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.
The American Consultants Rx discount prescription cards are to be given free to anyone in need of help curbing the high cost of prescription drugs.
Due to the rising costs, unstable economics, and the mounting cost of prescriptions, American Consultants Rx Inc. (ACRX) a.k.a (ACIRX) an Atlanta based company was born in 2004. The ACRX discount prescription card program was created and over 25 million discount prescription cards were donated to over 18k organizations across the country to be distributed to those in need of prescription assistance free of charge since 2004.
The ACRX cards will offer discounts of name brand drugs of up to 40% off and up to 60% off of generic drugs. They also possess no eligibility requirements, no forms to fill out, or expiration date as well .One card will take care of a whole family. Also note that the ACRX cards will come to your organization already pre-activated .The cards are good at over 50k stores from Walgreen, Wal mart, Eckerd”s, Kmart, Kroger, Publix, and many more. Any one can use these cards but ACRX is focusing on those who are uninsured, underinsured, or on Medicare. The ACRX cards are now in Spanish as well.
American Consultants Rx made arrangements online for the ACRX card to be available at http://www.acrxcards.com where it can also be downloaded. This arrangement has been made to allow organizations an avenue to continue assisting their clients in the community until they receive their orders of the ACRX cards. ACRX made it possible for cards to be requested from online for individuals and organizations free of charge. Request for the ACRX cards can also be made by mailing a request to : ACRX, P.O.Box 161336,Atlanta,GA 30321, faxing a written request to 404-305-9539,or calling the office at 404-767-1072. Please include name (if organization please include organization and contact name),mailing address,designate Spanish or English,amount of cards requested,and telephone number.
American Consultants Rx is working diligently to assist as many people and organizations as possible. It should be noted that while many other organizations and companies place a cost on their money saving cards, American Consultants Rx does not believe a cost should be applied, just to assist our fellow Americans. American Consultants Rx states that it will continue to strive to assist those in need.
A Conversation with Beth Hart
Mike Ragogna: Beth, your new album is titled Better Than Home. So what’s better than home?
Beth Hart: “Better Than Home,” the song, is about getting out of your hiding place and having the courage to live as loud as possible. It is about feeling the life that has been given and has been waiting for you all along.
MR: “Might As Well Smile” makes a very good point about trying to stay optimistic through personal challenges, headlines and hypocrisy. To me, those are some excellent, tight lyrics. So how did you come up with this one?
BH: I was going through depression and struggling with powerful cravings to drink. I got so fed up with it that I decided to write something positive to help me realize that all I really have to do is fake it till I make it. I realized that I needed to smile anyway, and find all the wonder in life that’s certainly worth some gratitude. And it really worked. I started to come up out of it. I really love that song.
MR: What are a couple more of your favorite songs on the album and what are the stories behind their creations?
BH: “St. Teresa” is one of my favorites. It reminds me of the importance of grace. One of the many wonderful things she said was that the definition of having grace was to give love and help someone that you think does not deserve it. This, to me, is unconditional love–going beyond our judgment and cherishing anyway. The song was inspired by the film Dead Man Walking. It’s so brilliant. It carries such weight.
I also love “As Long As I Have a Song.” It’s my first time opening up about my absolute love for writing. I talk about how when writer’s block happens it’s not just frustrating, it’s terrifying to think that maybe the thing that helps me to heal and pray has possibly been taking away. This song reminds me to always, always, always value the gift of writing and to be so thankful for it.
MR: What was the recording process this time around and which lucky musical pals came to the party?
BH: We recorded in New York City, then mixed in Los Angeles. Ed Cherney mixed, Rob Mathes and Micheal Stevens produced, piano was Rob Mathes and myself, guitars were Rob and Larry Campbell, bass was Zev Katz, and drums were Charlie Drayton. We spent seven days in the studio and it was real cool. I was surrounded by great people…and how can ya not love New York?
MR: Speaking of pals, you recently did a project with Joe Bonamassa who adores you in my interviews with him. But the adoration doesn’t stop there. What’s going on with all this Beth Hart luv?
BH: Well, I hope he loves me because I love and adore all the musicians in his camp and the producer, Kevin Shirley. We’ve made two records now and a live DVD together…but it’s not that kind of love. I have a husband who’s the sexiest man that’s ever lived!! And I adore my Scotty more than anything and anyone, forever!!!
MR: Nice. How would you define your music these days?
BH: I call it Americana–rock, blues, soul, story teller, gospel, and sometimes a sprinkle of jazz–all the stuff Americans invented. The best.
MR: I’ve interviewed you like thirty times now, if by thirty, I mean twice. We’ve basically talk about your latest project, which, of course, we’re doing again here. But let me ask you about your roots this time. Which artists were you listening to growing up and what songs really got to you?
BH: I listened to a ton of different genres. From classical–Beethoven, to jazz–Dinah Washington, Billie Holiday, Thelonious Monk, Anita O’Day, to reggae–Steele Pulse, Bob Marley, Peter Tosh, to soul–Aretha Franklin, Otis Redding, James Brown, Etta James, to blues–Howlin Wolff, Big Joe Turner, Robert Johnson, etc), to hard rock–Led Zeppelin, ACDC, Rush, Black Sabbath, Sound Garden, Alice In Chains, Tool, Les Claypool in Primus, to punk–Ramones, Black Flag Pattie Smith, to story tellers–Carol King, James Taylor, Ricky Lee Jones, Eagles, Tom Waits, etc.–and this long ass list could go on and on and f**kin’ on!
You know, sometimes the songs that really affected me were not from the artist catalogue of their music, like the song “Thunder Road” by Bruce Springsteen. I never got into any of his other music, but that song to this day is in my top three lyrical masterpieces of all time. It so beautifully describes longing. It’s clever, but never reaching. It’s full of promise, but never a bullshit fairy tale. It’s the shit that writers should study on how to craft a great lyric. Also, The Stones song “You Can’t Always Get What You Want” is perfect and so f**king true, but never preachy. There is a humility to knowing. I love it. The song “Summertime” is, to me, a musical feat. Just the music alone does it for me–soaring melodies, both gentle and powerful, like classical music, then a total blues style lyric over it. So fantastic. And last but not least, “Strange Fruit” by the great Billie Holiday and Nina Simone–genius!. This song musically is so gorgeous and DARK DARK DARK, which is so totally appropriate for the darkest of lyrics covering, in such a poetic way, the true depths of slavery, cruelty, and depravity. It’s brave, it’s honest, and it will never let us forget. It’s art.
MR: What are the stories behind the transitions from music fan to performing musician to recording artist?
BH: The transition from fan, to performer, to recording artist for me was like learning how to dive…and each board got higher and higher. I wanted so much to do it, but I was afraid I’d be hurt. Now I’m used to being hurt and I know it is part of it, and that’s okay, because it also brings such love and joy. It’s totally worth it every time.
MR: What advice do you have for new artists?
BH: The best advice I can give is to do it because you have to, and try to never rate yourself or your work based on others’ reactions. This is very important. It’s a gift to enjoy, not to get more and more. If more comes than that’s awesome, but if more never comes don’t ever let that determine your worth. Have faith in everything and everyone, including yourself.
MR: Though there seems to be a healthier environment these days with new or emerging artists taking control of their own careers as opposed for depending on major labels to propel them. Yet it’s virtually impossible to have a huge career without those labels’ support and coordination and contacts. If you were starting now, how would Beth Hart approach getting her music discovered?
BH: Oh I have no idea. I suppose I’d do what I did before, and that’s write and perform anywhere and everywhere constantly.
MR: How have your creativity and career evolved within a turbulent music scene’s sea changes?
BH: I honestly don’t focus on that, that’s what I have a manager and a label for. I have enough to jumble with taking care of myself and being creative. I also believe that God has me right where I’m supposed to be, always.
MR: So what surprises do you have waiting for the Beth Hart fans and newcomers?
BH: No surprises. I have a humble outfit, but we still give as much love and energy we possibly can each night. We play songs from all the records, so I always hope to make the audience feel very happy that they came.
MR: At this moment, are you where you want to be in your life?
BH: I really am enjoying and feeling so so grateful each day lately. This is a calm and peaceful time.
BUFFALO RODEO’S “BLUE SKY” EXCLUSIVE
According to Buffalo Rodeo’s Zach Preston…
“Blue Sky” is the first single off Buffalo Rodeo’s upcoming EP, 123 Water, out March 6th. The band recorded this EP in a warehouse-turned-recording studio space in Horse Cave, KY, where we ostracized ourselves in a small town in the middle-of-nowhere. From those warehouse sessions came the songs that make up 123 Water. “Blue Sky” for me is a song about personal and spiritual realizations that I’ve observed growing up in a conservative religious household. Many times it felt like too much emphasis was put on what happens after I die, when most of us aren’t in control or completely aware of what’s happening in reality. It’s ultimately about living for what’s in front of you, until you can grasp the rest. Personally I think the rest is important just not as worthwhile as simple ethical lessons of respect, decency, or appreciation for what we already have.
A Conversation with The Stone Foxes’ Spence Koehler & Shannon Koehler
Mike Ragogna: Spence, looks like you’ve got some “Locomotion” behind your Foxes First Fridays. See the lame thing I did there?
Spence Koehler: Ha! I’ll take it! It’s definitely been a fun new way of rolling out new songs, giving fans something fresh to look forward to at the beginning of each month. We’re happy to see that they’re into it too.
Shannon Koehler: More dad jokes please!
MR: [laughs] So this upcoming album, with one song being released a week over the course of a year when it will finally be released, will not only be a full album but somewhat of a travelog, also containing pictures, live recordings and more. How did the idea come about to approach your new album this way?
Shannon: It started a year and a half ago when we decided to add three old friends to the team, Brian “The Buffalo,” and Vince “Trish” Dewald, and Ben “Wang” Andrews. All three are multi-instrumentalist wizards, and as they joined one by one over that time, we jumped into the studio between tours to slowly develop our new sound. We play a live show that feels like we’re a high octane GT 500 engine, but we wanted to get that feel to translate to tape. We took the straight up rock n roll that all six of us love to play, and went through phases of punk, country, folk, and pop sounds. This collection is the documentation of that process. It’s nothing like the old school albums we’ve done before. With one song about heart problems and surgeries shortly followed by another about gentrification in SF, the songs all feel so different, but they come from the heart of the same rock ‘n’ roll band.
Spence: Plus, the way most people digest new music is shifting. We wanted to give everyone a fresh track each month that they could listen to for free. This method gave us an opportunity to feature each song for an entire month, which is rarely the case on a traditional record. For those who enjoy taking the time to listen to a record from front to back we are also going to release a full physical album, press vinyl etc. That release will include some studio B sides, live video from The Chapel residency we did in Nov. 2014, and photos of life in the studio and on
MR: How has your audience reacted to this approach so far? Were you ever
afraid it might demand more of their patience than they’re willing to give for such an ambitious approach?
Spence: At the merch table after shows people keep asking us about the new
tracks and when the next one is coming out, they seem to be digging it as much as we are. When we were brainstorming about how to release the songs, we discovered that we all love it when we find out that there’s a brand new EP or single up for download on “So and So’s” site. You don’t have to wait for a full album to drop later down the road, you can go listen to some of it right now.
Shannon: Our fans and friends have stuck by us through thick and thin, from our first show at a cafe/laundromat to headlining The Fillmore. We weren’t afraid to give our fans something new, in fact, we wanted to to give them the music for free as a thank you. We can’t do it without them, and we know that.
MR: How many of the Twelve Spells have been completed?
Shannon: We’re actually in our friends studio, The Complex in downtown SF,
doing overdubs on the last tracks right now! You know it’s going well when going to the studio feels like going to camp. It feels like summer camp right now.
Spence: Yeah, we have all the main tracking done, but the big final task is mixing the songs together as a group. We recorded with some well known dudes with impressive resumes and big time artist credits, but this time around we wanted to get back to the basics and do it ourselves. So far it’s felt really natural and great.
MR: Is there any older material or songs written over a year ago making it into this batch?
Spence: There are some old riffs I had saved away that we used, probably some old lyrics that Shannon found on a notepad under his couch among the cookie crumbs and dust bunnies.
Shannon: They weren’t under my couch, jerk face! Some of the songs are a year old, some of them were written two weeks ago about things that are in our newspapers. A lot of our lyrics come from our passion for social justice issues, and there’s always something worth standing up for and singing about.
MR: What do you think of the blues-rock scene these days?
Spence: For a while, it seemed like Jack White and The Black Keys ruled the world, everything they put out was monstrous and awesome, but I feel like that bubble has burst and bands like Alabama Shakes and Tame Impala are putting out the most honest forward thinking blues these days.
Shannon: Everybody is so damn good…our Bay Area brothers Strange Vine and Two Gallants, and even bigger boys that we look up to like My Morning Jacket and Wilco… We could go on forever, but we’re lucky to live in a time when there are so many great bands taking rock n’ roll and doing it their own way.
MR: What’s been the biggest surprise about making music together over these last few years? The biggest evolution for the band or music?
Shannon: Honestly, we’re surprised to be talking to someone like you! We never thought we were gonna get farther than that cafe/laundromat. Playing festivals like Outside Lands, starring in music videos, flying to other countries…it’s all gravy.
Spence: The band has evolved several times since the start. Adding Elliott on
keys was a big sonic change to the beef of our sound. Two–and sometimes three–guitars gives Ben and I the flexibility to back up and weave in and out of each other. The addition of Vince, our second lead singer and songwriter, has expanded our vocal range and lyrical depth. Probably the most visible change has been adding Brian as a second drummer, letting him focus on his beats and allowing Shannon to sing and play harmonica from the front of the stage with a full tilt band behind him.
MR: Has this First Friday program been working better than you planned or is it still a work in progress?
Spence: It’s definitely been working well, though one big unexpected challenge has been coming up with the artwork for not one, but twelve covers. We’re collaborating with our friend and fellow SF artist Giuliana Pinto, who has been doing incredible paint on cardboard backdrops and costume design for our covers. Each song is given a representative character and she takes it from there. We’re all taking our turn donning whatever crazy outfits she’s devised for the cover shoots. I let her dress me up in shimmering glitter, makeup and hairspray to pose as Ocean Man for the cover of “Like it ain’t Nothin.” Giuliana herself wore tights and a red cape in the BART station for the cover of “Cold Like a Killer.” All of them are shot in and around different parts of SF because this place is a big part of our inspiration.
Shannon: And as we said before, not all of the songs are completely done…yipes! So we’ve been in my room with a kick-ass mic and towels draped all over my walls singing, disturbing my neighbors, then running in to mix, sending it out to be mastered, all to get it back in time for the first Friday.
MR: Who do you listen to casually, like what bands or solo acts?
Spence: I’m on a country kick right now–Buck Owens, Flying Burrito Brothers, Ryan Adams. Bakersfield-style stuff.
Shannon: I’ve been digging a lot of Nick Cave, he’s got a song about how Miley Cyrus was the best girl he ever had. If I wrote that, I’d get kicked out of my band! Outside of that, I can never get enough of The Band, and if I need to get pumped up lately I turn Jay Z’s “Threats” waaaay up!
MR: How do you see your recordings and music growing over the next year? How will that effect musical output and touring schedule?
Shannon: We’re really gonna put our heads together when the spells are finished, but we’ve been loving the darker places the music and lyrics have gone. We like the hard hits, with Ennio Morricone licks, just a pinch of hip-hop when needed, and lyrics that talk about what’s happening right now. A lot of people sing about girls, and we do it here and there too, but Vince and I are passionate about peace and social justice issues that our generation can’t ignore. We feel that rock ‘n’ roll has the power to move mountains, and we’re gonna keep playing till we move one.
Spence: We’ve had our days in most studios and home-recording environments and I think we’ve finally found a comfortable spot right in between at the Complex SF. It’s not a slick LA studio and it’s also not our musty used-mattress-lined garage. It’s kind of a glorified garage though, a Wayne’s World-style garage with some quality gear and a chill dude who knows how to run it. It’s important to have a good set of mics and preamps to get solid tones. We track most instruments live, all together in the same room, with a bit of bleed. If someone flubs a note, but the rest of the take is right on, we keep it. Then we dub vocals either at
home or at the studio. We try to get too bogged down in the process and let the tracks speak for themselves.
MR: What advice do you have for new or emerging artists?
Spence: Write more songs than you’re actually putting on your record, then choose the best. Our first two records were cut the moment we had enough material to fill an LP and I’m sure we could have done better if we were not so antsy to just get another record out. It’s nice to have options to choose from when you’re putting together an album.
Shannon: Play lots of shows. Play lots of shows. Eat some ice cream… And then play more shows.
MR: What advice would you have given to The Stone Foxes when they started out?
Spence: Play like it’s the last show you’ll ever play. We once drove all the way to Phoenix, Arizona, to play for a huge room full of empty chairs. But we played in to ourselves nonetheless and made it a hell of a good time for us and the few people who were there putting on the show. Two years later, the same promoter asked us to open for The Black Keys.
Shannon: There was a meeting after another bad show in Southern California
where our managers sat us down the next morning and told us we could never play that sh**ty again. I wish I could have told ourselves that two years earlier. Oh, and I would have also told myself, get a better van, you idiot.
MR: [laughs] What does the immediate future look like?
Shannon: We’re about to book it down to the desert and play a mess of shows
including the the VIVA Phoenix fest and a bunch of SXSW showcases. We have eight shows in four days in Austin, so we’re getting in shape so we can keep it high voltage! We also are continuing to collect healthy non-perishable foods at each show and take them to shelters and food banks as part of our Goodnight Moon Project. Donate food to those in need and we’ll give you a 7″ record, easy as pie. See what it’s all about at http://www.goodnightmoonproject.org.
Spence: This Friday, we’re releasing “I Want To Be You” in our next installment of #FoxesFirstFriday. Check it out!
DIDA’S “APOLOGY” EXCLUSIVE
According to Dida…
“‘Apology’ is the first release from my upcoming album Modern Love Songs. The core of the album is the idea that the same human feelings that have always existed, like songs of love and introspection are explored through a contemporary, personal perspective. On a musical and artistic level, I draw heavily from the great American songbook, and am constantly inspired by its great interpreters. In a way the direction of this album is a continuation of themes I find in those classic sources.
The song was written by my main collaborator, Tal Ronen. On the surface, it describes an experience familiar to New Yorkers, that of having caught a mouse. However, as the song progresses the separation between human and animal, captive and free, living and dying, begin to blur. Working with these ideas in mind, Iyar Dyoman directed this video. It features my parents, Peli and Dahlia Pelled.”
A Conversation with Sugar Ray Norcia
Mike Ragogna: Sugar Ray, your new album is titled Living Tear To Tear. Why all these tears?
Sugar Ray Norcia: Well, I don’t think of it as sad! Just listen to the band cruising along taking you for a joyful ride. The lyrics on a lot of the songs deal with common human emotions some, of course, about troubles, troubles in a relationship or trouble with something or another but the music behind it is very uplifting and therapeutic to me.
MR: Do you have some idea of what your projects will be about as you begin the creative phase or do the songs tell you what it is as you dig into the writing and recording?
SRN: I don’t begin with a preconceived idea for a project other then to keep in mind what it is that we as a band do best and that is to play our own unadulterated, unbasterdized version of urban,electric blues.I also keep in mind the incredible talent of the players around me as I write material. “Monster” Mike Welch on guitar is just that…a monster. His style is electrifying,inventive,subtle and passionate. These are the things that make a dynamic performer. Anthony Geraci is on piano and sometimes Hammond organ. It’s a pure delight to hear the keyboards being played with such intensity and sensitivity while keeping it all in the right style that compliments our material. I’m not just saying….I know! Then there is Mudcat Ward on upright and electric bass and Neil Gouvin on drums. Man they are a dream team of a rhythm section…the bands nucleus. Playing with them is like being driven in a Lincoln Town Car or Cadillac. Mudcats smooth, steady bass lines complimented with Gouvins world famous shuffle on his coveted, vintage Slingerland “Radio King” drum kit is the s**t! Man, I have to stop and go get a beer and a harmonica. I make my own damn self-inspired!
MR: [laughs] How does it feel to have a 35th anniversary with the band?
SRN: It feels great! I think it would be fair to say that not too many bands have been together for 35 years. Mike Welch on guitar is the newest member of the band. He’s been with us for about 15 years. The rest of us have played together for 35, yes that’s right, 35 years, more or less. I figure that’s a total of about 155 years of experience!
MR: From your perspective, what happened on Living Tear To Tear that never happened before on previous recordings?
SRN: Oh I don’t know. To me everytime we step foot into the recording studio something special happens. We are there to play our best but it’s like a frozen moment in time. If we were to record the same song once a day for any number of days, each take would be a little different from the last. It depends on how you are feeling in the moment.It depends on how relaxed or tense you may be or how many drinks you may have had or what’s going on in your private life or what the mix sounds like in your headphones.All sorts of variables ultimately contribute to the final product. We usually cut a song once, one take with almost no overdubs.
MR: Were there any surprising moments on the album? Any songs that gave you a tough time? Any that ended up becoming favorites?
SRN: None of the songs gave us a tough time. If you don’t know your craft after all these years then something aint right with you! One of my favorite songs ended up being the slow blues I wrote called “Misery.” It comes from somewhere other that just your normal three chord blues progression. It comes from deep within your heart and soul. It’s hard to describe in words. We were all in another place…almost spiritual I would say. We were just lazily floating through blues heaven making chord changes in unusual places, riffing off each others creative ideas, all unrehearsed and free. Thats a great thing to happen.
MR: What do you think of the blues these days? Does it still have the chops to get out there every night and do it again?
SRN: Like anything else, the blues evolves in all it’s different forms and off-shoots.I myself am not a big fan of rock inspired blues or blues that’s over the top. There’s nothing wrong with that approach but like to keep it true to the 1950s style of amplified blues. I like old stuff….old cars, old amps, old radios, old wine, old stuff. Maybe that’s why my friends have been calling me “The Old Man” since I was about 20!
MR: You as the artist, what do you feel are the best things that you contribute to the blues?
SRN: I think it’s really what I just said. My band and I are keepers of the flame when it comes to preserving the integrity of authentic sounding urban blues. I think given the complexity and craziness of the world around us today that it is refreshing for a lot of blues fans on this planet to hear as they say…the real deal. Our most recent album Living Tear to Tear was honored with seven Blues Music Award nominations this year including Band of the Year and Album of the Year. For myself alone I have thirteen Blues Music Award nominations for the Bluetones last three CD’s and last year I won two Blues Music Awards for my contribution on an album called Remembering Little Walter which also received a Grammy nomination. That makes me a three-time Grammy nominated blues performer. Not too shabby for a 61-year-old Italian American from Stonington, Connecticut. You know what the great Muddy Waters once told me? He said, “Sugar Ray, you Italians got soul!”
MR: Sweet. Do you think the blues will last forever?
SRN: What’s that saying? The blues will never die. It’s true! As long as we live in this sin sick world, the blues will be around. Since the beginning of time man has had some degree of the blues. It’s just a fact of life man, a fact of life.
MR: Sugar Ray, what advice do you have for new or emerging artists?
SRN: I would have to say…be yourself. You’ve probably heard that before but man it’s so right.When you get to a place as a young or older artist where you can incorporate all of the musical stylings that you appreciate and form them like from a ball of clay into something that is uniquely your own then you really got something. Be yourself….nobody else is!
MR: There’s no way you’re ever going to retire, is there.
SRN: Well, no. An artist doesn’t really ever retire. One may say that he or she is retiring but it really aint so.You know I had an uncle who played real great jazz guitar for all his life and one day when he was around 60 years old or so he just three up his hands and said, “That’s it, I quit!” I was devastated. I urged him to go out and play but he just refused. He said “no damn it, I’m done.” No one could figure out how or why he just stopped cold until we all realized that he had developed a bad case of dementia and that was the reason he threw in the towel .So, as long as I have my health I’m in the game.
MR: Even though you perform and record the blues, are you happy?
SRN: Listen to track # 3 on our CD “Living From Tear to Tear.” It’s called “Things Could Be Worse.” My Dad always told me, “Son, at times, you may think you have it bad but look around you…things could be worse.”
I’ve been married to the same great woman for forty years…I’m happy.
I have a wonderful family…I’m happy.
I live in a beautiful house in the country on twelve acres…Im happy.
I have chickens, a cat and a great dog…I’m happy.
I write, sing and play the blues with one of the best blues bands on the planet…I’m happy!
ELAINE ROMANELLI’S “25” EXCLUSIVE
According to Elaine Romanelli…
“The song ’25’ is for everyone reaching a birthday and wondering what is ahead — and also for everyone looking back and laughing at the twists and turns. Most of all, it’s a celebration of feeling joyful, of living fully and loving your friends, right now, no matter your age.”
Oprah Winfrey Network is the first and only network named for, and inspired by, a single iconic leader. Oprah Winfrey’s heart and creative instincts inform the brand — and the magnetism of the channel.
Winfrey provides leadership in programming and attracts superstar talent to join her in primetime, building a global community of like-minded viewers and leading that community to connect on social media and beyond. OWN is a singular destination on cable. Depth with edge. Heart. Star power. Connection. And endless possibilities.
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Beth Whaanga posted images of herself after breast cancer surgery on Facebook, hoping to share her story and urge others to take preventative measures.
What she didn’t expect was the vitriolic responses from some of her Facebook “friends” — and the subsequent outpourings of support she received when the photographs went viral.
(Some images below are NSFW and may be considered graphic.)
Whaanga, a nurse and married mother-of-four from Brisbane, Australia, was diagnosed with breast cancer on her 32nd birthday. After finding out that she carried the BRCA2 gene, a genetic mutation that put her at increased risk for breast and ovarian cancer, Whaanga underwent a double mastectomy last November, as well as a hysterectomy, lymphadenectomy and melanoma lumpectomies. Instead of hiding her scars, she chose to speak out in order to help others affected by cancer.
“Your scars are a physical or emotional representation of a trial you’ve been through,” Whaanga told The Huffington Post in an email. “They show that you came through the trial and survived.”
“I really felt during the shoot I wanted to portray [Whaanga’s] strength and resilience, but also have her vulnerability and pain come across,” Masot told The Huffington Post in an email. “She was unafraid of me pointing the camera at her exposed body, scarred as it is. She was confident in sharing it with me, and I think that came across.”
Introducing the photographs on her Facebook page, Whaanga wrote:
WARNING: these images are confronting and contain topless material. They are not in anyway meant to be sexual. The aim of this project is to raise awareness for breast cancer. If you find these images offensive please hide them from your feed. Each day we walk past people. These individuals appear normal but under their clothing sometimes their bodies tell a different story. Nadia Masot and I aim to find others who are willing to participate in our project so that we might show others that cancer effects everyone. The old and the young, age does not matter, self examination is vital. It can happen to you.
Despite Whaanga’s explanation, some people took issue with the images. Hours after the photographs had been posted, over 100 people had de-friended Whaanga on Facebook, and several reported the album to Facebook for violation of the site’s photo policy. (Facebook has contacted Whaanga to inform her that they will not be removing the images.)
“The feedback that I’ve received was that people felt that the medium was not appropriate for these images,” Whaanga told HuffPost. “They were also concerned about the graphic and confronting content of the images.”
These objections, however, seem almost petty in light of the project’s goal: raising awareness about cancer and encouraging people to make their health a priority.
“These photos remind the viewer to be vigilant about checking their bodies and to be more aware that this could and and possibly will happen to you,” Whaanga told HuffPost.
“If the ‘Under The Red Dress’ project helps one man, woman or family deal with their battle with cancer, or helps one person in their preventative journey, than I’m very happy,” Whaanga told HuffPost.
Kat Dennings and Beth Behrs, the stars of the CBS sitcom “Two Broke Girls,” are looking more and more like they might become the next great awards-show duo, following in the footsteps of Tina Fey and Amy Poehler.
Dennings and Behrs will host this year’s People’s Choice Awards, but can they reach the bar that Fey and Poehler have set with the Golden Globes? It looks like Behrs is taking Fey and Poehler as inspiration. “I saw a promo for Amy [Poehler] and Tina [Fey] where they were singing at a piano,” she told People Magazine. “I just think they’re so genius. We could learn a lot from them. They’re so funny.”
The “Two Broke Girls” co-stars have got some big shoes to fill if they’re going to become the next Tina and Amy, but they’re on the right track. Check out how they’re starting to look a lot our favorite awards emcees.
Tina and Amy made their mark acting together …
… and so have Dennings and Behrs.
Our old favorites are real life besties …
… and so are the newbies!
The former “SNL” co-stars are known for being wonderfully silly …
… and the ladies of “Two Broke Girls” are goofy and fun, as well.
Heck, both duos even have the blond/brunette contrast going on.
It must be fate.
— Golden Globe Awards (@goldenglobes) December 15, 2013
But are they up to the task? We’ll see on Wednesday night at the People’s Choice Awards.
— People’s Choice (@peopleschoice) January 6, 2014
The People’s Choice Awards will air Wednesday at 9 p.m.
Comedy – The Huffington Post
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In Beth Henley’s quasi-Southern Gothic play The Jacksonian, the establishment of the title is a Jackson, Mississippi motel with decorated-for-Christmas bar that Walt Spangler has neatly designed.
It would be nice to say that the stage-right bar is busy, but the only denizens–seen over a period of several months–are guesting dentist-on-his-uppers Bill Perch (Ed Harris), his occasionally visiting estranged-because-sometimes-battered wife Susan (Amy Madigan), his manic 16-year-old daughter Rosie (Juliet Brett), possibly suicidal bartender Fred Weber and blowzy motel worker Eva White (Glenne Headly).
The Perches spend time in the stage-left room that Bill occupies. He’s hoping Susan will take him back. She’s hoping anything but. Eva also drops in on official and unofficial motel business. Fred remains in the bar, mixing a drink from time to time but mostly attempting to extract himself from the promise of marriage he’s made to Eva.
The Jacksonian–imported to The New Group’s Acorn stage from Los Angeles’s Geffen Playhouse, where it premiered in February 2012–begins with Rosie, wrapped in a blanket, howling that a murder is going to take place. It’s immediately followed by Bill, wearing a bloodstained white shirt, entering to scoop ice from a large container.
Whereupon the action waffles back and forth from the holiday season–which isn’t very festive for these folks–to the preceding summer and fall months. During the action, they either sit in the bar or gather in Bill’s room.
Playwright Henley, darker here than in most of her previous works, intends, it would seem, to display five misfits as their sorry expectations disintegrate–and Rosie’s desperate opening outburst edges toward fulfillment. Actually, that’s what she does display, but as she progresses through the intermissionless 85-minutes she’s allotted herself, she has trouble working up sufficient interest in the inhabitants.
Maybe what’s called for here is more information on the characters. As it is, they’re a quintet of sad sacks, with Bill not only sad but–unable to practice dentistry as a result of some misdemeanor–also dangerous. This is clear, of course, from the early glimpse of him in the soiled shirt.
What involvement there is in the exercise is Robert Falls’s vigorous direction of the actors–four of whom are already known as more than reliable–and one of whom, newcomer Brett, gives unquestionable signs of making herself welcome in the manner of previous stage performers like Peggy Ann Garner, Phyllis Love and Sandy Dennis.
Well-known trivia: Harris and Madigan are married, and, from the evidence they’ve given by working together frequently, have to be a much happier couple than the Perches Bill and Susan. It’d be interesting, don’t you think?, to eavesdrop on Harris and Madigan discussing the challenges of taking on Bill’s and Susan’s sorrows.
Be advised that Jack Plotnick and the always risible Seth Rudetsky have joined a series of 1970s chart-toppers into a send up of that decade’s disaster flick The Poseidon Adventure. They’ve called it–what else?–Disaster!.
And yes, camp followers, it’s mighty entertaining. The plot–really an excuse to get a crowd of terrific singers to reprise a tidal wave of golden oldies–involves the opening night of the Barracuda casino on a ship moored to a dock that happens to be floating over shifting tectonic plates. You guessed it: There’s a humongous quake, after which some characters survive (the young lovers, natch) and some don’t (the villainous ship’s captain, natch).
Rudetsky and Plotnick–please don’t call the cruiser-tuner a rude/plot–probably could have trimmed their fandango, rather than suggest they want to include every ’70s click ever written. Only for starters, the ditties run to “Alone Again, Naturally,” “Don’t Bring Me Down,” “He Ain’t Heavy, He’s My Brother,” “Hooked on a Feeling,” “Hot Stuff,” “Knock on Wood” and “Knock Three Times.” Often, for maximized amusement, Rudetsky and Plotnik pun on the song titles or play on the lyrics.
Then, of course, and under Plotnick’s direction (Rudetsky plays a disaster expert, whatever that is), there are those top-drawer belters. Undoubtedly all of them voice-maven Rudetsky’s chums, they are, among others, the great Mary Testa, the great Jennifer Simard, hot newcomer Matt Farcher, Haven Burton, Charity Dawson, John Treacy Eagan, Michele Ragusa and young Jonah Vernon as identical fraternal twins. (Remember this is fiction.) It should go without saying that every one of the singing comics makes it all worthwhile.
With that large cast in the relatively small St. Luke’s auditorium, Disaster! may look as if it’s been produced for $ 1.99 (his it been?), but it plays as if it’s titanic, if not Titanic.
Arts – The Huffington Post
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