Conor McGregor Dresses to Impress and Pitch New August McGregor Suit Collection

MAN WITH A BRAND: On the field Sunday pre-Super Bowl LIII, Conor McGregor was tough to miss wearing a custom David August lavender jacket and tie with black pants.
The UFC featherweight and lightweight champion’s 18-month-old son was dressed identically in custom suits, thanks to the designer David August Heil. As is pretty much always the case with any celebrity making such a mega-appearance — and Sunday’s game would qualify — the wardrobe choice was no coincidence. The fiery Irish MMA fighter launched a cobranded collection with August at the end of last year in time for his showdown with Khabib Nurmagomedov. The collection included a $ 39 “Eff You” T-shirt, an $ 87 “Whoop Ass” embroidered hooded sweatshirt and a $ 39 newspaper-inspired “August McGregor Post” T-shirt imprinted with a McGregor quote, “When I say something is going to happen, it’s going to happen.”
But back to the Super Bowl: McGregor decided to wear purple “to remain neutral, as he is a fan of both teams but wanted to wear something to celebrate the occasion,” according to a David August spokesman. To take that neutrality literally, McGregor might be a little color blind since red and blue make purple and red is minimal in

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Conor McGregor vs Khabib: New video footage of post-fight brawl reveals what instigated shocking scenes

Fresh video footage has emerged which sheds new light on the circumstances around the post-fight brawl which overshadowed Khabib Nurmagomedov’s victory over Conor McGregor at UFC 229. Nurmagomedov defended his lightweight crown in completely dominant fashion in Las Vegas over the weekend, taking McGregor to the ground in the first two rounds before forcing him to tap in the fourth. New footage has now emerged of the fight after the fight which appears to suggest that it was the president of Nurmagomedov’s management agency sparked that ultimately sparked the riot.

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Conor McGregor Guaranteed $1 Million More Than Khabib Nurmagomedov for UFC 229

Conor McGregor is guaranteed to make at least $ 1 million more than Khabib Nurmagomedov at UFC 229 on Saturday. The Nevada State Athletic Commission notified of the UFC 229 fighter salaries on Friday, noting McGregor's much higher payday

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Why Conor McGregor will lose at UFC 229

Tonight's Conor McGregor vs. Khabib Nurmagomedov bout is the MMA version of the immovable object against the irresistible force.

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Conor McGregor doesn’t realize that his real opponent is not Floyd Mayweather

Conor McGregor doesn’t realize that his real opponent is not Floyd Mayweather – TOP

If You’ve Got a Spare Chunk of Change, You Too Could Own a Conor McGregor ‘F*ck You’ Suit

But maybe don’t wear it to a job interview.

Style – Esquire


How top MMA trainers would prepare Conor McGregor for Floyd Mayweather

How top MMA trainers would prepare Conor McGregor for Floyd Mayweather – TOP

The Brand Behind Conor McGregor’s Brilliant ‘F*ck You’ Suit on How It All Came Together

Not that he needed his clothes to do the talking for him.

Style – Esquire


Bad Lip Reading Of Trash-Talkers Floyd Mayweather And Conor McGregor Gets Brutal

“It’s almost like you don’t know words.”
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The Vamps And Conor Maynard Absolutely Slay This ‘Shape Of You’ Sing-Off

Conor Maynard and The Vamps just got together for the most epic sing-off to Ed Sheeran’s “Shape of You,” and we can’t stop replaying the video. 

Their remix of Sheeran’s hit features lines from all your pop favorites like Shawn Mendes’ “Mercy” and Sia’s “Cheap Thrills.” They even threw in some epic throwbacks like TLC’s “No Scrubs,” Beyoncé’s “Baby Boy,” and Sean Paul’s “Temperature.”

 Witness the epic singing battle and let us know who you think won.

Honestly, we think it’s a tie.

Our favorite part is at 2:19 when Brad Simpson sings Conor Maynard’s “Are You Sure?” and then Maynard reciprocates with The Vamps’ “All Night.”

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Entertainment – The Huffington Post
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First Nighter: Conor McPherson’s ‘The Night Alive’ Is Mostly Alive

Kitchen sink dramas have been with us for several decades, which means they’re not as startling as they were when they began rendering obsolescent the prevailing works that examined the lives of the well heeled. This may explain why I could admire the expert acting of the charged events depicted in Conor McPherson’s new entry, The Night Alive, at the Atlantic Theater Company’s Linda Gross Theater, and yet decide on leaving that I hadn’t seen much of anything impressively new.

Perhaps I should say that from where I was sitting, I’m not absolutely certain I saw an actual sink on Soutra Gilmour’s version of a shabby ground-floor room in a deteriorating Edwardian home near Dublin’s Phoenix Park. All the same, I certainly saw McPherson’s bottom-feeding characters bring in plenty of foodstuffs that they more or less prepared over the several days and then months during which the action unfolds.

Tommy (Ciaran Hinds) is the official occupant of the large space — with its narrow bed and other dilapidated furnishings, its upstage stained-glass door to a garden and adjacent door to a bathroom. He’s the kind of man-with-van who makes whatever living he can by doing small jobs. He has no prospects and, more to the point, doesn’t appear to care about acquiring any.

When first seen, Tommy is returning to his digs with Aimee (Caoilfhionn Dunne), who’s holding a towel to her face. She’s been assaulted in a pub brawl. A hooker without a heart of gold but with redeeming features nonetheless, she’s grateful for Tommy’s ministrations but doesn’t want to rely on them more than necessary. She’s a hooker with a heart of self-sufficiency.

She does stick around, however, because she and Tommy slowly establish a romantic interest in each other, which is somewhat endangered by Maurice (Jim Norton, a McPherson vet). He’s the relative from whom Tommy rents his space and who regularly threatens Tommy with eviction. The Tommy-Aimee bond is far more imperiled with the arrival of Kenneth (Brian Gleeson) — as if from Harold Pinter and, specifically, from Pinter’s The Homecoming or No Man’s Land. He’s the abusive boyfriend who dealt Aimee her earlier blows.

Actually, until Kenneth strides chillingly into Maurice’s house, it looks as if The Night Alive isn’t going to amount to much more than a slice-of-life representation of Dublin’s and Ireland’s current societal and economic erosion.

But there Kenneth is, almost instantly picking up a hammer with which he stalks Tommy’s sometime partner Doc (Michael McElhatton), a regular visitor to the household and a freeloader on it. It’s as if Kenneth’s wielding the tool is introduced as an extension — to include blunt instruments — of Chekhov’s theory that a gun once brought on stage must go off, usually causing harm.

The Night Alive suspense then builds on whether Aimee will be able to extricate herself from Kenneth’s sinister demands, which include stealing money Tommy has hidden beneath floorboards. Will she be able to remain with Tommy, or will she continue in Kenneth’s thrall?

The outcome McPherson provides for them is properly ambiguous and doesn’t occur without one highly dramatic event that won’t be revealed here. The event, however, does develop into something that, as indicated, is quite dire, but from which the playwright unconvincingly retreats.

As mentioned, McPherson has imagined three-dimensional figures in Tommy, Aimee, Maurice and Doc. They’re far from upstanding citizens, but they’re appealing in their ways. They’re trying to make something of their lives, and even if the attempts aren’t the wisest they might choose, the benighted folks are worth rooting for. Given their compromised potential, they’re trying to do the best they can.

Kenneth is more two-dimensional. He intensifies McPherson’s drama, but it’s hard not to feel he’s brought in only because McPherson realized he needed something to raise the stakes. Yes, Kenneth’s appearance has been somewhat foreshadowed from the moment the battered Aimee enters without admitting to Tommy the perpetrator of her injuries, but he still feels like more of a device than the others.

At the same time, though, as the proceedings have the old deja view aspect to them — remember that McPherson’s early click, The Weir, had a four-men-one-woman cast — there’s no quarreling with his direction of the ensemble.

Hinds’s imbues Tommy with shady shadings and humane longings, too. (The actor is more authentic here than he was in last season’s Cat on a Hot Tin Roof revival.) Dunne’s Aimee, sparrow thin, is admirable for her highly pronounced independent streak. Norton’s nicely balances Maurice’s constant mood swings. McElhatton’s Doc has the right measure of sycophantic weakness and likability. Gleeson encounters no trouble bringing to the surface all the unadulterated evil called for.

So while it’s true that the magnetic effect of the writing, acting and directing quickly dissipates once the lights fade on the intermissionless 90-minutes-plus The Night Alive, the heavy-duty pull it exerts while passing can’t be denied and doesn’t need to be.
Arts – The Huffington Post
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